Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film is content to peddle the naïve notion that love is the panacea for all that ails you.
In the film, what starts as a subtle undercurrent of knowing humor curdles into overt self-referentiality.
The choreography is as brutal as you expect, but the repetition in style from the first two films makes the effect less surprising.
Eddie Alcazar’s film is a purposefully inscrutable, wandering, disconnected, symbolic, and highly precious mood bath.
In pushing so many seemingly crucial moments off screen, the film transforms its main characters into blank slates.
After a while it seems like one needs to be in some kind of dream state in order to properly savor the film.
Zwick uses a popular artistic mode to stake out a moral and political stance that, if not radical, is at least forceful.
The filmmakers are interested in world building only as a pretext for maintaining a tone of non-contemplative ennui.
The film goes down easy because it saves the self-improvement clichés for the homestretch.
Anne Hathaway and Rebel Wilson admirably take a lot of big swings, but they rarely pay off.
Harron’s background as a journalist and critic was apparent as we discussed her latest film.
The teaser seems hell-bent on satisfying those who found the first film to be an over-directed succession of freakouts.
The film appears to be striving for humanistic understanding, but the end result is far too jumbled to have the proper impact.
Almudena Carracedo and Robert Bahar’s documentary is monumental for its clamorous sounding of an alarm.
At the very least, Ryan Reynolds’s casting perfectly splits the difference between the adorable and the absurd.
Diversity is undoubtedly one of the strengths of the festival’s curation, as exemplified by films by Jodie Mack, Zhang Yang, and Jan Bonny.
The film seeks to elevate genre clichés by slowing down the speed with which they’re typically offered.
The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
The film is often quite moving in spite of its evasions, suggesting a real-life Charlotte’s Web.
It’s an unfussy, intimate chamber drama that’s fearless in confronting the attitudes of its exalted subject.