The actor’s comments about the infantilisation of culture have caused a storm. Is he right to want to put away childish things?
The films of François Ozon are polymorphously perverse.
As Mad Max: Fury Road hits our screens, we look back at the 1979 original exploitationanza.
We’ve seen too many Friday the thirteenth films to buy the sight of teenagers venturing into the deep, dark forest, but the deep, dark internet is another matter.
“Are you bent? Are you queer?”
If the Marvel fan base, like an elephant, is large but easily startled, Roy Andersson's minimalist vignettes in A Pigeon Sat on a Branch Reflecting on Existence ask the viewer to endure discomfort.
Ryan Gilbey examines Mamet’s plays for clues to his changing politics.
The more outlandish the film becomes, the looser its grip.
This film isn’t bad. Worse: it’s mediocre.
A Brooklyn-based comedy that's more than just jokes about avocado and almond-milk sorbet.
Japanese animation company Studio Ghibli favours contemplation over manufactured climaxes, and this film is no different.
Why has it taken us so long to realise that the strongest, most exciting voices, shaping our opinions of cinema are women?
Writer and director Desiree Akhavan has created an authentic, relatable story – with a heroine we hope will triumph.
Clever pacing and Julianne Moore's Oscar-winning performance can't disguise the hedged bets and risks not taken.
Ryan Gilbey reviews It Follows, directed by David Robert Mitchell.
Richard Linklater’s Boyhood is clearly the superior film, but the Academy isn’t considering long-term trends or trying to make a statement. Like an impetuous child, it just grabs the thing that feels good in that particular moment.
There was far more to the festival than Fifty Shades.
Terrence Malick’s Knight of Cups is insipid – but Andrew Heigh's 45 Years proves it's not all bad.
We can’t disparage these actors any more than we can blame a man in a hammerless world for failing to bang a nail into the wall.
The film, made by Winding Refn’s wife Liv Corfixen, is an intriguing contribution to the film-behind-the-films genre and a revealing study of ambition and vulnerability.
The civil rights drama and political farce could not seem more different. But David Oyelowo and James Franco share a dynamism sadly overlooked in awards season.
Thomas Pynchon's novel makes for a wistfully funny film adaptation.
Half-love letter, half-biopsy, Charlie Lyne's documentary analysis of teen movies is full of flashes of madness.
Oscar Isaac exploits his unique charisma and mutable appearance in two of the biggest films released this awards season.
There is little to surprise a seasoned awards-watcher in this year’s nominations – Ryan Gilbey gives his verdict.
Despite strikingly similar prodigies and deranged mentors, Whiplash and Foxcatcher offer two very different takes on the mentor/pupil relationship.
The paintings are anything but dry in Frederick Wiseman's documentary about the London gallery.
The smart, insightful and oddly underrated US actor Ethan Hawke on first meeting River Phoenix, the Sony hacking crisis and “the beauty of censorship”.
The new year already offers the promise of Tilda Swinton in a fetching wig and the scariest film since Halloween. What's not to like?