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 its lush CGI landscapes, The Jungle Book is a visual treat. But the film is conflicted as to its own status as a reboot.
Those concerned about the future of comic book movies and inter-superhero discord, fear not! Captain America: Civil War saves the day.
The Brand New Testament is full of precis and lightning-fast recaps. In the era of listicles, perhaps Van Dormael’s time has finally come?
The Kinoteka Polish Film Festival screens the highlights of the eclectic director’s work, which is as diverse as his life has been.
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.
No country has ever left the EU before, so there's no map for where we're going.
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