Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Patrick Lussier’s film is an incompetent, nihilistic exercise in gore and pseudophilosophy.
The Oscar-nominated actor brought a sense of honor and dignity to every role he played.
The film is an airless blend of buoyant comedy and soap-operatic backstage drama.
In the film’s world, there can be no real resistance, as the suburbs have already won.
Its depiction of the perpetual terror of living in a war zone will stick with viewers long after The Cave’s doctors have left Ghouta.
Throughout, the film tirelessly hammers home the point of being true to yourself.
The long and circuitous narrative history of the so-called OCU weighs heavily on Eric Notarnicola’s film.
Whatever new technology facilitated its genesis, the film is just another assembly-line reproduction.
The film is in tune with the need to remain lucid and empathetic while in the maw of human extremity.
Michael Goi’s film comes to feel as if lacks a through line, collapsing into a series of disconnected horror-movie beats.
Its themes are propped up by characters who come off as half-formed avatars rather than flesh-and-blood human beings.
The hegemony of history is rigid, but Lou Ye is still able to disrupt it in the form of its representation.
Kevin McMullin displays a piercing awareness of the tensions that drive the dynamics of adolescent outsiders.
The film’s mid-act about-face lends a refreshing sense of complexity to an otherwise superficial depiction of Wrinkles.
Noah Hawley treats his protagonist’s story as a somber tragedy that at times stoops to trashiness.
Vincenzo Natali’s film divests itself of stakes in the name of total meaninglessness.
Olivier Meyrou’s ironically titled documentary weaves a tightly constructed story about success, power, and mortality.
The film falls back on the myth of modernity being born in the laps of practical, native-born American ingenuity.
The film feels composed of burnished, often blackly funny, fragments of erratic memory.
Almost every element of the film has been seemingly engineered to be the ne plus ultra of slapdash ineptitude.