Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The reality of Nazi Germany and its looming atrocities feels as if it exists only beyond the edges of the film’s frame.
The particulars of the central mystery are mundane, to the point where the film itself doesn’t spend too much time digging into them.
Luke Holland’s documentary is a gift of memory to future generations.
The film half-heartedly teeters between a kinetic action thriller and something a little more low-key.
The Woman in the Window never manages to transcend the impression that it’s merely being clever.
The film’s masterful prologue writes a check that the remainder of this very long, very indulgent film labors mightily to cash.
Sparks is having a moment.
Spiral seems primed to explore the present-day fight against police brutality, but it never lives up to that promise.
Timur Bekmambetov’s Screenlife film is more fluff piece than hard-hitting news story.
The film’s aesthetic, understandably fused with its protagonist’s dogged can-do attitude, is both the source and limitation of its power.
Riders of Justice ultimately fumbles by abandoning character portraiture for pyrotechnic cliché.
Theo Anthony’s film is a playful, enraging, free-associative cine-essay that both expands and eats itself alive as it proceeds.
In the film, Australia is a country of sleepwalkers drifting along in a placid dream, unable or unwilling to wake up and move forward.
Cacophony eventually takes over Wrath of Man in the tradition of many Guy Ritchie films, stranding most of the actors in the process.
The film has the knowing swagger of something on the cutting edge but none of the self-awareness to realize it’s late to the party.
The film’s cramped compositions hauntingly underline the claustrophobic nature of its protagonist’s life.
While there’s never a moment of overt violence in Azor, a river of blood courses beneath every impeccably composed frame.
At its best, Oxygen successfully approximates the feel of an escape room.
Both films center around women who are crippled by domesticity.
Throughout, Jane Schoenbrun reveals themself to be adroitly plugged into both the current technological and sociological landscape.