Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Maria Sødahl considers the extreme emotions provoked by a medical emergency with an impressive force of clarity.
Travis Stevens’s film is psychologically astute, until it gives itself over to turning subtext into extremely legible text.
Christopher Smith’s film applies the haunted house trope in unfamiliar ways.
The filmmaker discusses how he found his way into a story about white men as a mixed-race South African.
The film doesn’t quite cut to the heart of the socially nurtured fantasies that splinter men from women.
The film’s real subject is a young woman awakening to her oppression, rendered poignant in all its awkwardness by Noée Abita.
The film lacks for the methodically escalating stakes that makes the best examples of the genre so entertaining.
Oliver Hermanus’s film is a rumination on the consequences of apartheid on those who benefit from it most.
Writer-director Evan Spiliotopoulos barely capitalizes on the luridly sacrilegious implications of the film’s premise.
Sam Claflin is best in show, but his performance is undercut by the film’s inability to escalate or explore the ramifications of its premise.
Godzilla and Kong’s brawls have the ennui-inducing feel of a child arbitrarily smashing action figures together.
Emma Seligman’s film effectively builds tension from what is a relatively familiar, low-key scenario.
Tim Sutton is a deft cartographer of how environments can shape its inhabitants.
Art, commerce, and immigration are inextricably bound in this playful and gently moving film.
Andy Goddard’s film clumsily superimposes a frenzied, completely fictional spy adventure onto a fascinating fragment of pre-war history.
Violation impressively pushes against the typically straightforward trajectory of the rape-revenge film.
The film offers chaos by the yard with no real stakes or emotional reverberations.
The film lacks for the empathy, curiosity, and sense of humor that are the defining characteristics of the Smiths’s music.
The film misses the opportunity for a suspenseful interweaving of sports spectatorship and its characters’ high-stakes gambits.
The film is both a lurid urban thriller and an earnest parable about (almost literally) walking a mile in someone else’s shoes.