This is what we have all come to Cannes for: for something different, experimental, a tilting at windmills, a great big pole-vault over the barrier of normality by someone who feels that the possibilities of cinema have not been exhausted by conventional realist drama.

— Peter Bradshaw

The most surprising Peter Bradshaw quotes that are little-known but priceless

Jonathan Coe's genial, likeable novel can only be described as a kind of lit-prog-rock concept album... Coe recreates the period with such loving accuracy that I frankly suspect him of having planted a secret microphone in the tin Oxford Mathematical Instruments box I carried around in my school days... As always with Jonathan Coe, the sheer intelligent good nature that suffuses his work makes it a pleasure to read.

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Thirteen years after Basic Instinct, Catherine Tramell (Sharon Stone) is now in London, and is going out with a footballer played by Stan Collymore, of all people. On the rebound from John Motson, perhaps. It is difficult to convey just how uproariously awful this movie is, all of the time.

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Sunshine takes its intelligent and honourable place in the history of grownup science fiction on the screen and on the page: a genre that seeks to break free of parochialism and think about where and why and what we are without the language of religion... I loved Sunshine for its radical proposal that humans can and will do something about a catastrophe, and that our weapons could be used up in the service of preservation.

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What could have been simply bizarre, sentimental or contrived here becomes an utterly absorbing love story. [...] This is early days in the festival, but Rust and Bone has to be a real contender for prizes, and, the odds will be shortening to vanishing point for Cotillard getting the best actress award.

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