Film

Film

"The film was shot in Ultra Panavision 70 with lenses that yielded an aspect ratio of 2.76 to 1, and it was breathtaking," Scorsese said. "But it wasn't just the size of the image, it was the imprint of the man behind the camera who knew how to fill that frame, how to compose it. And composer seems like the right word to describe George Stevens and the extraordinary level of artistry he reached at that point in his life and career."

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

Brittany Shyne's stunning documentary observes Black farmers in the American south over the course of seven years, and portrays the beauty and the hardships of working with the land. The black-and-white cinematography lends a visual sumptuousness to the rituals of harvest: we see giant machines extracting cotton buds from open bolls, leaving behind a whirl of white fluffs fluttering in the air.

"We Need to Talk About the Massively Hung Zombie," read a headline in Vulture.

Stewart was 23 at the time, old enough to know better and young enough not to care, and wore her literary influences (Kerouac, Bukowski, Tom Waits) a little too readily on her sleeve. My Heart is a Wiffle Ball/Freedom Pole turned out to be a free-style, impressionistic affair, apparently written during a cross-country road trip and fuelled by the excitement of cocky gilded youth.

In People We Meet on Vacation, we follow travel writer Poppy Wright and Alex Nilsen as they navigate their friends-to-lovers trajectory over the years. The plot homes in on their annual week's summer holiday throughout their friendship, revealing their history to the viewer through a series of flashbacks that take place across the world, with scenes set everywhere from Ohio to Tuscany. But where, exactly, did Netflix film the adaptation?

"Roger Allers was a creative visionary whose many contributions to Disney will live on for generations to come," Disney CEO Bob Iger said in a statement. "He understood the power of great storytelling - how unforgettable characters, emotion and music can come together to create something timeless. His work helped define an era of animation that continues to inspire audiences around the world, and we are deeply grateful for everything he gave to Disney. Our hearts are with his family, friends and collaborators."

For the sheer quantity of its gibbering, jabbering nonsense, this movie deserves some points. That, and the amusing cameo at the end from Keith David as the Simulator, AKA God, who explains to the awestruck mortals that God is an entirely free creator, rather like a self-published novelist, then grows irritated when the mortals think that being self-published is lame: It's not my fault if you don't understand the industry! This is an exhausting indie romp on the subject of time travel,

In Arash Nassiri's new moving-image commission, an insect puppet drags itself across an empty marble floor, cast in eerie blue evening light. The scene is diffused through an enormous frosted-glass cubicle, refracting and distorting the images. That sense of distortion pervades the Tehran-born, Berlin-based Nassiri's first institutional solo exhibition, A Bug's Life, which opened last weekend at London's Chisenhale Gallery-and comprises a film set within a sculptural installation.

The only way to watch today is either a little bit sleepy, a little bit hungover, a tiny bit high, or all three. It was a provocative, pseudo tongue-in-cheek movie in 1996 when it was released on January 18, and 30 years later, it feels like a surreal fever dream. In some ways, you could say is the most patient B-movie of all time, waiting for nearly an hour to actually reveal its supernatural, bloodthirsty premise.

In a non-Netflix world, a film like The Rip flashy, action-heavy, led by two household names should be available this weekend on the biggest high-format screens across the country. But then in that same world, at this particular time, it's doubtful that a film like this would even get made, granted a budget that's reportedly close to $100m, highly unusual for R-rated non-IP.

The New York Comedy Film Festival has announced the full lineup for its inaugural edition, running February 15-22, with screenings and events taking place at venues including Asylum NYC and the Baruch College Performing Arts Center. Spanning a full week, the festival aims to showcase the range of comedic storytelling on screen, from broad laughs to darker, more experimental takes, across features, shorts, series and documentaries.

It was a small extract, but this young girl was begging for life,

I still can't watch Quint get eaten alive by the shark in "Jaws" (1975), but I will happily replay the climactic kill scene from "Day of the Dead" (1985), in which a highly hissable villain, Captain Rhodes, gets dismembered by a horde of the hungry undead. Is it the gristly, lip-smacking hilarity of the carnage-the taffy-like ease with which they pull Rhodes's flesh apart,

"No matter how bad things get in the world, it's a comfort to know we're always going to have more gay s**t to watch," he said.

His first solo single was a cover of Elmer Bernstein's theme from The Man with the Golden Arm, and his debut solo album, Moss Side Story, was a soundtrack to a nonexistent film noir. He's gone on to compose scores for actual soundtracks, like new documentary SCALA!!!, which is about London's infamous arthouse cinema from the '70s and '80s where Adamson spent a lot of time.