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.
This documentary heaves with Venice Beach brats with four-figure allowances, and strippers writhing around inhundred-dollar bills.
The documentary is based on hundreds of hours of raw video seized in raids on Al Qaeda safe-houses.
Even more disappointing than the lack of inspiration is the film’s taint of corporate bias.
A throwback to those late-1990s movies about disenfranchised males regaining self-respect through unusual hobbies: The Full Monty and Brassed Off.
Debra Granik charts the evolution of a father-daughter relationship in microscopic detail.
Returning to the same films over and over can only inhibit our viewing habits.
Diane Kruger is propulsive: but she has an instinct for subtlety that isn’t shared by her director.
A role like this presents a particular challenge for Everett.
Two new documentaries, about Alexander McQueen and Studio 54, are caught between rejoicing in excess and mourning its effects.
Martel’s adaptation of the Argentine novel is David Lynch meets Samuel Beckett.
