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Up close and personal
Despite the mixed track record of such films, fashion documentaries and biopics are quickly emerging as the ‘it’ genre of the moment, writes Bronwyn Cosgrave
Girls (and their bags) on film
As luxury brands eagerly take part in the promotional hype surrounding the ‘Sex and the City’ movie, Vanessa Friedman asks if big-screen product placement can still sell heels and handbags during a downturn
Britain behaving badly
There is a pervasive sense that gorging, heavy drinking and indiscriminate sex are ruining new generations, writes John Lloyd
The self-made superhero
The politics of ‘Iron Man’, delicately balanced for much of the film, becomes ever more muddled: the film-makers try to appeal to too many mutually exclusive post-9/11 constituencies, writes Karl French
A life against the grain
Barbet Schroeder’s multi-hyphenate career – producer-director-actor-writer-interviewer – has one unifying element: the impious desire to shock, writes Nigel Andrews
Officers and not such gentle men
John Lloyd gives the lowdown on police dramas and their insistent examination of the nature of evil
Film Review: Dour and frivolous tales of violence
The loss of innocence engendered by violence is a sober theme, treated in contrasting ways by two new films, ‘Stop-Loss’ and ‘Persepolis’. One is grim, verging on portentous, the other humorous to the point of flippancy, writes Martin Hoyle
Film Review: From low-rent London with love
‘Happy-Go-Lucky’ uncovers depths that few comedy creators but Mike Leigh would find or seek. The back of this postcard of a film isn’t confined to one line of holiday cheer, writes Nigel Andrews
Behind enemy lines
Hard-hitting films made with guerrilla tactics are increasingly in demand. Nigel Andrews asks how far directors have to go
A playboy at the movies
Martin McDonagh set his sights on cinema after conquering the theatre: Catherine Shoard talks to the self-confident Irishman





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