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.

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Cultural Capital
15 June 2012
The hype got out of control
Film
13 June 2012
A film rooted in the pedestrian.
Cultural Capital
06 June 2012
So Grace Jones stole the show at the Queen’s Jubilee concert, all hoops and hoopla. That news has got to be up...
Cultural Capital
01 June 2012
  In the wake of Michael Haneke joining that exclusive group of directors who have twice been awarded the Cannes...
Film
30 May 2012
The Turin Horse (15) dir: Béla Tarr iLL Manors (18) dir: Ben Drew A veteran film-maker bids farewell this...
Film
23 May 2012
No evolutionary timeline is necessary to illustrate the career of Wes Anderson. His sensibility (bittersweet, archaic)...
Cultural Capital
16 May 2012
  The tardy sequel, so late in arriving that it has less in common with the Supermans and Lethal Weapons of this...
Cultural Capital
11 May 2012
To the Royal Festival Hall on London’s South Bank, at the behest of a certain General Aladeen of Wadiya. As the...
Culture
09 May 2012
Faust (15) dir: Aleksandr Sokurov Corroded and powerful men have dominated Aleksandr Sokurov’s work for some...
Culture
03 May 2012
More nuttiness and less bluster, please.
Cultural Capital
02 May 2012
A few months ago I was participating in a radio discussion on women in the film industry. When the host asked me to...
Cultural Capital
27 April 2012
Cinemagoers of a revolutionary inclination rejoice! Cannes may already be creeping into media coverage a full fortnight...
Culture
26 April 2012
Damsels in Distress (12A) dir: Whit Stillman Back when Wes Anderson was fretting about handing in his homework and...
Culture
18 April 2012
Every film is perfect during those few seconds after the lights go down, the curtains part and the projector starts...
Cultural Capital
17 April 2012
It's an insult to film, and our wallets.

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