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James Mottram
James Mottram
SCMP Contributor
James Mottram is a film critic and journalist based in London. As well as writing for the SCMP for over 10 years, he’s also written a number of books on cinema including The Sundance Kids, The Making of Memento and Die Hard: The Ultimate Visual History.

Ryan Gosling and Emily Blunt team up in this retread of the hit 1980s US TV series. Gosling plays an injured stuntman who is searching for the missing star of a sci-fi series directed by his ex (Blunt).

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Abigail stars Alisha Weir as the titular 12-year-old daughter of a crime lord, who is kidnapped for a US$50 million ransom. Abigail is, however, a vampire, and takes her revenge on the extorters.

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Zendaya plays a young tennis prodigy, while Mike Faist and Josh O’Connor play doubles partners who are both infatuated with her, in this romantic drama from Bones and All director Luca Guadagnino.

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Anderson plays BBC journalist Emily Maitlis in a dramatisation of her 2019 interview with Prince Andrew about sexual misconduct allegations, and the lead-up to it. Rufus Sewell plays the hapless royal.

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Horror classic The Omen, the story of the birth of the Antichrist, started a long-running franchise, including newly released prequel The First Omen, starring Nell Tiger Free, Bill Nighy and Charles Dance.

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Po the panda, voiced by Jack Black, returns after an 8-year gap, and in this entertaining sequel, he’s on a quest to bring down the evil Chameleon (Viola Davis) with the help of an acrobatic fox (Awkwafina).

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America is at war with itself in Ex Machina director Alex Garland’s evocative thriller Civil War, which takes a look at a fractured country through the eyes of members of the press.

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Ghostbusters: Frozen Empire, starring Paul Rudd, Mckenna Grace and Bill Murray, sees old and new ghostbusting teams work together again – but the story becomes increasingly chaotic the more it goes on.

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Our 2024 Academy Awards predictions, from why Oppenheimer should and will win best picture, to how Ryan Gosling may be pipped at the post for best supporting actor.

Timothée Chalamet and Zendaya return in Denis Villeneuve’s excellent Dune: Part Two, which features amazing set pieces, stunning cinematography and thunderous, moving music.

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Kristen Stewart in lesbian crime flick Love Lies Bleeding, trans tale I Saw the TV Glow, and Min Bahadur Bham’s Himalayan film Shambhala all feature in our picks of the best movies at Berlin 2024.

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Shambala, the first Nepalese film selected for the Berlin Film Festival’s main competition, is an unhurried masterpiece about a Nepalese woman searching for her husband in the Himalayas.

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Starring Adam Sandler, Carey Mulligan and Paul Dano, Netflix sci-fi Spaceman – which premiered at the 2024 Berlin Film Festival – has its moments, but director Johan Renck struggles to sustain interest.

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Ray Yeung’s film All Shall Be Well, about the struggles of a gay woman after her partner dies, is based on ‘shocking’ true events. The Hong Kong director talks about rights for same-sex couples.

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Korean director Hong Sang-soo returns to the Berlin International Film Festival with another typically opaque drama – in A Traveler’s Needs, Isabelle Huppert plays a mystery woman teaching French in Korea.

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Gael Garcia Bernal plays a widower whose wife is reanimated in the body of another woman (Renate Reinsve). Piero Messina’s film is hackneyed and gets bogged down in jargon, but is visually appealing.

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English actor Cosmo Jarvis talks about bringing James Clavell’s 1975 novel Shōgun to life, studying feudal Japan, filming for 11 months in Canada and his co-star Hiroyuki Sanada.

Despite strong performances by Kingsley Ben-Adir as the reggae star and Lashana Lynch as his wife Rita, Bob Marley: One Love is not as good as it could – and should – be.

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Expats was shot in Hong Kong but is not being shown there. This has happened before with films, such as The Kite Runner, set in and partly filmed in Afghanistan, and A Clockwork Orange, shot in the UK.

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Brief History of a Family made a splash at Sundance and is about to screen at the Berlin film festival. Its Chinese director, Lin Jianjie, reflects on its subject – China’s middle class – and dreamlike ending.

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Directed by Raman Hui and starring the voices of Michelle Yeoh, Henry Golding and Brandon Soo Hoo, The Tiger’s Apprentice is a messy, unfocused animation that cherry-picks from Chinese mythology.

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Perfect Days director Wim Wenders talks about the film’s Oscar entry, Japan’s ‘common good’, envying his lead character, and why he knew Koji Yakusho would win the best actor prize at Cannes.

Lin Jianjie’s unsettling drama, which will premiere at the 2024 Sundance Film Festival, exposes hidden tensions in a post-one-child-policy Chinese family as the son’s mysterious friend becomes a fixture.

Films screening at the 40th Sundance Film Festival in Park City, Utah, include Love Lies Bleeding, starring Kristen Stewart, Freaky Tales with Pedro Pascal, and Saoirse Ronan in The Outrun.

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Chinese-American filmmaker Lulu Wang talks about the challenges she faced making the Hong Kong-set Expats, and how the show’s star, Nicole Kidman, championed her ‘untraditional’ voice.

What to expect from Hollywood in the year ahead? Few superhero films other than Deadpool 3, sequels galore – including Kung Fu Panda 4 and Paddington in Peru – and Lady Gaga in, ahem, a Joker musical.

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Hong Kong superstars Tony Leung and Andy Lau reveal what they like about working with each other, playing good and bad guys in The Goldfinger, and how to boost the city’s movie industry.

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Disney celebrates 100 years of family classics with Wish, the story of a young girl whose wish for her grandfather is shrugged off by the king. Then she meets a falling star who can also grant wishes.

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Ridley Scott’s Napoleon has stunning battle scenes, cinematography that looks like oil painting, and a brilliant Joaquin Phoenix in the title role, while Vanessa Kirby is resolute as Empress Josephine.

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Chinese actress Zhou Dongyu talks about filming Gen Z drama The Breaking Ice in freezing conditions, being discovered by Zhang Yimou, challenging herself and her hopes for ‘a better Chinese cinema’.

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