Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Genesis 2.0 contains a variety of remarkable images but little actual poetry.
There’s an ever-present sense of rage and despair burbling beneath the placid surface of Barbet Schroeder’s film.
The film’s ultimate aim is to forge a universal understanding of the toll of warfare.
The Vanishing seems truly troubled by its action violence in a way that many similar thrillers aren’t.
Neither La Religieuse nor its main character is ultimately able to see a way out of alienated individualism.
These performances share a commitment to achieving emotional vitality by any means necessary.
Like Jennifer Lopez herself, Peter Segal’s Second Act attempts to wear many hats.
Music, dance, action, rage, touch, rhyme, and blunt-force trauma—these are the moments that give films, and life, their staying power.
Jenkins discusses his artistic inspirations, how he’s developed his cinematic voice, and more.
Pawlikowski discusses the reception of his films and why he doesn’t stick too closely to his own scripts.
The film feels like a disservice to Mark Hogancamp’s story, in no small part because no one in the film feels human, even outside doll form.
Bumblebee exudes some of the tediousness of a reformed sinner who decries hedonism, trying hard to convince us that it now believes in something.
Maybe instead of protection from pain, audiences are seeking out horror films as a form of reckoning with societal demons.
Vice is as noisy as the media landscape that writer-director Adam McKay holds in contempt.
This list makes equal room for the lowest hanging Hollywood fruits and art-house fare convinced of its own cultural and artistic importance.
There’s barely enough substance in Destroyer to support an Aesop’s fable, let alone a Los Angeles crime epic.
It’s an imagination-starved redo of The Happening crossbred with a more malevolent strain of zombie-flick DNA.
See below for a list of the films that just missed making it onto our list of the best films of 2018, followed by our contributors’ individual ballots.
This year, films were emboldened to be themselves and to follow their creators’ obsessions into increasingly wild-and-wooly places.
The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.