Moonage Daydream is a lavish and loving profile of David Bowie
In Brett Morgen’s new unconventional documentary, there are no facts, no dates, and a lot of the Starman himself.
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Ryan Gilbey
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 27 Press Gazette awards and is film critic in residence at Falmouth University.
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Where the Crawdads Sing is a lesson in how not to adapt a bestselling novel
The film version of Delia Owens’s novel incorporates many genres: misery memoir, courtroom mystery, romance. None is executed with…
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Brian and Charles: a witty robot bromance
David Earl softens his abrasive comedy alter-ego in a novel mockumentary full of visual gags and inspired touches.
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Why Baz Luhrmann’s biopic fails to capture the real Elvis Presley
This conventional, sanitised version of the singer’s life is an endless highlight reel, with no room for the unsavoury…
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All My Friends Hate Me: a sharp swipe at class that doesn’t quite land a killer blow
Andrew Gaynord’s crisply British comedy takes the rural antics of Withnail & I and adds a horrific twist.
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Alex Garland’s Men is a thesis on misogyny, masquerading as a movie
The film's 100 minute run time feels a whole lot longer with just the one idea behind it.
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The Quiet Girl is an artfully muted masterpiece
With his remarkable film about a timid child sent to live with relatives in rural Ireland, Colm Bairéad provides…
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Michelle Yeoh flits between universes in the hyperactive Everything Everywhere All at Once
Daniel Kwan and Daniel Scheinert’s latest action-comedy brings a 21st-century approach to parallel-reality cinema.
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Laura Wandel’s Playground is a study on the cruelty of children
The writer-director's first full-length film takes a close look at bullying in a Belgian primary school.
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