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.
There isn’t much that Widows doesn’t do right or radically.
The film is informative, but sadly almost never engaging.
The bloodthirsty Michael Myers is back 40 years on from the original movie.
Marcello Fonte is brilliant in this character study of a father of one who runs a pooch parlour in a decaying beachfront town near Naples.
Tilda Swinton underwent radical make-up and prosthetics regime to turn herself into an 82-year-old man.
It’s hard to discern Damien Chazelle’s motive for making this Neil Armstrong biopic, his first film since La La Land.
Like Waltz with Bashir, the film repackages the familiar in a way that overcomes compassion fatigue.
The template for Bradley Cooper’s musical film bestows all dramatic opportunities on to the male role.
Close finds so many variations on the tight smile of the long-suffering spouse.
It’s creepy and claustrophobic, but a depressing and bitter lead (Domhnall Gleeson) robs the film of the electrical charge vital for fully effective horror.
