We might be twenty years on from Toy Story, but Inside Out is proof that computer-animated features can still deliver giddy imaginative crescendos.
Body-swap storylines are the perfect premise for filmic fun, so why is the most recent offering in the genre, Self/Less, so disappointing?
Dumont isn’t satirising small-town small-mindedness so much as trying to understand how it functions – where it starts, what inflames it.
Dear White People never exactly loosens up; the screenplay would make a good PhD thesis.
The Beta Band's John Maclean makes his directorial debut with a wry, rootsy love story.
A new BBC Four documentary reminds us not to take this director for granted.
Films set on trains are some of the best.
Ryan Gilbey reviews two sequels: The Look of Silence and Jurassic World.
Looking back at the exploitation enterprise of Menahem Golan and Yoram Globus's cinematic output.
These back-room frumps whisper instructions into the earpieces of tuxedo-wearing spies out on the casino floors, or save them from pursuers by launching strategic missile attacks at a moment’s notice.
To look at the campaign for Tomorrowland, you’d think Disney had already decided it was yesterday’s news.
Ryan Gilbey is left feeling chilled by Abderrahmane Sissako’s remarkable Timbuktu.
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.