Ryan GilbeyMovie Reviews & Previews - Rotten Tomatoes

Ryan Gilbey

Ryan Gilbey
Ryan Gilbey's reviews only count toward the Tomatometer when published at the following Tomatometer-approved publication(s): Guardian, Independent (UK), Sight and Sound, Observer (UK), Heat Magazine, New Statesman

Movie Reviews Only

Rating T-Meter Title | Year Review
4/5 No Score Yet Lost In London Live (2017) Harrelson is an affectionate director, finding memorable bits for performers all across the cast list, and his writing is peppered with arresting phrases. ‐ Guardian
Posted Jan 20, 2017
86% Christine (2016) That the film does break through is down to Hall, who illuminates the pain that Christine can't express, and to the score by Danny Bensi and Saunder Jurriaans. ‐ New Statesman
Posted Jan 19, 2017
89% Jackie (2016) For all the bustle around her, the film insists on Jackie's aloneness and Portman gives a performance in which there is as much tantalisingly concealed as fearlessly exposed. ‐ New Statesman
Posted Jan 19, 2017
93% La La Land (2016) The film is at its most convincing in those intimate exchanges between Gosling, with his melted eyes, and Stone, with her anime face. ‐ New Statesman
Posted Jan 12, 2017
86% A Monster Calls (2017) Tthe movie's emotional and dramatic roots are deep and its writer, Patrick Ness, who adapted his own novel, has brought to the screen intact the idea that life can only be lived one way: messily ever after. ‐ New Statesman
Posted Jan 5, 2017
31% Passengers (2016) No movie starring Lawrence is ever likely to be flat-out dumb -- for all that her looks have played a part in her career ascendancy, her defining quality is toughness, even coarseness. Passengers, though, comes dangerously close. ‐ New Statesman
Posted Dec 21, 2016
17% Assassin's Creed (2016) Assassin's Creed, an adaptation of the popular videogame, is a terrible film that doesn't even have the decency to be bad in interesting ways. ‐ New Statesman
Posted Dec 21, 2016
83% Silence (2017) If ever there was a film that was both thought-provoking and deathly dull, it is this one. ‐ New Statesman
Posted Dec 15, 2016
85% Rogue One: A Star Wars Story (2016) The story clicks nicely into place with the events of Star Wars but that narrative is really just a blank sky in which the film's other elements can sparkle like stars. ‐ New Statesman
Posted Dec 14, 2016
61% Snowden (2016) The movie falls between two stools, however, lacking either the irreverence of satire or the tautness of a well-tooled thriller. ‐ New Statesman
Posted Dec 8, 2016
80% Chi-Raq (2015) [Chi-Raq], if often muddled, is rarely dull. ‐ New Statesman
Posted Dec 1, 2016
No Score Yet We Are Never Alone (Nikdy nejsme sami) (2016) What saves We Are Never Alone from being oppressively grim is Václav's unusual, offbeat eye for framing and tone. ‐ New Statesman
Posted Dec 1, 2016
79% I, Olga Hepnarová (Já, Olga Hepnarová) (2016) Easy to admire but hard to recommend. ‐ New Statesman
Posted Nov 30, 2016
96% Paterson (2016) Driver, with his long, sloping brow and soulful lips, is both formidable and sympathetic, like an Easter Island statue that's a really good listener. ‐ New Statesman
Posted Nov 29, 2016
73% Fantastic Beasts and Where to Find Them (2016) For all the sophisticated special effects, it's rather like being trapped in a two-hour game of Pokémon Go. ‐ New Statesman
Posted Nov 17, 2016
94% Arrival (2016) Where Close Encounters of the Third Kind gazed outward in awe at the universe, Arrival asks only how its mysteries might provide succour and illumination for us. ‐ New Statesman
Posted Nov 10, 2016
43% The Paperboy (2012) Daniels turns out to be the ideal director for a film about the tendency of desire to turn sane minds to guacamole. ‐ New Statesman
Posted Nov 9, 2016
72% Nocturnal Animals (2016) Ford made his priorities clear when he named his film after Edward's novel rather than allowing the story, as Tony and Susan did, to occupy a space equidistant between art and life. ‐ New Statesman
Posted Nov 3, 2016
No Score Yet Further Beyond (2016) Quite unexpectedly, Further Beyond builds up an emotional weight, partly because the material is so poignant but also because of the manner in which that material is presented, without any special expectations of how we should react. ‐ New Statesman
Posted Nov 3, 2016
60% The Light Between Oceans (2016) Cianfrance's film is like a form pushed under our noses. On the dotted line at the bottom you can just make out the words: "Cry here." ‐ New Statesman
Posted Nov 3, 2016
37% Jack Reacher: Never Go Back (2016) Reassurance and confidence are the main tools in Reacher's arsenal, but the director Edward Zwick doesn't seem to have spotted that endless reiterations of a character's prowess can be fatal to suspense. ‐ New Statesman
Posted Oct 20, 2016
92% Queen of Katwe (2016) There is always something to tickle the eye. ‐ New Statesman
Posted Oct 20, 2016
100% Sonita (2015) Ghaemmaghami could be accused of steering the action to make a stronger film but her attempt to save Sonita from being married off is far more important than that. ‐ New Statesman
Posted Oct 20, 2016
92% I, Daniel Blake (2016) The greatest virtue of I, Daniel Blake is its patience in confronting painstakingly the incremental humiliations visited on the neediest in society. ‐ New Statesman
Posted Oct 13, 2016
79% American Honey (2016) Every corner of American Honey is crammed with colour, vitality and pulsing music. Though it is overlong at nearly three hours, the level of immersion in Star's adventures wouldn't have been as intense with a shorter film. ‐ New Statesman
Posted Oct 13, 2016
60% War on Everyone (2017) Beneath its thin veneer of hipness and cynicism, War on Everyone is smug, obnoxious, conventional and contemptible -- a film with no redeeming features. ‐ New Statesman
Posted Oct 6, 2016
43% The Girl on the Train (2016) The Girl on the Train is tabloid cinema: it gets the audience all juiced up on the very scenes of domestic violence and murder that it professes to deplore. ‐ New Statesman
Posted Oct 6, 2016
83% Deepwater Horizon (2016) It sticks so faithfully to the conventions of the genre -- earthy blue-collar hero (Mark Wahlberg), worried wife fretting at home (Kate Hudson), negligent company man (John Malkovich) -- that familiarity overrides suspense and outrage. ‐ New Statesman
Posted Sep 29, 2016
69% Swiss Army Man (2016) Dano is gentler than ever, Radcliffe agreeably deranged. Like all good relationships, it's a compromise. They make a lovely couple. ‐ New Statesman
Posted Sep 29, 2016
97% Little Men (2016) Sachs captures the concentrated joy of youthful larks and loyalty but he is as wise as Fassbinder ever was to the impact of economic and social pressures on our emotional choices. ‐ New Statesman
Posted Sep 27, 2016
89% Sid and Nancy (1986) Sid and Nancy has some claim on being the finest British film of the 1980s. ‐ New Statesman
Posted Sep 15, 2016
36% Blair Witch (2016) It switches between so many points of view, we can't help wondering who has edited this "found" footage - and why their grasp of horror is so slack. ‐ New Statesman
Posted Sep 15, 2016
76% Bridget Jones's Baby (2016) Shot with no particular finesse, it is often ungainly but rarely unappealing. Rather like Bridget, in fact. ‐ New Statesman
Posted Sep 15, 2016
82% Captain Fantastic (2016) The cast works diligently to find nuance in the material. They are no match, however, for a director who can't tell the difference between film-making and crowd-pleasing. ‐ New Statesman
Posted Sep 8, 2016
83% Julieta (2016) Almodóvar in plain-Jane mode is rather like any other director dressing up for the prom - he couldn't shoot a boring image if he tried. ‐ New Statesman
Posted Sep 2, 2016
70% Café Society (2016) [Allen] has so little faith in his cast that he outlines each character's feelings... before his actors have had a chance to work their magic. That is downright disrespectful when you have hired a collaborator as expressive as Stewart. ‐ New Statesman
Posted Sep 1, 2016
77% Gary Numan: Android in La La Land (2016) Gary Numan: Android in La La Land may be howlingly funny in places but it's no joke. ‐ New Statesman
Posted Aug 25, 2016
66% David Brent: Life on the Road (2017) As Kryptonite is to Superman, so cinema is to Ricky Gervais: on contact with it, he loses what it is that makes him special. ‐ New Statesman
Posted Aug 18, 2016
56% Jason Bourne (2016) Just once it would be nice to have some character detail or a line of dialogue that went beyond "Suspect turning left", or the series catchphrase: "You don't have any idea who you're dealing with!" ‐ New Statesman
Posted Jul 28, 2016
94% Finding Dory (2016) When there are lulls in the action, these are filled too often by homilies and life lessons that demand no spelling out. ‐ New Statesman
Posted Jul 28, 2016
100% The Hard Stop (2015) From Duggan's death all the way down to these casual domestic betrayals, the film has an acute sense of pain and injustice. ‐ New Statesman
Posted Jul 21, 2016
75% The BFG (2016) The BFG succumbs to a fetishisation of luxury, the camera gawping in awe at the abundance of food and finery. It's almost as if it has forsaken the rich, repulsive gloop of the early scenes. ‐ New Statesman
Posted Jul 21, 2016
73% Ghostbusters (2016) This Ghostbusters also improves in every way on the original, which has been insulated for years by nostalgia. ‐ New Statesman
Posted Jul 14, 2016
60% Absolutely Fabulous: The Movie (2016) Though Absolutely Fabulous: the Movie bears many of the hallmarks of bad British sitcom cinema (floodlit lighting, echo-chamber sets), it is also barbed and appallingly funny in places. ‐ New Statesman
Posted Jul 7, 2016
93% Notes on Blindness (2016) With the exception of John and Marilyn, faces are obscured, which feels right: why should we be allowed to see their son (or the actor playing him) when John has never seen him? ‐ New Statesman
Posted Jun 30, 2016
22% Ma ma (2016) The only mystery about Medem's new film, Ma Ma, is how a once-fascinating director could have made something so devoid of fibre or personality. ‐ New Statesman
Posted Jun 23, 2016
95% Remainder (2015) The first 20 minutes of Remainder are ponderous, but once Tom begins to snap out of his daze the film wakes up, too. ‐ New Statesman
Posted Jun 23, 2016
31% Independence Day: Resurgence (2016) This is a film that thinks characterisation means having someone gaze sorrowfully at an old family photograph. ‐ New Statesman
Posted Jun 23, 2016
No Score Yet Planeta Singli (2016) I'm swiping right on this one. ‐ New Statesman
Posted Jun 17, 2016
93% Fire at Sea (Fuocoammare) (2016) [A] restrained, humane documentary. ‐ New Statesman
Posted Jun 16, 2016