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 first two thirds of Audiard's latest film are set up well - so why does it morph into Death Wish 3 by the end?
Steven Spielberg was evidently much on the mind of the writer-director Jeff Nicholls, whose new film harks back to the senior filmmaker’s golden age.
In avoiding a single cut, Sebastian Schipper’s thriller allows the actors to relish building a performance chronologically.
Long, joyless and simplistic: flashy effects can't save Zack Snyder's latest movie.
Tim Burton is not on board for the new Netflix original Pee-Wee movie, Pee-Wee’s Big Holiday. But the cult character has an equally influential benefactor these days: Judd Apatow.
Competition entrants had precisely 50 days to shoot and upload a 50-second film that incorporated in some form the number 50.
Patricio Guzmán's films have brought the story of his country to the world. Yet this latest film lacks the clarity so central to his previous offerings.
The production designer Ken Adam, famous for his work on Dr Strangelove and seven James Bond films, has died at the age of 95.
Charlie Kaufman may be the most original voice in US cinema since David Lynch, and this latest film has a unique tactile tension.
As twins Lukas and Elias begin to suspect the woman who has come home from the hospital is not their real mother, there is a strong sense that it is the motherland which is rotten.
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