Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Survival Skills feels like something you’d stumble upon on Adult Swim circa 2014.
Julia Hart drains the crime film genre of its macho bluster without replacing it with anything.
The big disappointment of the film is that McCarthy’s performance is all Jekyll and no Hyde.
The film is affectingly poignant in its frequently uncomfortable presentation of MacGowan’s physical ruination.
Alan Ball quickly loses sight of the sense of power that fuels the film’s early moments when his characters basically just gaze at each other.
The film is brightly colored, inventively designed, and constantly flirting with the outright psychedelic.
The first international edition of the Noir City film festival in six years showcases the diversity and malleability of noir.
Boseman meticulously charts the breakdown of a man discovering that pursuit and escape are inextricably intertwined.
The film translates the often difficult realities of a specific kind of marginalized love into a story with broad appeal.
With his first solo feature, Joshua Bonnetta is again contemplating death and the traces it leaves behind.
The film fiercely reminds us that without investigative reporting there’s no democracy.
Nicolas Cage’s amusing turn as a kooky hermit with an affinity for newspaper hats often feels awkwardly spliced into the film.
The film muddies its sense of moral righteousness by suggesting that violence and vengeance can only be defeated by more of the same.
The film is an uncanny reflection of the jingoism that Hollywood has been wrapping in glossy spectacle and exporting for decades.
Come Away can’t seem to decide whether it’s fantasy or allegory and whether its characters are fan fiction or flesh and blood.
Hillbilly Elegy feels like a bland feel-good story rather than one part of a longer tragedy with no clear end.
Chopra discusses the joys of reappraisal, and why she doubts John Hughes could believe in the universes he created on screen.
The greatest gift offered by the film is an empowering world that looks less like invention and more like real life.
Francis Lee’s compulsion to make Mary Anning stand in for something broader than herself keeps tripping up the film.
I Am Greta isn’t so much an activist documentary as it is one about an activist.