The title sequence of this reboot of 1983's National Lampoon's Vacation includes holiday snapshots of butt cracks, animals humping and peeing, vomiting and an erection.

Director and screenwriter Peter Bogdanovich has often looked to the past for inspiration; this time he revives the screwball comedy genre he enjoyed success with in the early 70s.

Wordless as it is, this debut feature by a Ukrainian filmmaker makes no allowances for its audience's need for dialogue, expository or otherwise.

So here we have a British director reviving an American Cold War show that was the small-screen answer to Bond.

"You say nobody knows who he is? Who doesn't know who he is?" runs a line early in this splendidly entertaining film about three-time Oscar winner, costume designer Orry-Kelly.

Amy Winehouse really was a musical force of nature. Her voice and her songwriting were incredibly special.

A love letter to a life-changing experience, this portrait of a sextet of walkers on the famous Camino Frances that finishes at Santiago de Compostela tells you pretty much everything you need to know about the undertaking.

If the plays of George Bernard Shaw are more admired than staged these days, this one may explain why.

The debut feature for its young writer-director, this unassuming but engaging French dramedy deserves the prizes it picked up at Cannes and at the country's Oscar-equivalent Cesars.

Wondering what to see at the International Film Festival? Here are our latest reviews from the Auckland leg of the nationwide event.

John H. Watson, MD, has much to answer for; just ask this Sherlock Holmes.

Our reviewer Russell Baillie discovers there's big fun to be found in Ant-Man's small-scale thrills.

Revenge, served at various temperatures, is the unifying theme of this Oscar-nominated Argentinian compendium of six blackly comic short films making a welcome return from last year's festival.

Following last year's The Fault In Our Stars comes Paper Towns, the second (and probably not the last) adaptation of a John Green novel.

Amalric, best known as the villain in the Bond flick Quantum of Solace and most acclaimed for his extraordinary eyes-only performance in The Diving Bell and the Butterfly.

The 2002 New Yorker autobiographical essay that was the source of this slight but surprisingly amiable film is really worth reading.

When it comes to sequels, I often wonder "Why?" In this case the answer is easy to find.

His hand doesn't work properly, his jokes are worse than your dad's, and in one hilarious scene, he has to jolt his dislocated knee back into place. If there's a hospice for cyborg killers, Arnie's T-800 deserves to be there.

Is it coincidence that the central duo in Carol Morley's film bear a striking resemblance to Kate Winslet and Melanie Lynskey in Heavenly Creatures?

If you thought pitching Ted, a film about a pot-smoking slacker with a CGI talking teddy bear, to studio executives would have been interesting, then Ted 2 takes things to a whole new level.

Emotions are at the forefront of this story, with most of the action happening inside the head of happy, young girl Riley (Kaitlyn Dias).

There have been plenty of declarations of Brian Wilson's pop genius. This is both explanation and exploration of it.

Danish director Vinterberg (The Celebration; The Hunt), might have been expected to turn in a challenging reading of the Thomas Hardy novel, one to loosen the grip of John Schlesinger’s 1967 version starring Julie Christie and Terence Stamp.

Did you know Minions have been around since the dawn of time? That's just one of many interesting facts you'll learn about Minions in Geoffrey Rush's amusing narration that begins this Despicable Me spin-off.

The acclaimed non-fiction book by New Yorker staff writer Katherine Boo is the raw material of this energetic and often spellbinding production of an adaptation by David Hare, the first National Theatre show with an entirely Asian cast.

It’s the early 80s and the country is emerging uncertainly from the Franco era. Old loyalties are dying hard — the area, we gather, was a fascist stronghold — and widespread industrial unrest lends a simmering sense of disquiet.

Ever since Jerry Maguire showed him the money, Cameron Crowe has had a hard time making movies that stick.

A small war in the contested Black Sea state of Abkhazia is the backdrop to this gripping and focused chamber piece, which made the final five in the best foreign film category at this year's Oscars.