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.
A return to making movies about movies yields a breakthrough for the brothers as storytellers.
What makes Grimsby an especially steep falling-off after Baron Cohen’s last three movies is the sense that no one really cared whether it came off or not; the whole enterprise has a “will-this-do?” quality.
The Academy Awards are blighted by racism and bad decisions. So what would a world without them look like?
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.
The Zombie PM