Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Quentin Dupieux imbues a trite genre scenario with a Kafkaesque brand of comic existentialism.
The documentary exists within the very restricted pantheon of films that successfully reap the cinematic potential of pedagogy.
The film is a modern melodrama of grit, beauty, jagged edges, and resonant dead ends and false starts.
After a while, it’s hard not to feel like Radu Jude is simply shooting fish in a barrel.
The film trickles out its story world in discrete blocks of sound and image.
The film’s characters are suffused with a paradoxical kind of fear that can only happen in a dream.
Unlike Malcom & Marie, Daniel Brühl’s feature-length directorial debut proves to be authentically self-castigating.
The film suggests a fusion of an eco-doc and acid western, and this disparity between genres results in a mysterious tension.
The film sticks the landing as a manifestation of what unfettered trust in our shared humanity could look like.
Had the film trusted its self-imposed minimalism a little more, it might have been a lot more successful as a character study.
The film fails to effectively seize on how its main character’s life and work experiences have affected her as a person and artist.
What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.
If the SpongeBob franchise has finally gone on the run, it seems like it’s left the audience that matters most in the dust.
Anthony and Joe Russo’s film can never quite escape the essential hollowness of Cherry as a character.
If the world outside the Supermercado Veran is rife with poverty and crime, we wouldn’t know it from inside this little cocoon.
Time and again, Crisis shortchanges the human elements of its plot lines.
As Rifkin’s Festival drones on, the wastefulness grows offensive in a manner that’s unusual even for Allen’s misfires.
Keith Thomas’s film hums with uncanny dread, milking the close juxtaposition of living and dead for all its worth.
The film finds its purpose most pointedly when it zeroes in on the unambiguous relationship between Holiday and “Strange Fruit.”
Andrei Konchalovsky’s film is fascinated with the creation of great art in the midst of socio-political turmoil.