Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The portrait it paints of its Marines is redolent of the twitchy frustration caused by a long stint in a sparse landscape with a hazy mission.
The film honors the central paradox of Welles: that he was a joyful poet of alienation who was, like most of us, both victim and victimizer.
Throughout, the film can’t decide what attitude to strike toward its characters’ evident greed.
The film is a singular work of American independent cinema that speaks to a more global artistic sensibility.
The film’s tendency to break the “show, don’t tell” directive becomes especially irksome in its homestretch.
Jia discusses what he likes about digital video and how Zhao Tao helped bring her role to life.
The film’s open-ended narrative tends to be undermined by the simplicity of its thematic signifiers.
Its scenes wildly escalate to a fever pitch at the drop of a hat, before then ending, more often than not, with abrupt violence.
The film is an un-aerodynamic vehicle of uncertain design, packed carelessly with origin storylets and pop-cultural flotsam.
The film is a haunting portrait of the island as a purgatorial realm between the poles of isolation and liberation.
Throughout, J.K. Simmons invents the film with a primordial physicality of loneliness and self-loathing.
The film’s gritty, mundane agonies come to feel like a series of moral tests with genuinely unpredictable outcomes.
Artistically somewhat monotonous but substantively devastating, the film doesn’t conclude with much in the way of closure.
Henri-Georges Clouzot’s 1956 documentary reveals art to be a life of many deaths.
The film’s unoriginal solution to its mystery is redeemed by the streamlined ambiguity of Lee Cronin’s images.
Michael Winterbottom’s film succeeds in translating the problematics of intercultural conflict into thriller fodder.
Keith Behrman’s film is intent on delivering a nuanced take on expectations surrounding sexuality.
The 91st Academy Awards are now behind us, and the telecast told us just about nothing that we don’t already know about AMPAS.
It balances its various modes so carefully and efficiently that it achieves a graceful unity, if a strange one at that.
The film is a penetrating an indictment of the bureaucratic obstacles placed in front of refugees.