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.
The greatest offerings from the only new film genre to have emerged in the last 50 years.
While it is no hardship to gaze upon ravishing images of the landscape as its autumnal glow vanishes under an icy crust, there’s not much to keep the intellect thrumming over the course of 196 minutes.
The way Turing’s story is told is comparable to the montage in Big Brother when Davina McCall told evictees: “Let’s have a look at your best bits.” The Imitation Game is Alan Turing’s best bits.
Nineteen months after his death in April 2013, a new documentary tells the story of Chicago Sun-Times film critic Roger Ebert - his bravery in the face of illness, and his uniquely democratic approach to cinema.
It’s hard to care about the future of civilisation when we meet so few members of it worth saving and most of those behave like they know they’re in a movie.
Ryan Gilbey is chilled by new releases The Badabook, Annabelle and It Follows.
Meanwhile, the suspension of disbelief is getting harder and harder to pull off.
An interesting tension exists in the film between that grunginess and passages of intense beauty. It is a compliment commonly paid to well-shot films to say that any one of their frames could be hung in a gallery. This is unmistakably the case here.
For every stab at dirty realism in Fury, there is a sanitising touch to make everything clean again.
The news that both a Dad’s Army film and Ghostbusters 3 are in the works is great for nostalgia fans. But how do you go about updating something well-loved without wrecking it?
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