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.
With audio and video uncannily synched, and its grainy super 8 footage, Notes on Blindness confuses the senses.
This story of memory loss shows how meaning accrues through duplication. Plus: Ma Ma reviewed.
A modern follow-up to the Nineties sci-fi alien invasion adventure is plagued by threadbare characters, poor dialogue, and a rambling plotline.
A look at Polish romcom Planeta Singli, plus Thai director Apichatpong Weerasethakul’s Cemetary of Splendour.
Plus: eloquent storytelling around the refugee crisis in Fire at Sea.
Something about Crowe’s hard-nut/soft-shell routine with Ryan Gosling in this film suggests he could be coming out of his career slump.
Director John Carney has a lighter touch and also a greater sense of depth and poignancy.
Austen’s work has already been a launch-pad for literary spin-offs, but Stillman's film – and accompanying novel – do something intriguingly new.
With the cheapest-looking CGI and crummiest sets ever to have reached the screen, it's up to the plot to save Warcraft: The Beginning. . .
In Loach's films, authenticity is everything, and when his quest for realism pays off, there's nothing as raw in all of cinema.
The New Statesman goes behind the froth of daily headlines to look at the people and the passions shaping our world.
Be well-informed. Be a New Statesman reader.