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.
Gordon-Levitt makes Snowden’s motives transparent without ever fully dropping his guard. It is reassuring that a film in which people are spied can still have a protagonist who remains essentially unknowable.
Lee's film, in which the women of Chicago decide to go on a sex strike, is often muddled – but never dull.
The film director dabbles in advertising yet again, showing that his signature quirk can sell products as well as seduce audiences.
Adam Driver stars in this wry and poetic comedy.
Psychosis, hysteria and abuse characterises these works that look back at the former Soviet and Socialist republics.
The new Harry Potter spin-off barely has enough material for one film, let alone the five its creator has promised.
A journey through the late filmmaker’s most elegant and radical shots.
The appearance of extraterrestrial craft, a dead daughter who used to sculpt aliens: Arrival's forced mystique fails to land.
What at first resembles a thriller becomes more about the complicated way art emerges. But does its film-within-a-film puzzle work?
Comparing cinema’s latest tearjerker, The Light Between Oceans, with the controlled quirkiness of new film Further Beyond, is a lesson in how not to “move” audiences.
From Trump to Brexit, the world is changing fast - and we need intelligent, incisive journalism more than ever.
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