The triumphant march across America of Mumford & Sons continued last night, when they won the Album of the Year award at the Grammy awards in Los Angeles for their second album, Babel.
It is a universal truth that film adaptations of books are notoriously bad, so when I heard that one of my favourite novels was soon to be a major motion picture, I was more than a little wary.
F Scott Fitzgerald claimed that, back in 1920, he'd tried to persuade DW Griffith that the film industry was a wonderful subject for the cinema. Griffith laughed at the idea, but not for the first time Fitzgerald was proved right.
I am holding for David O Russell, the Oscar-nominated director of Silver Linings Playbook and The Fighter, who has agreed to talk about one of his all-time favourite films: the comic masterpiece Groundhog Day, released in the US 20 years ago this month.
It is 1959, and Alfred Hitchcock, just coming off the success of North by Northwest, is eager to start a new film. He chooses to film a novel called Psycho, loosely based on a real-life murder. He has more trouble than he expects, as shown in the new film Hitchcock.
This year in cinema promises to be just as exciting as last year, with a fantastic selection of releases on the horizon that span many genres.
In a year with a mid-game power outage, one of the longest touchdowns in Super Bowl history, and the player from The Blind Side, you could almost get distracted from the ads. (But at $4m per 30 seconds, you couldn't say the same for the 30 companies that bought them.)
Scripted by the American playwright Richard Nelson and directed by the former RSC chief Roger Michell, Hyde Park on Hudson is an oddly pale companion piece to The King's Speech and made with a similar eye to the American market.
Amazing Grace, the highly-anticipated documentary about singing legend Aretha Franklin, has been pulled from the programme at the Telluride film festival following legal action by its subject.
Vincent Ralph reviews a new film showing us another side to the V.E. Day celebrations.
There’s a moment in every great band’s career where they shrug off their formative influences and assume their ultimate form.