Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
We were so sure that last year’s Oscars would be the last Oscars. Okay, not really.
Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
The filmmaker discusses the public reaction of the film, bringing it to Emmanuel Macron, and more.
Nikolaus Geyrhalter doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
The film doesn’t put in the effort to reach for the heights of Alien or plant its tongue firmly in cheek a la Deep Blue Sea.
Gentrified London is akin to Guy Ritchie’s filmmaking: a characterless mockery of its former glories.
Joel Kinnaman has rarely been allowed to utilize his tightly wound intensity this explicitly.
The film serves as both caustic update to Victor Hugo’s monolithic novel and cautionary tale about the future.
By the end, it’s as if a good doctor’s god complex has been taken up by the film itself.
Nicolas Pesce evincing little of the promise he showed in his prior films, and even less drive to remake the old into something new.
The film’s skittishness is particularly maddening considering that Allen has nothing to artistically prove.
The film stands to further boost the profile of the Hudson Valley as a destination for filmmakers.
Our top films of the decade offer insights and riches that are inexhaustible.
In the end, the film is unable to bridge the gap between the emotions it elicits and the messages it imparts.
It was an incredible year for acting, as it saw the superstar in ultimate communion with the auteur.
This adaptation gets straight to the heart of the material, which is basically two hours of stray cats introducing themselves.
The film is overstuffed with characters and subplots that ultimately have little to do with Ip Man and his legacy.
A memorable scene lingers within our subconscious like a half-remembered dream.
The film struggles to both honor and redeem the past before everything comes to a close.
Only rarely does Karim Aïnouz allow for loopholes to refreshingly emerge from the film’s stylistic deadlock.