I don’t know much about Terrence Malick. But then again, I don’t know much about Alfred Hitchcock either, and it doesn’t stop me knowing that Disturbia is a rip-off of Rear Window. As literally every other critic on earth has noted, Ain’t Them Bodies Saints appears to be a homage to Malick’s love of trackless…

Rooney Mara is slowly becoming a household name for her chameleon approach to taking on challenging roles and refusing to be typecast. From a typical American teen to a Swedish computer hacker, and most recently a Texas outlaw in the 1970s in August’s Ain’t Them Bodies Saints, let’s take a look at some of the many changing faces of Rooney Mara’s dynamic career to date.

Cast details for Wally Pfister’s directorial debut just keep flooding in.

Side Effects may cause drowsiness: Steven Soderbergh’s neo-noir cum psychological thriller is contagiously dreamy, until it evolves into a nightmare. It’s brilliant. If Soderbergh really is retiring, he’s certainly ended on a high. Side Effects encompasses some of the key themes he has explored throughout his career (it has the sex, it has the lies, it has the videotape) and forms a tribute to past cinema, channeling a Hitchcockian narrative, style and tone.

Come, come Mr. Bond, the grosses simply weren’t big enough for your Martini demands.

More like the girl who played with our HOPES AND DREAMS.

You’re saying rape doesn’t sell?

Bye bye Blake.

THEY’RE HERE! The nominations for the 84th Academy Awards have been released, and as we predicted The Artist has basically bagsied all the categories like a fat greedy child in a tuckshop. Standard.

Damn you, 20,000 Leagues Under The Sea…