Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Ben Wheatley’s In the Earth feels like a palate cleanser for the English filmmaker.
The film unfortunately sidelines the chemistry between its stars once it’s time for the characters to bypass one obstacle after another.
Rodney Ascher is a sly master of mining potentially jokey or gimmicky subjects for the alienation they primordially express.
The film is a self-consciously gimmicky buddy flick that’s informed with jolts of anguish and gallows humor.
The Dig clearly relishes in having found so many fascinating real people arriving at one place at once.
Though it feels impersonal, The Little Things nevertheless has an obsessive pull.
Rose Glass utilizes a provocative scenario for a vague and deadly serious art exercise.
Frank Beauvais’s found-footage memoir is of piercing honesty and haunting relevance.
After a while, the film’s parade of contrivances subsumes the acutely observed friendship at its core.
It’s at the juncture between horror and philosophical surrealism that The Night is at its most provocative.
Expending so much energy anticipating our avenues of interpretation, Malcolm & Marie leaves us with little to interpret.
Identifying Features is as much about the act of seeing and observing as it is about not seeing.
Horvát’s film delights in wallowing in ambiguity, contradiction, and doubt.
Supernova is so obviously structured that it often seems to be imposing meaning on its characters.
No Man’s Land mostly suggests a performance of allyship on the filmmakers’ part.
This tongue-in-cheek gorefest gives the impression of an only semi-coherent joke on the audience.
Had the filmmakers taken a more easygoing approach, Locked Down might have landed in the realm of The Thomas Crown Affair.
The film’s arguments against endless war end up seeming more than a bit disingenuous.
The film is at its most moving when it lingers on the faces of children who are impotent to return to the world they used to call home.
Kevin Macdonald’s film never captures the spectrum of a life lived in unimaginable extremis.