Jason Bourne… sorry… Matt Damon turns morally absolute during a politically labyrinthine trip to Baghdad to search for non-existent WMDs with Paul Greengrass.

This meditation on the psychology of modern warfare richly deserves its six Oscars. Kinetic, atmospheric and taut with tension, it rises above stupid quibbles about the 'accuracy' or 'bias' of war movies.

Corey Haim, who sadly died today, was not the first teen heartthrob to suffer a drug-fuelled decline; but the Lost Boy leaves a gaping hole in the '80s pop culture that continues to sustain us.

Ten Best Picture nominees isn't nearly enough for some years (1962, 1973, 1995 and 2009 particularly). Yet this year's bloated collection of Oscar nods hasn't been received well, or even been properly explained.

A schlocky, fun and gory mainstream horror flick – just don't expect an illuminating social commentary.

In the second part of our investigation into onscreen colonial encounters, we look at films that depict European colonialism as a narrative of progress from primitivism to 'civilisation'.

James Cameron's alien eco-adventure Avatar has been criticised for its colonialist overtones. We decided to examine how Hollywood really imagines the space of colonial first encounters.

A cannibalistic convict film could have gone one of two ways: exploitative horror or existential dread. While Dying Breed chose the former path, Van Diemen's Land wisely chooses the latter.

News that the hilarious French film The Dinner Game is being remade as Dinner for Schmucks makes us revisit one of Hollywood's favourite games: ripping off French cinema.