Dave Calhoun

When it comes to sex, the movies are currently going through a bit of a dry spell. Sure, recent movies like Challengers and Babygirl had some hot-and-horny moments, but it feels like it’s been a long while since we’ve seen a truly steamy, taboo-shattering roll in the hay – or hot tub, or midsize sedan, or literal bay of hale – in a major studio film. Is it because of society’s general rightward shift recently? Or did filmmakers start listening to those misguided social media debates about the merits of the sex scene? In any case, it’s far past time the movies got back to getting it on. Yes, in some cases, sex scenes can seem pointless. In the best examples of cinematic boffing, though, sex tells stories. It develops characters. Sometimes it’s a punchline, sometimes it’s terrifying. Sometimes, yes, it’s simply meant to arouse – but titillation has value, too. So pour yourself some wine and slip into something a little more comfortable: here are the 101 best sex scenes of all-time. Written by Dave Calhoun, Joshua Rothkopf, Cath Clarke, David Ehrlich, Phil de Semlyen, Daniel Walber, Trevor Johnston, Andy Kryza, Daniel Walber and Matthew Singer Recommended: 🕯️ The steamiest erotic thrillers ever made🔥 The 100 best movies of all-time❤ The 100 best romantic films of all-time😬 The 50 most controversial movies ever made💪 The 100 best feminist films of all-time

Cada uno tiene sus preferencias, así que cualquier debate sobre cuáles son las mejores películas de todos los tiempos se puede alargar horas (o, en nuestro caso, toda la vida). ¿Puede haber alguna lista que las agrupe a todas? Es difícil, pero hemos intentado incorporar desde las revoluciones cinematográficas más clásicas hasta las más modernas, todos los géneros, países, épocas... cine para todos los gustos, haciendo equilibrios entre la racionalidad y el sentimentalismo. El reto ha sido enormemente complicado, pero no nos hemos podido resistir a elaborar una buena lista, nuestra lista. Decidnos hasta qué punto nos hemos equivocado. Ah, para que no tengáis excusa, os hemos añadido las plataformas digitales dónde podéis verlas, ¡más fácil imposible! NO TE LO PIERDAS: El top 10 de la cartelera de cine de Barcelona Clica aquí si quieres más información sobre nuestros estándares editoriales y nuestras directrices éticas para crear este contenido

As far back as anyone can remember, the movies have loved gangsters – and it’s not hard to understand why. Who hasn’t fantasised about living outside the law, of having money and influence, of being untouchable? Sure, all the immoral behaviour is a bit unsavory, and the crushing paranoia that comes along with the lifestyle seems like a major drawback. But getting to live vicariously through the criminals we see on screen is one of cinema’s purest thrills.  But not all movie gangsters are built the same. Some are loud and boisterous, others cold, calculating and unreadable. From fedora-sporting mobsters to pistol-packing yakuza enforcers, to street-level bosses whose empire only extends to the end of the block, cinema has seen them all and told their stories – and you’ll find all of them on our definitive list of the best gangster movies of all-time. Recommended: 😬 The 100 best thriller movies of all-time💣 The 101 best action movies ever made🔪 The 31 best serial killer movies🕵️ 40 murder mysteries to test your sleuthing skills to the max

Great movies matter. Movies have the capacity to sharpen our understanding of the world. They take us places we’d otherwise never go, and introduce us to people we’d otherwise never meet. Or they reflect our own lives back at us, and help us understand ourselves a little better. They simply allow us to place reality on pause for a few hours, which, in this day and age, should not be discounted. Thankfully, there are signs that movies still do matter, even for a generation that’s grown up watching them mostly through the television, like Letterboxd, or the growing popularity of repertory cinemas. And that is ultimately what compels us to list the greatest films of all-time. It’s not to assert our own canon, or spark quibbles about snubs and arbitrary rankings. It’s because new film fans are still being born every day, and need a place to start. So consider this a road map. Jump to list: 100-91 |  90-81 | 80-71 | 70-61 | 60-51 | 50-41 | 40-31 | 30-21 | 20-11 | 10-1 How we chose our 100 best movies of all time Admittedly, the process is not an exact science. Mostly, it involves a bunch of arguing, whittling and deal-making amongst Time Out’s most movie-obsessed writers, and then voila: a top 100 everyone is kinda sorta happy about! In terms of why we chose what we chose, that’s just as messy and multivarious. Sometimes, it’s for historical achievements, either technically or thematically. Other times, it’s simple obviousness: are you really not going to have The Godfather and Ci

Cinemagoers love a good scare. That much is evident these days from the commercial and critical success of the horror genre: in 2024, some of the biggest, buzziest movies of the year – Longlegs, The Substance, Robert Eggers’ remake of Nosferatu and the box-office shocker Terrifier 3, to name just four – were designed to scare. And that’s not even to mention leftfield smashes over the last decade, like A Quiet Place, Hereditary and basically everything Jordan Peele has done.   It’s crazy to think, then, that not long ago, horror was thought of as a euphemism for ‘schlock’. If you were alive at the height of the VHS era, you know it wasn’t totally unfounded. Churning out formulaic slashers became a way for hacks and hucksters to make a quick buck, leaving rental store shelves awash in forgettable dreck. It served to overwhelm and obscure the horror genre’s true value – because when done right, no other film experience can conjure more visceral emotions. So let’s correct the record. Here are the 100 greatest horror movies of all-time, drawn from both the current renaissance and those darker days. Written by Tom Huddleston, Cath Clarke, Dave Calhoun, Nigel Floyd, Phil de Semlyen, David Ehrlich, Joshua Rothkopf, Nigel Floyd, Andy Kryza, Alim Kheraj and Matthew Singer Recommended: 🔪 The best new horror movies of 2025 (so far)🔥 The 100 best movies of all time🤡 The 21 best Stephen King movies of all time🩸 The 15 scariest horror movies based on true stories

Action is one of cinema’s most misunderstood genres. Among highfalutin cineastes, action movies are too often considered trashy, low-brow junk food, replacing all story and substance with eardrum-shattering explosions and mindless violence. In a lot of cases, that characterisation is certainly true. But anyone who’s ever allowed their senses to get shattered by the booms, blasts and breaking bones of a truly great action movie knows that there are few moviegoing experiences that can compare.   Also, not all action movies need to be loud and dumb. The right director can choreograph violence with almost balletic grace, while the right actors actually make you care about the person trying to outrun the bullets and the bombs. This list of the greatest action films ever made is proof that the genre is more versatile than it appears. We polled over 50 experts in the field, from Die Hard director John McTiernan to Machete himself, Danny Trejo, along with Time Out’s writers, and the results show just how awesome and unique the best action movies can be when done correctly. Written by Eddy Frankel, Eddy Frankel, Yu An Su, Joshua Rothkopf, Trevor Johnston, Ashley Clark, Grady Hendrix, Tom Huddleston, Keith Uhlich, Dave Calhoun, Phil de Semlyen, Dave Calhoun and Matthew Singer Recommended: 🔥 The 100 best movies of all-time💥 The 18 greatest stunts in cinema (as picked by the greatest stunt people)🥋 The 25 best martial arts movies of all-time🌊 The 33 best disaster movies of all-time

Comedy gets no respect, no respect at all. Sure, everyone loves to laugh, and just about every film buff has a comedy movie they hold close to their heart. But for some reason, when it comes to awards and canonisation, comedies still get short shrift in the history of cinema. That’s probably because, more than any other genre, comedy is dependent on context. What’s funny in 1924 might land with a thud in 2024. And that’s to say nothing of varying tastes in humour.  There is no more difficult movie for a filmmaker to pull off than a comedy. No film genre ages worse: humour is largely dependent on context, and what’s funny in 2025 might be completely lost on audiences five years later, let alone a century. And as any stand-up comedian will tell you, the stuff that makes people laugh varies greatly – from country to country, city to city, generation to generation.  And so, those that have kept us cracking up for decades are truly special. Comedies might rarely win Academy Awards, but the best comedy movies stick with us longer – and get rewatched more frequently – than just about any other type of film. To put together this list, we asked comedians like Diane Morgan and Russell Howard, actors such as John Boyega and Jodie Whittaker and a cadre of Time Out writers about the movies that make them chuckle the hardest for longest. In doing so, we believe we’ve found the 100 finest, most durable and most broadly appreciable laughers in history. No matter your sense of humour – goofy,

Tothom té les seves preferides, per això qualsevol debat sobre quines són les millors pel·lícules de tots els temps es pot allargar hores (o, en el nostre cas, tota la vida). Hi pot haver alguna llista que les agrupi a totes? És difícil, però hem intentat incorporar-hi des de les revolucions més clàssiques de la història del cinema fins a les més modernes, tots els gèneres, països, èpoques i per a tots els gustos... tot fent equilibris entre la racionalitat i el sentimentalisme. El repte ha sigut enormement complicat, però no ens hem pogut resistir a elaborar una bona llista, la nostra llista. Feu-nos saber fins a quin punt ens hem equivocat. Ah, també us posem en quines plataformes digitals la podeu veure... més fàcils impossible! NO T'HO PERDIS: El millor de la cartellera de cine de Barcelona Fes clic aquí si vols més informació sobre els nostres estàndards editorials i les nostres directrius ètiques per crear aquest contingut.

What makes a special cinema? A colossal IMAX screen, Dolby Atmos sound and cutting-edge 4K projectors are all great, but there’s something more that makes a great temple of cinema – a sense of storytelling that starts before you’ve even grabbed your popcorn and taken your seat. There are a few cinemas that truly stand apart: cine-temples so historic, beautiful and unusual that they make taking in a movie feel like an act of pilgrimage. We’ve scoured the globe, from London to Paris, Jaipur and New York to Sydney and Copenhagen, to highlight the 50 most heavenly movie theaters on the planet. From a 12-seat theatre in an old Ontario crafts shop to a 2702-seat grand salle in the City of Light, Time Out is celebrating them in all their architecturally eye-popping, Insta-friendly, just plain drop-dead-gorgeous variety. Pull up a red velvet armchair, plonk your feet on a foot stool and take a trip to the world’s most beautiful cinemas. RECOMMENDED: 🎥 The 100 greatest movies ever made🌏 101 places all movie lovers should visit

At Time Out, we love cities as much as you do. That’s why we spend so much time exploring and researching the world’s greatest cities to bring you the best things to do, see, eat and drink. How do we know what’s best? We send real people, our global team of local experts, to experience restaurants, bars, museums, theatres, galleries, movies and more. They use that experience to curate guides you can trust. When we say ‘best’, we really mean it. Our team of Time Out experts spends its time testing and tasting our cities. Wherever we can, we do this quietly and anonymously, and we pay our way. We also accept free experiences, but it never influences our ratings. We never take money for our editorial reviews or recommendations (discover more about our policy on commercial content). We do this in over 300 cities around the world, from London to Los Angeles, Madrid to Melbourne, Barcelona to Brisbane. Our reviews are rigorously researched and carefully crafted – designed to help you, our city-loving audience, decide where to spend your time and money in the city. More than anything, they’re designed to be useful: to assist you with planning your night or day out in the city. We write for both locals and visitors, as we believe both need an expert, curated guide to the city. We also write for all ages and budgets. Our guides should feel varied, diverse and considerate of a wide range of tastes and interests. We want you to discover a city’s hidden gems, as well as re-discover its c

If you love movies, chances are high that the first movie you ever loved was a cartoon. It may have been something from Disney’s Golden Age or the studio’s 1990s Aladdin-powered renaissance. Or possibly a Pixar tearjerker. If your parents were a bit more worldly, it could have been a Studio Ghibli masterpiece. Because animation is frequently where most cinematic obsessions start.  As proof, consider this chart of the greatest animated movies of all-time. In composing this list, we polled everyone from Fantastic Mr Fox director Wes Anderson and Wallace and Gromit creator Nick Park, along with several Time Out writers and experts, and the results show just how broad the genre can be. Our list incorporates the standard-bearers from North America and Japan, plus stop-motion nightmares to psychedelic headtrips, illustrated documentaries to unclassifiable avant-garde experiments. You’ll see a lot of old childhood favourites, sure – but there might even be some new adult faves to consider as well.  Written by Trevor Johnston, David Ehrlich, Joshua Rothkoph, Tom Huddleston, Andy Kryza, Guy Lodge, Dave Calhoun, Keith Uhlich, Cath Clarke and Matthew Singer Recommended: 🐭 The 50 best Disney movies🇯🇵 The 20 best anime movies of all-time🤣 The best family comedy movies🦄 The 50 best fantasy movies of all-time  

Um homem sábio e violento perguntou certa vez: "Gostas de filmes assustadores?". A pergunta certa, porém, é: quem não gosta de filmes assustadores? Não existe emoção mais poderosa do que o medo. E podemos experimentá-lo de forma controlada, através do entretenimento. Claro, todos temos os nossos limites: nem todos estão preparados para ver um palhaço demoníaco a serrar uma mulher ao meio (embora os lucros de bilheteira sugiram que há um número surpreendente de pessoas que está). Mas até os mais medrosos gostam de um pequeno susto de vez em quando. O género de terror está a viver um grande momento de renascimento, tanto junto dos espectadores como da crítica. Em 2024, alguns dos maiores e mais comentados filmes do ano (I Saw the TV Glow, O Coleccionador de Almas, A Substância e o sucesso de bilheteira Terrifier 3 – Aterrorizante) pertencem ao género. Mas o terror tem uma longa história, que remonta ao início do cinema. Quer ter os nervos à flor da pele? Com estes 100 clássicos, é provável que o encontrem escondido atrás do sofá quando os créditos finais estiverem a rolar. Textos de Tom Huddleston, Cath Clarke, Dave Calhoun, Nigel Floyd, Phil de Semlyen, David Ehrlich, Joshua Rothkopf, Nigel Floyd, Andy Kryza, Alim Kheraj e Matthew Singer. Recomendado: As escolhas dos peritos

Something stinks right from the off in this twisty, tense, languorous 1970s-set Brazilian drama that captures the absurdity and suffocation of life under a corrupt dictatorship. It’s 1977, and middle-aged Marcelo (Civil War’s Wagner Moura), is on the run from the north of Brazil to Recife, where he wants to reunite with his young son.  In the opening scenes of The Secret Agent, Marcelo pulls into a remote gas station in his bright yellow VW Beetle. There’s a body lying under sheets of cardboard that’s been there for days. No one dares do anything about it. The police arrive and needlessly harass Marcelo, trying to take a bribe for some empty reason. The vibe is set right away for a film which brilliantly captures the fear and sheer ridiculousness of a lawless state. The Secret Agent is vicious and vivid in its sense of place and danger. But it also has a streak of weirdness and offers a very human take on the political-crime thriller genre. It also has an explicit film lover’s touch, with references to Jaws and key elements of the story set in and around a sweaty, sleazy cinema. There’s even a daring and jaw-dropping scene with a severed leg hopping about a nighttime Recife cruising spot that feels fitting and also straight out of another film entirely, like a grim hallucination. The Secret Agent is vicious and vivid in its sense of place and danger But most of the movie, which is written and directed by Kleber Mendonça Filho (Bacurau), feels horribly real. Marcelo isn’t an

A painting by the 19th century French artist Pierre-Auguste Renoir appears only fleetingly in this sweet and meandering 1980s story of an imaginative schoolgirl navigating change and tragedy in her small family. But maybe the nod to Renoir’s La Petite Irène says something about Chie Hayakawa’s ambitions to get at the truth of what’s going through the head of 11-year-old Fuki (Yui Suzuki) as her father Keiji (Lily Franky) confronts serious illness and her mother Utako (Hikari Ishida) juggles work with the increasingly pressures of home life. Maybe the Japanese writer-director is nodding to the ’80s as a time of huge change in Japan, too, just as Renoir was the house painter of industrialisation and urbanisation in his time. Renoir is young Fuki’s story, and it’s her worldview that Hayakawa leans into, with young actress Suzuki an intriguing presence throughout. We’re led to believe that Fuki has been murdered right at the start, only to learn that it’s a flight of her imagination – a suggestion that not everything we see and hear will be strictly true.  It’s as interesting for what it doesn’t show as for what it does Mostly, though, this is a humanist portrait of the relationships within a family and what impending grief is doing to them, individually and collectively. Each has their own coping mechanism: mum goes to a fortune teller; dad is persuaded to invest in some health quackery; and the little girl starts to call a phone dating service, leading to a chilling episode i

There’s no slow build in British filmmaker Lynne Ramsay’s Die My Love, an artistically exciting and deeply uncomfortable portrait of a marriage and mind in free fall.  The film is an adaptation of a France-set, Spanish-language novel by Ariana Harwicz, and Ramsay (We Need to Talk about Kevin) moves its story to rural Montana, where young married couple, Grace (Jennifer Lawrence) and Jackson (Robert Pattinson), have moved from New York City to take over his dead uncle’s spacious but decrepit house and be nearer his parents, Pam (Sissy Spacek) and Harry (Nick Nolte). Loud and frenetic, it crunches up and down through various gears, all of them intense and rattling and never abandoning a punkish sense of anarchy and abandon while keeping a compassionate eye firmly on the woman at its core. The film’s still, long opening shot of the couple exploring their beaten-up new home is immediately unsettling: there’s the sound of rats scratching around upstairs and Seamus McGarvey’s camera – the photography throughout is stunning – feels like the ghost in the room. Straightaway there’s a raw passion and energy to Grace and Jackson’s relationship, a sense of danger, but that turns darker when a baby comes along.  The black-comic, big-hearted spirit pulls you through the despair Much of the film serves as a jumpy, fiery, fragmented impression of Grace’s mental and physical breakdown after giving birth to their son. Grace crawls through the grass with a knife; sex becomes a weapon; a motorbi

However you feel about Bono before seeing this slick, souped-up ‘audience with’ doc will probably be reinforced by the time the credits roll. If you love him, the doc will brighten his messianic glow. If you loathe him, you’ll easily find reasons to throw tomatoes. If you couldn’t care less about the pint-sized Irish rocker and activist, it’s hard to imagine why you’d be watching it in the first place.  Whether it’s Bono’s enormous success or his attempts to make a difference in the world (or most likely a mix of the two), Bono inspires strong reactions, and you can feel him here trying to bring the whole enterprise of his life a little closer to Earth. He called on Andrew Dominik (Killing Them Softly) to film his one-man show at New York’s Beacon Theater in 2023, perhaps attracted by the New Zealand filmmaker’s work with Nick Cave. It’s a performance that’s self-consciously stripped back, with just a few chairs and a table on stage, with Bono recounting stories of his childhood, mother, father, wife and band mates and regularly breaking into song, with renditions here of hits including ‘Sunday Bloody Sunday’ and ‘Pride (In the Name of Love)’. Dominik layers on a silvery black-and-white glamour, delivering a multi-angle magic act that lends a constant sense of movement and energy to the film.  This good-natured hagiography isn’t anywhere near free of pomposity The most endearing and interesting stretches of the film feature Bono discussing his parents. His mother Iris died wh

This French queer coming-of-age story, adapted from a novel by Fatima Daas, is intriguing from start to finish in how it depicts one teenage woman navigating conflicting worlds of family, religion, school, sex and love.  Such stories of awakening are frequent on film, yet The Little Sister (aka La Petite Dernière) is unusual in that Fatima (Nadia Melliti), who we first meet praying alone, is a French-Algerian Muslim from the rougher side of Paris. Her high-school world is one of homophobic bullying and banter, and her home life, where she’s the youngest of three girls, is one where there’s a quiet (and sometimes not so quiet) assumption that she’ll follow her parents by marrying, starting a family and looking after a husband and kids. Put simply: that’s simply not happening. But that’s easier said than done, and this entire film, told over four seasons as Fatima finishes school and starts university, depicts the pull of conformity and the hard push of change and adaptation. Fatima’s awakening of her sexual identity is the main focus: as her school career is coming to an end, she hits the apps; she meets women at first almost like a journalist on assignment, quizzing one amused older women on the exact details of lesbian sex; she starts to fall in love with Ji-Na (Park Ji-Min), a French-Korean medic who she meets at a workshop for her asthma, although Ji-Na’s mental health challenges get in the way. Sex is a new frontier, but so are words Sex is a new frontier, but so too are

Sinister and absurd feel like fair tones to aim for if you’re going to try to skewer the divisions and collective madness of the near-contemporary USA on screen. That’s where writer-director Ari Aster (best known for the higher-end horrors Hereditary and Midsommar) heads with Eddington, a New Mexico-set, western-flavoured and fitfully amusing satire that unfolds almost entirely in May 2020, which Aster presents as a crucible of All That Is Wrong With Modern America. But tone is the big problem here. Covid and mask debates are kicking off; the murder of George Floyd is inspiring protests; wars of words are flaring up across political divides; social feeds are on fire; and in the dusty county-border town of Eddington, the proposed site for a shiny new tech HQ, a frustrated anti-masks and pro-conspiracy sheriff (Joaquin Phoenix) decides to run for mayor against the more liberal incumbent (Pedro Pascal). The culture war has come to town and both sides have their pistols cocked. It’s a western-flavoured and fitfully amusing satire Is this black comedy? Biting social commentary? A genre playground? It feels like all of those at different points, which makes its leaning on real recent events - not least George Floyd’s murder - occasionally distasteful. Mostly, though, its attempts to say something important just feel silly. There’s even an actual dumpster fire in one scene, although luckily not all the film’s choices are so crude. As storytelling, it’s better with moments of OTT vio

There’s nothing specifically Christmassy about this fun, DIY-flavoured spoof run-through of the entire plot of Jurassic Park which is headlining the festive season at Dalston’s Arcola Theatre. But this likeable and deeply silly show nevertheless has the anarchic spirit of panto lingering below the surface. You’re never far from shouting ‘behind you’ at an imaginary dinosaur, or, more accurately, an actor with three cones on his head pretending to be an ill triceratops.  The less you know about Jurassic Park, the more likely you are to be confused as two actors – Jack Baldwin and Laurence Pears – tear through the entire story of the 1993 movie. But at least being lost won’t feel like a slog. The show’s energy and inventiveness is impressive enough to drag audiences through stretches when they’ve lost the plot, which the company recalls with remarkable fidelity while allowing themselves plenty of side gags and improv moments. Charlie Ives acts as an onstage foley artist, giving us live sound effects from dinosaur roars to buzzing electric fences, all using the likes of glass jars, cutlery and a computer keyboard. Leaning into frenetic physical comedy, Baldwin and Pears dash through all the main characters, from Richard Attenborough’s madcap theme-park entrepreneur to Sam Neill’s kid-phobic paleontologist. The doomed lawyer is a red tie tethered around one of their hands; the film’s little-boy character is just a red backpack they carry with them.  If you’re looking for throwawa

Get past the dry sponsor’s name and there’s a terrific nominees exhibition here for this prestigious annual photography prize backed by a German finance company. This year’s judges have narrowed down four photographers – one each from Peru, South Africa, Spain and the USA – each nominated for a specific book or exhibition created in 2024. There’s a slight whiplash effect from moving between such different projects – each of them powerful and involving – but collectively this show is a great testament to just how differently artists can lean into photography in an age where believing what you see is becoming harder and harder. Trust is a powerful tool for a photographer, and you feel it being employed in such different ways in this show. Spanish photographer Cristina De Middel pays homage to those taking the migration route from Central America to the USA. But what is real and what is not in her careful, mysterious images? Surely that person about to pole vault over Trump’s famed border wall is an invention?  South African photographer Lindokuhle Sobekwa trusts us with a disturbing family story: the sudden disappearance of his elder sister when he was just a little boy. Where did she go? What happened to her? It’s too traumatic not to be horribly real and Sobekwa uses new and found photography to deal with and share his pain. It’s too traumatic not to be horribly real Peruvian photographer Tarrah Krajnak also takes an autobiographical approach, but in a more poetic way, fusin

Leeds is another planet in this exhibition from veteran British photographer Peter Mitchell, a name nowhere near as well-known as contemporaries like Don McCullin or Martin Parr – but a truly worthwhile discovery if you’ve never heard of him. A Londoner who moved to Leeds in 1972 and never left, Mitchell’s photos in this small but transporting exhibition at the Photographers’ Gallery take us on a tour of the backstreets and alleys of his adopted city, mainly during the 1970s, giving us proud shopkeepers and aproned artisans standing in front of crumbling premises, many of which look more Victorian or Edwardian than late-twentieth-century. Mitchell’s work – most of it in colour – has an unfussy, curious documentary appeal, all muted tones and small details like the lettering of shopfronts taking on a nostalgia four decades later. But there’s also playfulness. Someone once told Mitchell – now in his eighties – that his photos felt like they’d been taken by an alien visiting Earth. He turned that comment into a gag and interspersed actual NASA pictures of the surface of Mars among photos of timewarp shopfronts and ageing houses. He extends the joke by framing many of his works with faux-scientific ruled edges, turning all of Leeds into a lab rat. The captions, with their more modern references, including a reference to digital photos, were clearly written much later. They add another sense of time passing to the show.  He gives us utopia being shattered in front of our eyes A h

If you’re still wondering what exactly you achieved in lockdown, this isn’t going to help: this impressive, gently trippy, dialogue-free animation was made entirely in a home studio by Latvian first-time feature filmmaker Gints Zilbalodis. The images, the music, everything – it’s all him, as he tells the mysterious, slowly revealing story of a young man who lands with a parachute on an apparently deserted tropical island. From there, it’s a quest, partly one for survival, although partly it feels like a spiritual journey, as a deathly giant black figure stalks our blank-faced hero as he encounters overwhelming beautiful and oppressive landscapes, a crowd of cats, elephants, a geyser and more. Sometimes he walks, sometimes he runs, sometimes he rides a motorbike, like a kid lost in a computer-game digi-scape. Our hero’s face is curiously blank – you can barely see his mouth and nose – which only stresses this tale as one of formative awakening. The one-man-show production story behind Away might explain why its style of computer animation can feel simple at times (although it’s also an incredible advert for what can be achieved if you couple DIY digital animation technology with clear talent). It has a blocky, work-in-progress look to it, which grows on you as the film unfolds, helped by Zilbalodis’s woozy ambient electronic score. Away has the mild rush of a coming-of-age dream, the sort that lodges in your memory as symbolic and significant as you pass from one stage of life

It’s over 50 years since British filmmaker Mike Leigh made Bleak Moments – a debut title that set the tone for a career if ever there was one. Leigh is now 81, and his wise and painful new film, Hard Truths, is the story of a London woman, Pansy (Marianne Jean-Baptiste), a middle-aged wife and mother stuck in a cycle of anger and resentment that Leigh is not about to break simply because it would give us a sense of relief.  Pansy is played with remarkable power by Jean-Baptiste. Put simply: Pansy is a piece of work. She snaps constantly at her family, husband Curtley (David Webber) and adult son Moses (Tuwaine Barrett), and both of them are near-mute in the wake of her constant, bitter hectoring. She picks arguments in shops and car parks. She doesn’t have a nice word to say about anyone. The only person to whom she shows vulnerability is her sister, Chantelle (Michele Austin), a hairdresser whose warm rapport with her own grown-up, confident, happy daughters is in sad contrast to the absence of any real connection in Pansy’s suburban London household. Bleak moments? There are too many here to count – so many, in fact, that they coalesce into an upsetting portrait of someone whose plunge into depression and self-loathing is deep. It also means the moments of joy and relief – and they’re here – are extremely welcome.  The moments of joy and relief are extremely welcome In scale, this is a small film for Leigh; it feels contained and restricted. But that feels appropriate for P

This architecturally swaggering hotel opened its doors in summer 2023 and is impossible to miss if you’re passing through Singapore’s busy, upscale Orchard Road district. Pan Pacific Orchard appears from a distance like an ultra-modern experiment with Jenga or space-age Lego, with four huge open spaces designed into the body of the towering building, top to bottom, and three huge, plant-covered columns doing the job of holding the entire thing together. It’s a bold statement of the hotel’s attempt to fold nature into the fabric of the hotel, inviting the outside world in, rather than shutting it out. You can imagine a building like this popping up in a future instalment of the Avatar movies, and it's fully deserving of its title as the best tall building in the world in the Council on Tall Buildings and Urban Development (CTBUD) Annual Awards for 2024. Pan Pacific Orchard is no less enchanting up-close: its open-aired reception area embraces the city’s warm air rather than battling against it with incessant air conditioning. You step off the chilled ground-floor courtyard straight into the hotel’s bright and welcoming downstairs restaurant (where the daily breakfast is a feast of local and international options). It’s a bold theme that continues as you move upwards through the hotel: almost the entire fifth floor is dedicated to an outdoor pool area with its own aqua bar; the 11th floor has its own lawn primed for special events; and the 18th floor offers a final al fresco sp

Esta última y quinta película de Indiana Jones se asegura el tiro regresando a un territorio familiar y sostiene el impulso durante sus dos horas y media de metraje, en parte dejando los momentos más íntimos al mínimo estrictamente necesario. 'Indiana Jones y el dial del destino' encuentra a Indy (Harrison Ford) como un académico irritable y afligido en la Nueva York de finales de los años 60, lo que permite al envejecido arqueólogo y aventurero enfrentarse brevemente con la modernidad de la carrera espacial y los jóvenes hippies. Pero el director James Mangold y el equipo de guionistas de este último hurra de un Ford que tiene 80 años saben qué hace que el viejo Indiana funcione: nazis, trenes a gran velocidad, cuevas escalofriantes, serpientes espantosas, un revoltijo del mundo antiguo y un viaje al norte de África. Tenemos de todo, empezando con un prólogo ambientado en la Europa de los últimos días de la Segunda Guerra Mundial y continuando con un nazi con gafas (Mads Mikkelsen) que sigue a Indiana. Ah, y el propio Arquímedes tiene un cameo, pero tendréis que ver la película. Hay ecos de historias pasadas y caras conocidas (para los aficionados nostálgicos), pero la novedad es Helena (Phoebe Waller-Bridge), la ahijada de Indiana e hija de su camarada académico (Toby Jones, muy divertido). Helena sabe lo que hace en relación con la misión de la película: recuperar una máquina de doblar el tiempo, Antikythera, construida por el barbudo Arquímedes. Pero tiene un enfoq

Aquesta darrera i cinquena pel·lícula d'Indiana Jones s'assegura el tret tornant a un territori familiar i sosté l’impuls durant les seves dues hores i mitja de metratge, en part deixant els moments més íntims al mínim estrictament necessari. 'Indiana Jones i el dial del destí' troba Indy (Harrison Ford) com un acadèmic irritable i afligit a la Nova York de finals dels anys 60, cosa que permet a l'envellit arqueòleg i aventurer enfrontar-se breument amb la modernitat de la carrera espacial i els joves hippies. Però el director James Mangold i l'equip de guionistes d'aquest últim hurra d’un Ford que té 80 anys saben què fa que el vell Indiana funcioni: nazis, trens a gran velocitat, coves esgarrifoses, serps espantoses, un poti-poti del món antic i una estada al nord d'Àfrica. Tenim de tot, començant amb un pròleg ambientat a Europa en els últims dies de la Segona Guerra Mundial i continuant amb un nazi amb ulleres (Mads Mikkelsen) que segueix Indiana. Ah, i el mateix Arquimedes té un cameo, però haureu de veure la pel·lícula. Hi ha ressons d'històries passades i cares conegudes (peixet per als aficionats nostàlgics), però la novetat és Helena (Phoebe Waller-Bridge), la fillola d'Indiana i filla del seu camarada acadèmic (Toby Jones, molt divertit). L'Helena sap el que fa en relació amb la missió de la pel·lícula: recuperar una màquina de doblegar el temps, l'Antikythera, construïda pel mateix barbut Arquimedes. Però té un enfocament mercenari pel que fa a l'antiguitat. "

It’s 5.30am on the Thursday before the Queen’s funeral, and I’m snaking along the sort of soul-sapping switchback queue you might see at Luton if every Ryanair passenger decided to take their summer trip at the exact same hour on the exact same day. A chirpy volunteer with a big plastic bag is taking banned snacks and drinks off queuers and redistributing them to the shivering crowd to gobble quickly before they enter Westminster Hall. Let no one throw peanuts at a Beefeater. ‘Oooh, suddenly I’m everyone’s friend,’ smiles the volunteer on snack-handout duty. ‘There’s a big bag of Haribo here. Anyone? Oh, it’s already open.’ Someone grabs it anyway and starts shoving wobbly sugar bits down their throat. On the grass here in Victoria Tower Gardens, there’s a woman sitting alone with her head in her hands, face sloping, eyes staring as if she’s just staggered out of Shangri-La at Glastonbury. The line of stinking Portaloos adds to the festival vibe. So do the fluorescent wristbands we’re all wearing. Another Queuer asks if she’s okay. She is, she’s just knackered. Her legs have given way and she’s having a breather. Photograph: Jess Hand In front of me in the queue are two jolly adult Scouts, a couple, complete with neckties and woggles. They seem to know half of the volunteers along the route, many of them fellow grown-up Scouts. ‘We must catch up.’ ‘Let’s see each other soon.’ The Queue is quickly becoming the air-kissing highlight of London’s Scouting social season. I don’t

At Time Out we love sharing cities with you – and we love shining a light on the most exciting experiences and communities within them. Which is why it feels natural for us to continue guiding you through the virtual experiences of the rapidly emerging Metaverse – and also to make our own first step into the Metaverse by launching a Time Out House in the new virtual community, Metropolis World, which you can access and explore yourself from today. Just as Time Out exists to unlock the best of great cities like London, New York, Sydney and Tokyo in the physical world, so we increasingly want to unlock the emerging communities and spaces of the virtual world – so that we all know what to embrace and avoid in this developing space which merges digital and physical experiences like nothing before it.  But what is the Metaverse? Fair question – hard and fast definitions are slippery and tough to pin down right now, which is why we have put together this handy cheat sheet that dives into some of the key questions and definitions. The author Matthew Ball has recently spent over 300 pages attempting to define it in his book The Metaverse and How It Will Revolutionize Everything. Ball sums up the Metaverse as: ‘a persistent and interconnected network of 3D virtual worlds that will eventually serve as the gateway to most online experiences, and also underpin much of the physical world.’ At Time Out, it’s a movement – often characterised as ‘the next Internet’ – that we want to join and

With Spencer and The Crown both tackling the life of Diana, Princess of Wales, the appetite of audiences for stories about her shows no sign of fading 25 years since her death. The latest of them, The Princess, just premiered at the Sundance Film Festival. Made by British filmmaker Ed Perkins, it’s a documentary formed entirely of archive footage (ie: no interviews, no voiceovers). And there’s plenty of that to choose from, given that Diana was endlessly covered by the media from the moment her relationship with Prince Charles became public in 1980, where this film begins. The Princess retells her story from a new perspective by giving all these clips room to breathe, holding a chilling mirror to the strange effect Diana had on her country and the world beyond. Here are five of the film’s more eyebrow-raising scenes.  1. A newsreader casually mentions that the family of 19-year-old Diana has ‘vouched for her virginity’  The engagement of Diana Spencer, 19, and Prince Charles, 32, caused a media frenzy that never really stopped until her death in 1997. At one point in The Princess we hear a solemn newsreader explain how Diana was a good pick for the wife of a future king because of her innocence and her lack of previous sexual partners. The same newsreader then goes further, explaining that her family has ‘vouched for her virginity’. He might as well be talking about a prize cow.  2. A skinhead gets a Diana tattoo on the eve of her wedding  The Princess shows how Diana and Cha

Facing up to uncertainty and big decisions is a challenge that pretty much everyone has had to face on some level in the past 18 months. Where is this all heading? How much longer will this go on? Should I stay on the same path or take a leap into the unknown? IS THERE ANYBODY OUT THERE? Those sorts of questions underpin a unique new film and science project that’s emerged from London called The Uncertainty Experts (which Time Out is happy to be supporting as a media partner having been given a sneak preview of the project at pilot stage earlier this year). The Uncertainty Experts is an experimental film event, but it’s also a live science project designed in tandem with scientists at UCL to test and stretch each of our abilities to withstand uncertainty in our lives. If it has a mission, it’s to turn uncertainty into a positive rather than something which stops us sleeping well at night. The Uncertainty Experts will be screening online over three Tuesdays this November, and everyone taking part is expected to watch all three episodes and to get involved by taking part in digital surveys and virtual tasks. It’s a tough project to explain, but as someone who took part in the project’s pilot earlier this year along with 500 others, I can tell you that it’s a challenging and surprising experience. It’s in one way a bold live film event and, in others, it’s a community wellness project. It’s hectic and invigorating. It challenges you to ask some hard and rewarding questions about

Verdict: ⭐️⭐️⭐️⭐️ The third series of ‘The Crown’ brings with it an almost wholesale change of cast and new problems to pile on old as we meet the British royal family in 1964. The challenges of the newly permissive 1960s are met almost entirely by a largely drunk Princess Margaret (an entertaining, if unfocused Helena Bonham Carter) dealing with her philandering husband Lord Snowdon (Ben Daniels). Elsewhere in the royal household it might as well be the 1860s when it comes to moral matters – not counting the high cut of the skirt worn by Princess Anne (a deliciously dry Erin Doherty). Prince Charles makes his first appearance in the series as an adult, with Josh O’Connor playing him as a gentle but haughty idiot, and he suffers the full weight of The Firm when his desire to marry Camilla Shand (Emerald Fennell) is well and truly nixed by the joint efforts of the Queen Mother (a near-silent performance by Marion Bailey) and Lord Mountbatten (Charles Dance, of course). Yet there is one very twentieth-century phenomenon lurking in this series: the midlife crisis. As Olivia Colman takes over from Claire Foy, her Queen is more settled and forthright, but also prone to paranoia and anxiety, especially when it comes to Cold War threats, and to the distraction of racehorses. Meanwhile, her husband, Prince Philip (Tobias Menzies), enters a full-on crisis of purpose, brilliantly expressed in an episode when Neil Armstrong and his fellow astronauts visit the Palace and the Queen’s cons

Des rebelles qui ont du cran, un méchant ricanant, quelques plaisirs nostalgiques et des troubles politiques : Gareth Edwards livre un prequel de ‘Star Wars’ agréable et grinçant. Ce nouvel épisode de ‘Star Wars’ – dont l’histoire se déroule peu de temps avant celle du tout premier de la saga, sorti en 1977 – ressemble à un conte d'action autonome et dynamique, mettant en scène un groupe de résistants au sein de l'Alliance rebelle. Cette bande de combattants enragés, dirigés par Jyn Erso (Felicity Jones, une héroïne complexe, pas toujours attachante ; ce qui est assez rafraîchissant), se regroupent pour mener une attaque contre l'Empire – dont le plus visible salopard est le militaire Orson Krennic (Ben Mendelsohn, tout en menace tranquille et huileuse). Frénétique, parfois irrévérencieux et un peu décousu, ‘Rogue One’ se plaît à rendre troubles les idées de bien et de mal, créant d’inattendues nuances de gris. En revanche, le film botte en touche les thèmes quasi-spirituels de la saga auxquels on pouvait pourtant s’attendre : ici, la Force n'est pas particulièrement présente, et les habiletés de combat à l’ancienne se révèlent plus importantes. Remonter dans le temps de la saga offre également une jolie possibilité de ressusciter, parfois, les plaisirs des films antérieurs – des bons vieux X-Wings à la présence d’un Dark Vador bien furax. Plus vous vous souviendrez du ‘Star Wars’ de 1977, plus l'histoire de ‘Rogue One’ prendra de sens. Dans le premier film, la princesse Leia

If, like us, you cowered behind the sofa watching Tim Roth and Samantha Morton in the BBC's new serial killer series ‘Rillington Place’ last night, prepare for the full, shocking story behind the drama. Warning - potential spoilers abound.   If you mention the name ‘John Christie’ to an older generation of Londoners, they’ll know exactly who you’re talking about. Christie was a serial killer hanged for his crimes in 1953. He’s now being played by Tim Roth in the new three-part drama series ‘Rillington Place’, with Samantha Morton playing his wife, Ethel. But what is the real story behind John Christie’s murders? Who was he? Why did he become notorious? And what happened to the real Rillington Place in west London? What did John Christie do? John Christie killed at least eight women between 1943 and 1953 in his flat at 10 Rillington Place in Ladbroke Grove, west London.         Where is the real Rillington Place? This Ladbroke Grove street was demolished in the late 1970s – after having been renamed Ruston Close in 1954 shortly after the murders were uncovered (at the request of residents). The site of 10 Rillington Place now sits roughly in the area of St Andrew’s Square, which is off Bartle Road. Who was Christie? Originally from a large family in Yorkshire, Christie served in World War One as an infantryman and was gassed – reportedly causing him to speak in a whisper for the rest of his life. He married Ethel in 1920 in Sheffield but they were separated between 1924 and 1

In November, Netflix will drop its most ambitious Originals series ever, ‘The Crown’ – the first season of a drama that'll tell the story of the entire reign of Queen Elizabeth II. Its creator and writer is Peter Morgan, who has previous with Her Maj – he wrote the movie ‘The Queen’ and the play ‘The Audience’, both starring Helen Mirren. We've had a sneak watch of all ten episodes, and can report that this is as good as it gets – exciting and smart drama. Claire Foy is terrific as young Elizabeth II, who we first meet in her twenties: her father, George VI (Jared Harris) is still king and she’s recently married Philip (Matt Smith). The first series examines how she copes with the responsibility of becoming Queen and explores the major relationships in her life: her husband; her first Prime Minister; her sister Princess Margaret; and her uncle, the former Edward VIII. It’s about power, duty, politics and tradition, and we’re hooked. Here are five things you need to know about The Crown 1. Claire Foy's performance will make you think twice about Queen Elizabeth II Claire Foy, 32, is best known for playing Anne Boleyn in the TV series ‘Wolf Hall’. ‘The Crown’ is going to make her a star. She’s flawless as the young Queen in the late 1940s and early 1950s. Minus the grey rinse, the young princess we meet is a privileged but sensible young woman, struggling with her own inadequacies (her lack of a proper education is a big theme). Foy – working with a genius script by Peter Morga

In November, Netflix will drop its most ambitious Originals series ever, The Crown – the first season of a drama that'll tell the story of the entire reign of Queen Elizabeth II. Its creator and writer is Peter Morgan, who has previous with Her Maj – he wrote the movie The Queen and the play The Audience’, both starring Helen Mirren. We've had a sneak watch of all ten episodes, and can report that this is as good as it gets – exciting and smart drama. Claire Foy is terrific as young Elizabeth II, who we first meet in her twenties: her father, George VI (Jared Harris) is still king and she’s recently married Philip (Matt Smith). The first series examines how she copes with the responsibility of becoming Queen and explores the major relationships in her life: her husband; her first Prime Minister; her sister Princess Margaret; and her uncle, the former Edward VIII. It’s about power, duty, politics and tradition, and we’re hooked. Here are five things you need to know about ‘The Crown’ 1. Claire Foy's performance will make you think twice about Queen Elizabeth II Claire Foy, 32, is best known for playing Anne Boleyn in the TV series ‘Wolf Hall’. ‘The Crown’ is going to make her a star. She’s flawless as the young Queen in the late 1940s and early 1950s. Minus the gray rinse, the young princess we meet is a privileged but sensible young woman, struggling with her own inadequacies (her lack of a proper education is a big theme). Foy – working with a genius script by Peter Morgan –

Claire Foy, who plays the Queen in ‘The Crown’, Netflix’s new ten-part drama series covering the early years of the reign of Queen Elizabeth II, has revealed to Time Out that she doesn’t care very much what the real royal family thinks of the show. ‘They could be massively pissed off,’ Foy told us ahead of the series’s release this week. ‘But I’m not going to bump into the royal family in Covent Garden! I’d be more concerned if I could walk down the street and meet someone who could say: “You’re a fucking liar! I hated sitting there watching you!” That’s not going to happen.’ Set in the late 1940s and early 1950s, the first two series of ‘The Crown’ are said to have cost the streaming service £100 million. It’s Netflix’s biggest gamble to date. The first ten episodes cover just a few years and see Elizabeth marry Philip (Matt Smith) at 21, lose her father, King George VI (Jared Harris), at 25 and deal with several national crises and one veteran Prime Minister, Winston Churchill (John Lithgow), before the age of 30. If the first two series are successful, ‘The Crown’ could run and run, covering events up to the present day. Foy might not be worrying what the royal family thinks of ‘The Crown’ – but how would she vote if we had a referendum on the monarchy? ‘Oooo! Whether to keep them or get rid of them? Of course I’d want to keep them! That’s literally my heart just going, “No, don’t get rid of them, that’s not necessary at all. They’re lovely!” But I realise that’s not a vie