Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film knots several strands of new-millennium despair into something that very nearly approximates greatness in its first half.
Dear AMPAS: It’s not too late to walk back your inexcusable decision to banish this and other technical categories to commercial breaks.
Going into this year’s nominations, cinephiles wished for three composers to make the cut in this category.
The film’s murder sequences far outlast the onset of disgust, and their intentional ugliness begins to feel hollow.
The film doesn’t apply the necessary touch and precision to balance its sleek, chromed parts into a revving whole.
The documentary brings to the foreground a fascinating and, moreover, beautiful culture lurking in the background of other stories.
This awards season, Spider-Man: Into the Spider-Verse has proven to be the animated feature of choice for critics and guilds a like.
Throughout, François Ozon assiduously avoids sensationalism, compiling the story with an almost journalistic sobriety.
A remake of Child’s Play, starring Aubrey Plaza and Brian Tyree Henry, is now in the can and coming to a theater near you.
Mahershala Ali, still fresh off his prior win in this category, performs utter miracles with the role of jazz pianist Dr. Don Shirley.
Confusingly, the film rejects the commonplace notion that women actually have a decent grasp of what men think.
The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.
There may be no jokes in Weekends, but it certainly doesn’t lack for virtuosity.
The filmmakers fail to realize that the darkest horror here doesn’t lie in the triumph of true evil.
By the end of Period. End of Sentence., woman after woman muses that she’s actually the stronger sex, and who in the Academy would dare argue otherwise?
Steven Soderbergh’s film considers modern media as a vehicle for revising white patriarchal capitalism.
A child in peril remains the fetish du jour of AMPAS’s Short Films and Feature Animation Branch.
This modern fantasy weds the techniques of silent cinema with CGI to conjure a memorably mythic realm.
It’s tough to root for the film’s lovers when neither of them experiences genuine hardship.
If the music is beside the point, why are we supposed to care about the people who made it?