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.
Ryan Gilbey celebrates the best work by individual Pythons outside of their famous collaborations, from John Cleese’s slick Brit-flick A Fish Called Wanda to Eric Idle’s Beatles pastiche The Rutles.
Made over more than a decade, this is a film that reminds us life is seen by children from a different angle.
Critics and audiences may have long given up on British painter-turned-director Peter Greenaway, but his sensuous, smart, arty films are asking questions few others would dare to contemplate.
Jon Spira's forthcoming documentary Elstree 1976 focuses on the Star Wars cast members time forgot: from voice-artists to extras and wookiees.
Four young teenagers face violence and desperation on the road to California in this modern road movie with clear echoes of John Ford’s The Grapes of Wrath and Michael Winterbottom’s In This World.
The trend for distributors to refuse advanced previews for critics speaks volumes about their attitude to the press - but it’s a risky strategy, and doesn’t always mean the film is a dud.
Time and again this smart sequel turns down the opportunity to make homosexuality the butt of the joke. Instead, it provides a welcome mainstream attack on homophobia.
An unconventional romance between two young cancer patients is not as hard-hitting as it could be.
As the illegitimate mixed-race daughter of an admiral in 18th-century England, Dido Elizabeth Bell’s status is too high to allow her to eat with the servants, yet too low to permit her to join guests for dinner.
Fruitvale Station imagines the last day of Oscar Grant's life - a young black American shot dead by a police officer in 2009. The film may be rooted in truth, but it's a long way from documentary.
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