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.
Perhaps it's time to cancel the Oscars temporarily to allow the industry to gather its strength and recover.
When the kidnapped mother and son in Room (15) leave captivity, it's supposed to be a grand metaphor. Yet the film stays can't free itself from its own "Room".
David Bowie as an actor was a rare and unusual thing – and, for many, an acquired taste or an object of ridicule.
Tarantino's once-sharp ear has turned to tin lately. Plus: The Revenant reviewed.
A baker’s dozen of interesting or noteworthy titles coming our way in the new year.
And the runners up.
The Danish Girl hasn't a clue about its own protagonist. Plus: Joy and Sisters reviewed.
Contains minor spoilers.
The movie operates on a Russian doll principle, with stories found nestling inside one another.
Terence Davies’s adaptation of Lewis Grassic Gibbons's 1932 novel hasn't "got legs" – that's the point.
We notice you have ad blocking software enabled. Support the New Statesman’s quality, independent journalism by contributing now — and this message will disappear for the next 30 days.
If we cannot support the site on advertising revenue, we will have to introduce a pay wall — meaning fewer readers will have access to our incisive analysis, comprehensive culture coverage and groundbreaking long reads.