Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film’s concession to the fungible nature of presented reality comes across not as indecisive but courageous.
The film’s terseness could make it too cryptic for some, but that doesn’t blunt the impact of its most visceral or tender moments.
In the moments when Old works, it’s because M. Night Shyamalan embraces the inherent weirdness of his material.
Alex Wolff discusses his two latest films and the “other-dimensionality” of acting alongside Nicolas Cage.
Throughout, the film balances a dynamic aesthetic energy with a generosity of spirit.
Quentin Dupieux discusses how he knows a stupid idea is worth developing and the difference between his American and French films.
Randall Emmett’s directorial debut is virtually indistinguishable from the scores of cheap VOD action thrillers that he’s produced to date.
Settlers allows for weighty themes to play out inside a cramped domestic setting, wary of easy answers or moral platitudes.
Merciless but affecting, Vortex suggests that one respite from the loneliness of life lived in the shadow of death is the realm of dreams.
The idle one-thing-after-another-ness of Mandibles is evocative, disturbing, and moving.
Joe Bell proves that the phrase “they don’t make ‘em like this anymore” is value neutral.
Throughout the film, Agnieszka Holland makes clear that she isn’t interested in easily digestible pop-psychology nuggets.
Not even Alvin Ailey’s peers can articulate the innovations and soulfulness of his choreography half as well as his work itself.
Arie and Chuko Esiri’s film is understated in its attunement to the challenges of trying to escape a stagnant existence.
The film is serious in its reflection on whether there’s a spirit world that persists beneath the façades of urban modernity.
The film may be the prime example of how to restore fun, significance, and even a little bit of sex to a well-worn genre.
Blue Bayou is a timely but tediously overwrought drama about a nakedly racist part of America’s immigration crisis.
With his first time since The Florida Project, Sean Baker reveals another slice of our American capitalist underbelly.
The film is a thinly veiled excuse for Warner Bros. to parade, and possibly renew, all of its various copyrights.
Titane wildly expands on Ducournau’s idiosyncratic interest in the collision of flesh-rending violence and familial reconfiguration.