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.
Body-swap storylines are the perfect premise for filmic fun, so why is the most recent offering in the genre, Self/Less, so disappointing?
Dumont isn’t satirising small-town small-mindedness so much as trying to understand how it functions – where it starts, what inflames it.
In that grey area between documentary and fiction, the movie finds a new kind of truth.
Dear White People never exactly loosens up; the screenplay would make a good PhD thesis.
The Beta Band's John Maclean makes his directorial debut with a wry, rootsy love story.
A new BBC Four documentary reminds us not to take this director for granted.
Films set on trains are some of the best.
It takes a lot to keep an audience onside when it’s not clear what the thrust of a film is, but Les combattants manages it.
Ryan Gilbey reviews two sequels: The Look of Silence and Jurassic World.
Looking back at the exploitation enterprise of Menahem Golan and Yoram Globus's cinematic output.
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