Spielberg’s The Fabelmans is a major and personal work
The director’s 34th feature – and the first to turn the camera on himself – ranks as one of his best.
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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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Jafar Panahi’s No Bears shows the political power of filmmaking
Banned from making movies, the Iranian director has nevertheless created a formidable body of work – an uprising in…
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The many layers of Robbie Coltrane
The actor, who has died this week aged 72, had an on-screen earthiness that was both whimsical and confrontational.
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A new Emily Brontë biopic joins the dots between life and literature
Frances O’Connor’s Emily treats events in Brontë’s life like furniture to be rearranged on a whim.
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Don’t Worry Darling is a derivative let-down
Olivia Wilde’s film about an idyllic 1950s community reflects modern anxieties but has little new to say.
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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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How Jean-Luc Godard changed cinema
The pioneering French New Wave director has died at the age of 91. It is impossible to overestimate the…
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David Cronenberg, master of body horror, returns with Crimes of the Future
It’s been 20 years since he dabbled in gore, but the award-winning director is back at the operating table.
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Antonio Banderas and the art of self-parody
In Official Competition, a sharp satire of arthouse cinema, the actor plays a version of himself for laughs.
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