This wartime drama is just too understated, writes Ryan Gilbey.
From new releases in the Bond and Batman series to follow-ups to Blade Runner and Beetlejuice.
Cross-generational filmmaking is a tricky business.
John Steinbeck, When Bankers Were Good and the Academy Awards.
Films based on children's toys are proving popular in Tinseltown, but are the commercial gains super
This tale of a serial killer will haunt you for years.
Bringing sitcoms to the big screen is a difficult business.
A murky adaptation is flawed but full of passion.
Marilyn Monroe remains a subject of lurid fascination,
but still we refuse to acknowledge her arti
“It’s more interesting to play the person who makes mistakes”
This quiet story of gay love and loneliness will break hearts.
We shouldn't think films are ever born fully-formed.
If a critic can't stay awake, it's not the film's fault.
Critics reward Lynne Ramsay's interpretation of Lionel Shriver's novel.
Cinematic clichés abound in this campaign thriller.
Paul Kelly has made a wonderful film about Lawrence's tortured genius.
The New Statesman's media partnership with BFI Southbank for its End of Empire season.
A great cast is offset by overkill in this horror story, writes Ryan Gilbey.
Tacita Dean's Tate Modern installation is all about texture.
Actor Gillian Anderson on slapstick, motherhood and the perils of Googling yourself.
A writer’s film is true to her chilling, taut prose style.
A genuine critic doesn't use tricks or tomfoolery.
Violence is heaped upon violence in this tale of woe.
A comic actor's baggage can often work to great dramatic effect.
"The worst multiplexes are like supermarkets that close the village shop"
Von Trier’s disaster movie has woman trouble.
Upcoming releases by world-class directors.
I've blubbed at more cinematic dross than I care to remember.
John le Carré’s classic novel, now adapted for the big screen, is much more than a cold war whodunni