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.
It’s rare to see something at the pilot stage that is so fully-formed and so confident. Also – no small matter, this, for a comedy – it is hilarious.
The Icelandic director Baltasar Kormákur's film is like an inexperienced climber: caught between the ground and success.
Steer clear of soon-to-be-released-anyway blockbusters like Suffragette and see some of these films instead.
The film shows how Pasolini located spiritual salvation in unremarkable lives.
Closed Curtain, by Jafar Panahi, was created despite its director’s house arrest in Iran.
What are the chances that Ice Cube will be held properly to account for an anti-Semitic slur in a film produced by Ice Cube?
What does the recent cinematic phenomenon of characters who are unexpected killers tell us about ourselves?
No film was ever in greater need of a Louis Theroux figure poking and prodding and shedding light where none would otherwise fall.
Tom Hardy is about to play both the Kray twins in a film called Legend – here's a short history of actors doubling up on screen.
From Simon Munnery’s Fylm School to Adam Riches’ Coach Coach, there’s plenty of movie magic to be found live on stage.
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.