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.
It's excruciating, but gradually our close proximity to the eponymous shambolic twentysomething allows for a deepening intimacy.
With its over-saturation of guest stars and cheap gags, the chief thing this sequel has going for it is its looks.
It’s ironic that a man who got his breakthrough in a TV series with cinematic ambitions should now be the star of a movie, Trumbo, which resembles television at its most unadventurous.
The closer Dad's Army gets to its source material, the more you wish you were watching that instead. Plus: Rams.
Jane Fonda, Michael Caine and Harvey Keitel are all exceptional in Youth, but its messages are rather beneath them.
Based on Jane Austen’s little-known early novella Lady Susan, Whit Stillman’s new film Love & Friendship is anything but a straightforward adaptation.
Spotlight (15) and The Big Short (15) take on moral issues, but leave one more angry at sub-prime cinema than their subject matter.
Perhaps it's time to cancel the Oscars temporarily to allow the industry to gather its strength and recover.
When the kidnapped mother and son in Room (15) leave captivity, it's supposed to be a grand metaphor. Yet the film stays can't free itself from its own "Room".
David Bowie as an actor was a rare and unusual thing – and, for many, an acquired taste or an object of ridicule.
Twenty years ago, Labour won a landslide on a tide of optimism. Where did it all go wrong?
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