Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Chinonye Chukwu’s film is a morality play with a true sense of contradiction and melancholia.
What She Said is enjoyable, but one suspects that its subject may have found it soft.
The year’s best documenaries found the monstrous in the mundane, the epic in the everyday.
As in pop culture at large, the dominating obsession of the current horror film is class.
Many of the best films this year are concerned with indulgent, unbridled madness, offering formal excess as a parallel to our modern cacophony.
These are the films that just missed making it onto our list of the best films of 2019, and our contributors’ individual ballots.
Throughout, the filmmakers occlude the most fascinating and potentially powerful elements of Jean Seberg’s history.
Sophia Takal’s remake elides the thorny, complicated nature of the original’s sexual politics.
The moments in which the film’s blockbuster stars play memorably against type are quickly subsumed by the ugly chaos of the action.
The drama here is in the gap between bystanders who return the camera’s gaze and those who don’t.
The film is too irreverent in tone and narrow in scope to place Roger Ailes’s criminality in a larger, more meaningful context.
Ironically, Clint Eastwood is as condescending of Jewell as the bureaucrats he despises.
This colorful but remote-feeling documentary functions almost as though it were taking orders from the late Merce Cunningham.
There isn’t anything in the bleeding-heart positions espoused by Jorge Bergoglio that complicates Pope Francis’s public persona.
The film is greater in its confrontational force than the sum of a dozen festival breakthroughs lauded for their fearlessness.
It’s fascinating to see Benedetta Barzini in academic action, like an ethnographer of the patriarchy herself.
Redmayne discusses everything from calibrating his physicality in rehearsals to cultivating his imagination on a barren set.
It’s the mix of the humane and the calculating that gives the film its empathetic power.
As a suspense film, it’s so sluggishly structured that it borders on the avant-garde.
The film gets so lost in its affected idiosyncrasies that it stops probing any discernible human feelings.