Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film’s ultimate insight into predator-prey relationships is paltry compared to its occasionally effective build-up.
The film’s manic blend of gore and relentlessly cheeky comedy eventually leads to diminished returns.
The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages.
Sachs undercuts the image of the past as simpler or more stable than the present.
Katrine Philp’s documentary boldly argues for a clear-eyed frankness in talking to bereaved children about loss.
Ramin Bahrani’s film is a turbulent and snarkily self-aware melodrama about breathless social climbing.
Close discusses coming to understand Mamaw as a person, her views of politics in film, and more.
Sorkin discusses what a present-day Abbie Hoffman would look like, Spielberg’s patronage, and more.
The film weaves together the stories of five mostly nonverbal autistic teens to present a rich tapestry of the autistic experience.
The filmmakers are unafraid of the picturesque, lighting scenes so they resemble old-master canvases.
Roseanne Liang leverages the absolute implausibility of the film’s later scenes into something brisk and exciting right to the very end.
Phyllida Lloyd’s film cannot escape its own somewhat mundane self-set contours.
Robert Rodriguez’s film, like The Adventures of Sharkboy and Lavagirl in 3-D, fundamentally lacks a sense of wonder.
The film shows a preference for forgiveness over vengeance, which feels like an okay way to end this particular year.
The film never finds the spark that would imbue the love affair at its center with a sense of passion or urgency.
Garrone’s adaptation of Carlo Collodi’s story trembles with corporeal strangeness and unpredictability.
These scenes are reminders of the collective rapture that awaits us when we’re able to return to movie theaters.
Great acting is so abundant every year that it runs the risk of being taken for granted.
Anderson has simply combined the established iconography of the popular Capcom game franchise with prefab movie moments.
The best horror films of the year were intensely concerned with the destruction of the family unit.