Tár is a crafty, cryptic take on art and morality in the online age
Cate Blanchett stars as a master composer caught in a #MeToo scandal in Todd Field’s genre-bending film.
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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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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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Jordan Peele’s Nope blends the political and the cinematic
In the award-winning director's new sci-fi horror there are too many meanings to be absorbed in just one viewing.
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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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