Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
After a while, it all starts to feel like a showreel for the film’s special-effects team than an honest effort to tell a story.
For all of its slavish devotion to Mary Poppins, the sequel doesn’t even seem to recognize its greatest attribute: its star.
Often divertingly colorful and busy to a fault, Aquaman seems to dare us to mock the world of comics’ most risible superhero.
The film’s drawn-out boy-who-cried-wolf arc creates little opportunity for the main character to develop.
Kaku Arakawa’s documentary is a candid snapshot of a great artist as an old man.
All the palace intrigue and endless backstabbing in Mary Queen of Scots feels at once overly familiar and underdeveloped.
Ater a while, the film’s didactic drama begins to grate, its treacly emotions feeling increasingly unearned.
Bridey Elliott invests her film with an ironic sense of social proportion, and without speechifying.
The film reduces Ruth Bader Ginsburg’s life to a series of clearly defined hurdles and overemphatic realizations.
Zain Al Rafeea’s naturalness, however uncanny, only makes the film’s maneuverings seem all the more obvious.
Ben Is Back is more unpredictable and slyly entertaining than its earnest-sounding premise might suggest.
Tyrel viscerally cuts to the everyday heart of living in a fraught cultural mixing pot.
With its fine-tuned comic timing and feeling of constant action, Spider-Man: Into the Spider-Verse is downright invigorating.
The documentary is probably best viewed not as a record of the past but a document of what’s to come.
Director and co-writer Milad Alami’s film feels like several fused-together trial drafts of the same narrative.
While the film’s perception of the politics of the jungle is often profound, the same cannot be said of its take on the human world.
Rohrwacher discusses why she needed to make this film at this moment.
Petzold discusses his collaborations with Harun Farocki and more.
The fabric of the fantasy world depicted in Mirai lacks the cohesion of the film’s central theme about appreciating one’s place in a family tree.
Anna and the Apocalypse’s biggest problem is its inability to lend its clichés and tropes any dramatic thrust or satirical bite.