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.
A journey through the late filmmaker’s most elegant and radical shots.
The appearance of extraterrestrial craft, a dead daughter who used to sculpt aliens: Arrival's forced mystique fails to land.
What at first resembles a thriller becomes more about the complicated way art emerges. But does its film-within-a-film puzzle work?
Comparing cinema’s latest tearjerker, The Light Between Oceans, with the controlled quirkiness of new film Further Beyond, is a lesson in how not to “move” audiences.
In Sonita, the girls chat about the opposite sex just like any other group of teenagers, except that here they are comparing the ages of their husbands-to-be. Plus: Queen of Katwe.
Jack Reacher: Never Go Back is the title of the latest film. It’s also a transparent piece of misdirection.
New films American Honey and I, Daniel Blake show society’s “left behind” with grit, wit and a touch of the absurd.
If a movie is stripped down to its plot, the logic had better be watertight. This is transparently not the case here.
The writer-director John Michael McDonagh’s dark comedy isn’t half as clever as it thinks it is.
Radcliffe is dead good in Swiss Army Man – meaning he is both good, and dead. Plus: Deepwater Horizon.
The Zombie PM