Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
If it weren’t so airless, it’d be easier to appreciate Fatman as a character study of Santa’s midlife woes.
Freaky doesn’t reach for any arch commentary beyond the suggestion that, hey, Freaky Friday the 13th is a pretty funny idea.
The film doesn’t deliver much in the way of surprises, but it’s more honest than it might initially seem.
The documentary is determined not to be a typical rock-god story with predictable rise-and-fall arcs.
The film slides seamlessly between empathizing with its clueless bros and making them objects of unsparing derision.
If technology ever was apolitical, those days are long gone.
Mank’s most haunting sequences are self-contained arias in which characters grapple with their powerlessness.
This supernatural fable elevates the subtext of Bryan Bertino’s earlier work to the level of text.
Despite a searing performance from Diane Lane, writer-director Thomas Bezucha’s Let Him Go ultimately self-immolates.
Throughout, Joyce Chopra patiently and shrewdly observes the contradictions of human behavior that Laura Dern brilliantly conveys.
Nothing hinders surrealism more than the sense that its creators are actively working for it.
Once you get past the faux-provocation of the film’s title, it’s difficult to tell what ideologies the filmmakers are trying to skewer.
Director Max Winkler truly seems to believe that he’s cutting to the heart of the boulevard of broken dreams.
It’s difficult to shake that the film finishes saying what it has to say long before it staggers to the end.
The film suggests a gene splice of Jennifer Kent’s The Babadook and Mike Flanagan’s Before I Wake.
Rodrigo Sorogoyen’s feature-length Madre contemplates how memories of loss linger and distort the present.
The storyline’s edges are frayed just enough to give it the gentle distance of a tale recalled though the gauze of myth and memory.
Throughout, Remi Weekes forcefully, resonantly ties the film’s terror to the inner turmoil of his characters.
This is a sleeker-looking vehicle that’s eager to be scary but not comfortable being ugly.
Too often, the film teases big, wild comedic set pieces that end up deflating almost instantly.