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 trend for distributors to refuse advanced previews for critics speaks volumes about their attitude to the press - but it’s a risky strategy, and doesn’t always mean the film is a dud.
Time and again this smart sequel turns down the opportunity to make homosexuality the butt of the joke. Instead, it provides a welcome mainstream attack on homophobia.
An unconventional romance between two young cancer patients is not as hard-hitting as it could be.
As the illegitimate mixed-race daughter of an admiral in 18th-century England, Dido Elizabeth Bell’s status is too high to allow her to eat with the servants, yet too low to permit her to join guests for dinner.
Fruitvale Station imagines the last day of Oscar Grant's life - a young black American shot dead by a police officer in 2009. The film may be rooted in truth, but it's a long way from documentary.
The esteemed director joins Kevin Smith and William Nicholson among the ranks of writers and directors who blame critics, and their lack of experience, for disliking their films.
Jimmy’s Hall returns Loach to early-20th-century Ireland, the site of a previous success. The new film could be called The Wind That Shakes the Barley II: This Time It’s Heart-Warming.
John Turturro's fifth film as director is remarkable for getting so much wrong. The characters are vacuous, it misfires comically, but worst of all is his choice of leading man.
In A Touch of Sin, the ordinarily placid and reflective Chinese director Jia Zhangke bloodies his hands - creating technicolour violence from real, grisly stories which take aim at social injustice in China.
Cinema has never suffered from anxiety about the "unseen off-screen". Three new London plays, Good People, Let the Right One In and 1984, are adapting to new ways of presenting what is happening off-stage.
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