Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
It conspicuously tries to distance itself from the revenge film’s propensity toward florid excess.
Alison Klayman’s fly-on-the-wall documentary cuts Trump’s Rasputin down to size but doesn’t completely dismiss his power.
The film is at least a gleefully nasty piece of myth-cementing jukebox hokum.
Writer-director Yeo Siew Hua suggests that becoming another person is as easy as dreaming it.
Carol Morley’s film wants to blow our minds, but it succeeds only at rousing our boredom.
The film understands that we submit to the perils of affection because of its outweighing graces.
With his latest, S. Craig Zahler doubles down on the best and worst elements of the pulp film.
Peele’s follow-up to Get Out unnervingly speaks to the issues affecting a divided nation.
In its balance of a wispy narrative and long, quiet episodes of textual close reading, the film feels incomplete in a productive way.
When it rains, it pours.
Ognjen Glavonic conveys the devastation and numbness that results from atrocity without resorting to exploitation.
The film is only concerned with dog love, which is occasionally cordoned off by the filmmakers into a sentimental bubble.
Its drawn-out descriptions of culinary traditions and practices are enticing enough, but the same can’t be said about the characterizations.
László Nemes’s follow-up to Son of Saul simply feels like two films awkwardly affixed to one another.
The film might have better performed if it consisted of more than a smattering of good but relatively isolated ideas.
Chandor turns an intensely physical narrative into another of his inadvertently generic studies of procedure.
The film genuinely grapples with the question of how to live one’s life when death is always potentially just around the corner.
The film quickly settles into a holding pattern of repetitive porno-movie hijinks and increasingly listless murder scenes.
The film’s threads of personal loss and cultural friction are all but lost amid the tawdry romantic entanglements.
Single-minded and direct in its execution, the film is a hard look at the extremes of masculine guilt and healing.