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They say that in 2017, web-based film commentary has been reduced to little more than highly subjective listicles that mean nothing to anyone but the writer, whose over-inflated sense of ego drives them to continually vomit their opinions onto the internet regardless of a total lack of insight and a steadily dwindling readership. I don't know if this is true because I've been far too busy

After giving Alfred Hitchcock and Steven Spielberg a thorough seeing-to on these pages, I decided it was time to have a go on a director I've always admired but never quite loved: Martin Scorsese. Turns out I now love him too, possibly because I've spent much of this year up to my elbows in his unique, troubling and seductive world view. And what better way to celebrate his 75th birthday

Under common law, the British crown is inherited by a sovereign's children or by a childless sovereign's nearest collateral line. In the case of Queen Elizabeth II, her heir apparent is Charles, Prince Of Wales, and next in line is William, Duke Of Cambridge. This legislation means that even the Queen herself is unable to stop Charles succeeding to the throne, because it would require a new Act

The 2017 London Film Festival may have finished two days ago, but the film-reviewing fun never stops here at The Incredible Suit! Oh god please make it stop Thelma dir. Joachim Trier, Norway / France / Denmark / Sweden, 2017 Essentially an arthouse Carrie, Joachim Trier's Thelma is a story of one girl's sexual awakening and the inconvenient psychokinetic side effects it has on her,

dir. Alexandre O Philippe, USA, 2017 I strongly suspect that I may have seen more Alfred Hitchcock documentaries and featurettes than actual Alfred Hitchcock films, and I say that as someone who's seen every Alfred Hitchcock film (did I mention that I watched every Alfred Hitchcock film? Oh sorry, how tedious of me, LOOK AT THIS). Laurent Bouzereau's DVD extras are the gold standard for

dir. Yorgos Lanthimos, UK / Ireland, 2017 Like Stanley Kubrick with a better sense of humour, Yorgos Lanthimos has sliced another clinically staged, deeply macabre piece of own-brand quirkery and served it up with a dollop of the blackest comedy you're likely to find this side of Michael Haneke. If you're not chuckling at a late scene in The Killing Of A Sacred Deer that portrays the kind of

dir. Paddy Considine, UK, 2017 Hopes were high for Paddy Considine's long-awaited follow-up to his devastating directorial debut Tyrannosaur, from which I still haven't quite recovered six years on. The story of a boxing champion floored by a brain injury has lesser hacks than I furiously clicking open their folder of Sports Movie Pullquotes, but it pains me to say that Journeyman does not

dir. S Craig Zahler, USA, 2017 Those of us who have felt increasingly let down by Vince Vaughn over the years have great cause to rejoice with the advent of Bone Tomahawk brutalist S Craig Zahler’s Brawl In Cell Block 99. Channelling a ‘90s Bruce Willis in a role that even that celebrated “Hollywood hard man” might have found a smidge too murdery, Vaughn helps to shape Brawl into a slab of

dir. Guillermo del Toro, USA, 2017 For some reason I wandered into Guillermo del Toro’s The Shape Of Water thinking it was a fairy tale film for kids – a supposition borne out by the dreamy, opening shots of an underwater fantasy and Alexandre Desplat’s tinkly score. But then the first scene showed me much more of Sally Hawkins than I’d expected to see, and when she started furiously

Here's an LFF 2017 Euro-friendly special, featuring contributions from Austrian and Italian directors. Make the most of it because once we leave the EU, Michael Haneke films will be banned and we'll have to smuggle them in up our arseholes. Happy End dir. Michael Haneke, France / Austria / Germany, 2017 I don't know about you, but I like my Haneke to be like a trip to the dentist:

dir. Richard Linklater, USA, 2017 Richard Linklater hasn't finished musing on the male bonding process just yet guys, so if the cripplingly macho / faintly homoerotic undertones of Dazed And Confused and Everybody Wants Some!! left you cold then maybe give Last Flag Flying a wide berth. That would be a shame though, because there's much more going on here than just three quinquagenarian males

dir. Tony Zierra, USA, 2017 While starring as Lord Bullingdon in Stanley Kubrick's Barry Lyndon, Leon Vitali became so smitten with the filmmaking process that he gave up acting to become The Kube's assistant and dogsbody for the rest of the director's life and beyond, and his fascinating story is clumsily told in this maddeningly haphazard documentary. Visible in all those behind the

If further proof were required of the need for Ridley Scott to step away from directing more entries in Ridley Scott-instigated franchises, the Denis Villeneuve-helmed Blade Runner 2049 is it. I mean Scott's Prometheus should have provided sufficient evidence for this argument but that didn't stop his Alien Covenant happening, and look at us now: adrift in a once-beloved series of films which

Like some kind of annual festival of film based in London, the London Film Festival is once again upon us, promising another selection box of cinematic treats of vastly disparate quality. But given this bewildering choice, how do you know which film is the delicious pink-wrapped fudge and which is the satanically evil coffee cream? Well, don't ask me, I'm the last person you should rely on.

It's just a few weeks, some days and an hour or two until the 61st London Film Festival takes over literally everyone's lives, and if you're not excited about it then you must be the kind of person who leads a fairly healthy lifestyle. Can we meet up one day and chat about it? A friend of mine needs tips on how to be a better person. Anyway, because I labour under the misapprehension that

Oh hi. So, I guess you're after a recommendation for what to see at the cinema this weekend? You probably fancy something that's, like, quite good but not too good? I mean, maybe you even want to do a double bill of films that don't really have a lot wrong with them but at the same time will only really stay with you for an hour or so at best? Well, I suppose you're in luck because this weekend

Fresh off the scaly back of Disney behemoth Pete's Dragon, director David Lowery tossed off this tiny but cosmically breathtaking drama in roughly the amount of time it would have taken Weta to animate one of Elliot the dragon's footsteps. Rooney Mara and Casey Affleck play a couple forced into somewhat difficult circumstances when Affleck suddenly becomes inconveniently dead, and his

If comedy and tragedy were people, they'd be the lead characters in The Big Sick. Kumail Nanjiani (Kumail Nanjiani) (I'm not just repeating his name for the sake of it, he plays himself) is the stand-up comic whose life as a Pakistani immigrant in Chicago is a bottomless mine of hilarious cultural awkwardness, while therapist Emily Gardner (Zoe Kazan) is his foil: a pixie dream girl of the

To coincide with the release of Dunkirk, Christopher Nolan curated a season of films at the BFI which influenced his WWII carnival of trauma. "Our season explores the mechanics and uses of suspense to modulate an audience's response to narrative," Nolan explained, and while he might have sounded like some kind of emotion-curious automaton, that declaration of intent - alongside the films he

Given the well-worn Hollywood maxim "If at first you more or less succeed, reboot and reboot again", it was only a matter of time before the barely-settled cobwebs were dusted off the Spider-Man property and ol' webhead was re-resurrected for Generation MCU. You know the drill by now: teenage boy (played, if possible, by someone whose teenage years are some distance behind them) with the

It sounds morbid, but I've been meaning to write an obituary for Roger Moore since 2013. I had the immense fortune to interview him for the Empire podcast in the previous October, and while it was everything you'd hope for from an interview with Roger Moore, it did strike me that he was a Very Old Man (he'd just turned 85 that week), and his delicate shuffle and hushed tones suggested that he

The future of the James Bond films hangs in the balance. Sony's distribution deal has ended, so MGM and EoN are currently jiggling Bond in front of a selection of suitors, all of whom are desperate for the rights while simultaneously nervous that Daniel Craig might not stay on board to guarantee boffo box office for the next film. It's a delicate situation, and one which could affect the very

It gives me no pleasure whatsoever to announce that Pierce Brosnan's remarkable run of incomprehensibly bad films continues with alarming implacability. This week sees the unwelcome incursion into selected cinemas (fingers crossed yours isn't one of them) and VOD platforms of cyberturkey I.T., or - if we are to follow the widely accepted convention of referring to films by their on-screen title

"That's it, man. Game over, man, game over!" - Private First Class William L. Hudson, Aliens

Mica Levi's score opens Jackie with a plaintive, wailing glissando that sounds like both the world falling apart and a global reaction to it. It's the soundtrack of today, but only by coincidence; in its intended context it conveys Jackie Kennedy's state of mind as she tries to cope with life in the days after her husband's assassination. You'll struggle to find many more contemporary parallels

"I feel dead." - Gilbert Kane, Alien

Lukewarm on the heels of my all-consuming Alfred Hitchcock project, I spent much of 2016 rewatching (and, in some cases, having my first go on) the films of bearded genius and double-denim advocate Steven Spielberg. The Berg's first official theatrical release, The Sugarland Express, came out the year I was born, so it logically follows that he's been making films specifically for me for my