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.
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?
Bhardwaj relocates the action to Kashmir in the mid-1990s. If the graft doesn’t quite take, it’s because the film is so persuasive in portraying the oppression of the Kashmiri people that the woes of Hamlet seem small beer.
The Motion Picture Association of America may have a poor track record on equality - but in the case of Pride their decision was just and correct.
This film, adapted by Gillian Flynn from her bestselling thriller, is a whodunnit without a body.
Maps to the Stars places elements of ghost story, black comedy and Hollywood satire in a screwball framework.
The Dutch director, who has died aged 82, stole the unfinished reels for Phoenix’s last film Dark Blood from after coming close to death in 2007.
It is astonishing, with actors as gifted as Colin Firth and Emma Stone, that Woody Allen’s latest film so badly misses the mark.
Lone Scherfig’s film adaptation of the 2010 play Posh feels unbalanced: we want to see a bit of naughty fun before the nastiness kicks in.
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