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.
From Simon Munnery’s Fylm School to Adam Riches’ Coach Coach, there’s plenty of movie magic to be found live on stage.
Mistress America and Trainwreck both look at the lives of young women - but neither quite pull it off.
Manglehorn and Mission: Impossible - Rogue Nation show two approaches to ageing on screen.
We might be twenty years on from Toy Story, but Inside Out is proof that computer-animated features can still deliver giddy imaginative crescendos.
There's a struggle at the heart of Ant-Man between the corporate and the eccentric.
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.