Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude.
Daniel Scheinert’s film finds a very human vulnerability lurking beneath the strange and oafish behaviors of its male characters.
The second half’s series of hollow visual spectacles foreground the film as a corporate product.
First Love reveals itself to be an elegant and haunting Takashi Miike film in throwaway clothing.
The Looney Tunes nature of Rambo’s murder spree tempers much of the script’s ideological offense.
Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment.
Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
If cinema is, indeed, the domain of freedom, then the festival doesn’t see Netflix as the villain in that struggle.
Like most of Sorrentino’s films, Loro is closer to a stylistic orgy than an existential rumination on Italy’s heritage.
The film often feels like a maximalist season finale trimmed of any build-up.
Angela Schanelec’s film configures itself most potently in hindsight as a punch to the gut.
The documentary doesn’t preclude itself from finding something like poetry in its subjects’ struggles.
Zombie discusses how he corrals his films’ furious sense of energy and how sex appeal can trump common moral sense.
The Dardennes maintain a distance from Ahmed as a way of celebrating their refusal to reduce him to any easy psychological bullet points.
Arnaud Desplechin evinces a glancing touch with showing how social tension and need inform law and crime.
Throughout, the subtle glimpses of a couple’s lingering affection for one another complicate the bitterness of their separation.
Maika Monroe’s engaging performance serves only to highlight how feeble and unconvincing the rest of the film is.
Steven Soderbergh takes a macro approach to the scandal, though the results, with rare exception, are vexingly micro.
Kurosawa celebrates the conquering of fear as our greatest hope against the world’s horrors.
Portraying Tubman above all else as a vessel for a higher power ironically only makes her appear less tangible.