Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.
Barry Jenkins’s story of a boy who finds a father figure in a local drug dealer shows, in minute detail, how our sense of identity can change.
Ryan Gilbey wishes Denzel Washington’s big-screen remake of Fences had a bit more room to breathe.
Unlike the fraught parenting comedy Toni Erdmann, now on release, it capitulates too much to its cringe-worthy mother protagonist.
From CGI adventures to directing in a second language, Lee is no stranger to risk-taking. What's next for the director?
Renton, Sick Boy, Begbie and Spud are back.
There is a predictable tendency for Academy voters to favour movies about their kind.
With their claustrophobic close-ups and desolate wide shots, both films are stunning portraits of life on the brink.
La La Land is at its most convincing in those intimate exchanges between Gosling, with his melted eyes, and Stone, with her anime face.
The bizarre collaboration of maverick filmmaker Lindsay Anderson and Wham! in China ended in a fallout and a forgotten documentary.
J A Bayona’s arboreal fantasy A Monster Calls doesn't have "good guys" or "bad guys" – as in real life, most people are somewhere in between.
Across the political spectrum, the New Statesman introduces you to the personalities who shape our world. Where else would you find Jeremy Corbyn, Tony Blair and Theresa May in the same place?