Review

Max Webster's production revels in warfare when his audiences are sick to death of it

The Promise has an excellent cast but the plot is subsumed by the standard demands of a detective show

A turbulent time in British political history is delivered with composure, wit and a splash of humility

Hannah Kent’s most ambitious historical novel yet is a queer love story about migration from claustrophobic convention

A new romantic comedy series is warm and funny without undermining the seriousness beneath its central questions

Nadim Naaman's adaptation of Khalil Gibran's novel Broken Wings is worth a lot more than the sum of its parts

A new documentary attempts to find out who the man behind The Tramp really was, but is thrown off the scent at every turn

This stage adaptation of John Travolta's famous 70s film is magnificent, joyous, life-enhancing theatre

The production is absorbing. But is it quite as clever as it seems? and, where does French playwright Florian Zeller go from here?

Despite all the artistic licence in the world and interesting source material this Netflix series is over-long, draining and empty to watch

What is the best way to portray the Holocaust to children? The film struggles to find an answer to this but it's a reminder that Anne Frank's diaries have

The production is an example of a writer who is overcome by the sheer enormity of trying to put Emily Bronte on stage, says TIM WALKER

This play's stars do their best with a chatty, speculative and somewhat credulous script, says TIM WALKER

TIM WALKER is impressed by Lia Williams' taut and efficient production

How the story of a plane full of doppelgängers became a literary sensation in France. By CHARLIE CONNELLY

The Downton Abbey actress shows Gardner, rather than keeps telling us about her, writes TIM WALKER

Alistair McDowall's production is just incomprehensible, writes TIM WALKER

A stage adaptation of Pierre La Mure's novel lacks wit and intelligence, writes TIM WALKER.

Advice for authors is rarely as honest and valuable as in a posthumous book by a great Polish poet. By CHARLIE CONNELLY

At 75 minutes, this is a relatively short play. Nonetheless, you still find yourself asking “Is there much more of this?” writes TIM WALKER.

This play based on a 2014 film feels like unnecessary and somewhat frivolous theatre, says TIM WALKER

They shared a famous TV Brexit moment. When Mark Francois wrote a book, there was only one person who could review it...

A Netflix film poses a pivotal question – are any two people meant to be together, or is it just a matter of timing?

Some inventions sounded, and even looked, brilliant, only to fall flat. But that isn’t always the end of the story for great ideas.

This online panto embraces the new format while keeping all the old traditions alive and well, says TIM WALKER

Netflix's A Classic Horror Story deserves a wider audience, says MEGAN NOLAN

James Graham’s plays feel as if they’re about little more than actors regurgitating vast quantities of Wikipedia, says TIM WALKER

The play is as chaotic as the times we are living in, and offers some much needed laughter.

The new festive release from Netflix is unwatchable. Perhaps all involved in the production had some serious tax bills to pay, wonders MEGAN NOLAN.

Focusing on 20 outstanding leaders, Andrew Adonis writes with passion and excitement, says ex-Speaker of the House JOHN BERCOW.

Powerful and poignant, the production is the National Theatre at its best.

Producer Bill Kenwright understands that the theatre is a place to laugh, and no more so than after this last year.