Ryan Gilbey
Bio
was named Reviewer of the Year in the 2007 Press Gazette Magazine Awards. He is the film critic of the New Statesman and also contributes to the Guardian and Sunday Times. He is the author of It Don’t Worry Me, about the American cinema in the 1970s, and a study of Groundhog Day in the BFI Modern Classics series.
Articles By Ryan Gilbey
latest in today
Life of Pi, Wyndham's Theatre review - visually ravishi...
When the Canadian Yann Patel went to India as a young adult backpacker he fell in love – not with one person but with the rich imaginative...
Starstruck, Scottish Ballet review - smart, sassy and cinema...
How do you picture Gene Kelly? Most likely in his effervescent screen persona, either as the burly ex-GI of An American in Paris, or as...
Hellbound, Netflix review - supernatural assassins usher in...
Netflix is sometimes criticised for bringing too much of...
10 Questions for musician and DJ Pete Tong
Perhaps appropriately, when I called Pete Tong for his 10 questions I...
Album: Paul Weller - An Orchestrated Songbook
It’s a far cry from his beginnings in a tight, no-frills power-pop-post-...
theartsdesk at Tallinn's Black Nights Film Festival - s...
Film festival chiefs the world over have been having a tricky time...
The Courtauld Gallery - the old place, just better
The Courtauld Gallery’s dark corners have gone, and with them a certain apt melancholy, that effortlessly summoned the ghosts of Gauguin’s ...
Hedvig Mollestad, National Jazz Scene, Oslo review - watch o...
The opening moments don’t suggest what’s coming. A solo flute is followed by a few spoken phrases from a treated voice. What’s being said? It’s...
Feng, CBSO, Wilson, Symphony Hall Birmingham review - effort...
As the conductor of English National Opera’s 2018 production of Porgy and Bess, there can’t be many maestros in the UK who can...
Blue Rose Code, Kitchen Garden Cafe, Birmingham review - sta...
After a two year hiatus (imposed for obvious reasons) Edinburgh-born Liverpool-based...