Ryan Gilbey Movie 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): Independent (UK), Sight and Sound, Observer (UK), Heat Magazine, New Statesman

Movie Reviews Only

Showing 1 - 50 of 305
Rating T-Meter Title | Year Review

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

I, Olga Hepnarová (Já, Olga Hepnarová) (2016)

"Easy to admire but hard to recommend." ‐New Statesman
Posted Nov 30, 2016

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

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

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

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

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

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

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

Queen of Katwe (2016)

"There is always something to tickle the eye." ‐New Statesman
Posted Oct 20, 2016

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

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

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

War on Everyone (2016)

"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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Fire at Sea (Fuocoammare) (2016)

"[A] restrained, humane documentary." ‐New Statesman
Posted Jun 16, 2016

Where to Invade Next (2016)

"Even documentaries need dramatic tension; this one is comprised solely of contented people being informed that their lives are tickety-boo. After a while, you can't take any Moore." ‐New Statesman
Posted Jun 16, 2016

Cemetery of Splendor (2016)

"What Weerasethakul creates on-screen could be described as a meditative space: he is using film not to dictate his ideas but to stimulate ours." ‐New Statesman
Posted Jun 16, 2016

Sing Street (2016)

"If anything, it's even better than The Commitments because it doesn't go in for the slick manipulation associated with that film's director, Alan Parker." ‐New Statesman
Posted Jun 9, 2016

The Nice Guys (2016)

"Russell Crowe and Ryan Gosling represent polar opposites of movie masculinity. It's one of the reasons why their first film together, Shane Black's knowing comic thriller The Nice Guys, is such a pungent delight." ‐New Statesman
Posted Jun 9, 2016

Warcraft (2016)

"I spent most of the movie wondering what the opposite was of eye-catching. Whatever it is, that's Warcraft." ‐New Statesman
Posted Jun 2, 2016

Heart of a Dog (2015)

"[A] playful, haunting film." ‐New Statesman
Posted May 19, 2016

Alice Through the Looking Glass (2016)

"Baron Cohen is a refreshingly dark addition to the previous picture's candy-coloured world -- it's a nutty thrill to see him and Depp trying to out-weird one another in a scene in which Time is taunted with temporally-based wordplay." ‐New Statesman
Posted May 18, 2016

Everybody Wants Some!! (2016)

"Linklater is too besotted with his male creations to see that they can be divided almost without exception between the bland and the obnoxious. Even his usual eye for detail is a little off." ‐New Statesman
Posted May 12, 2016

Florence Foster Jenkins (2016)

"This is an unusually honest portrayal of love as a system whereby two people can maintain one another's delusions to the point where they almost cease to be delusions at all." ‐New Statesman
Posted May 5, 2016
No Score Yet

Brown Willy (2016)

"Brown Willy shares its plot and themes with Kelly Reichardt's 2006 film Old Joy... But the picture has enough character and charm of its own." ‐New Statesman
Posted May 2, 2016
Showing 1 - 50 of 305