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.
Films set on trains are some of the best.
It takes a lot to keep an audience onside when it’s not clear what the thrust of a film is, but Les combattants manages it.
Ryan Gilbey reviews two sequels: The Look of Silence and Jurassic World.
Looking back at the exploitation enterprise of Menahem Golan and Yoram Globus's cinematic output.
These back-room frumps whisper instructions into the earpieces of tuxedo-wearing spies out on the casino floors, or save them from pursuers by launching strategic missile attacks at a moment’s notice.
To look at the campaign for Tomorrowland, you’d think Disney had already decided it was yesterday’s news.
Ryan Gilbey is left feeling chilled by Abderrahmane Sissako’s remarkable Timbuktu.
The actor’s comments about the infantilisation of culture have caused a storm. Is he right to want to put away childish things?
The films of François Ozon are polymorphously perverse.
Hearing audiences might feel that they are being kept at arm’s length and they would be right.