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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 and is Film Critic in Residence at Falmouth University.
With John and his husband on board as producers, it's not surprise that the script hits all the standard, expected beats.
This film leads its audience somewhere previously unexplored by cinema: into the dream lives of drug lords.
In this film shot entirely in a studio, Denis sacrifices a crucial component of her range.
Lively performances from Natalie Portman and Raffey Cassidy drive this story of fame, mourning, and spectacle.
Bo Burnham’s debut film captures adolescence: from every marginal cringing embarrassment to each infinitesimal joy.
Buckley’s contradictory qualities of fragility and ferociousness are on full display in her role as Rose-Lynn Harlan.
The dingy cinematography and abrasive score scream authenticity, but Mid90s hits every conventional beat of the coming-of-age movie.
Rohrwacher’s films are suspended in the space where fable and fantasy meet the material world.
Like in Vertigo or Seven, the central conundrum is resolved sooner than expected.
Us is part uncanny comedy, part home invasion thriller, and part zombie horror.
