Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
You may admire the construction of certain moments more than you feel them, or Boy Erased as a whole, in your bones.
The film’s slow reveal of its fantastical elements, which evoke the erratic, dreamlike strangeness of folk tales, makes them all the more unsettling.
The film is a second-rate airport thriller that makes The Hunt for Red October seem like nonfiction by comparison.
Patrick Wang’s particular skill as a filmmaker is his ability to approach well-worn narrative devices from fresh angles.
Aleksei German Jr.‘s film could be seen as a kind of tribute to his late father.
Rami Malek’s charitable act of resuscitation for the benefit of Mercury’s admirers is something that the film as a whole fails to accomplish.
The Fog is pivotal to the cementing of director John Carpenter’s aesthetic.
The new list is based on polling nine contributors to the site, some of whom contributed to the original list.
One may wish that as the storyline pushes forward that it succumbed less to portentous melodrama.
Sandi Tan’s view of what the original Shirkers represented, and what her new film should be, is surprisingly expansive.
Adrian’s plight is too generic for his tears to count as something other than a sentimental ready-made.
Luca Guadagnino’s remake is a funereal pseudo-realist drama about political upheaval and the violence of systems that’s at odds with itself.
Antonio Méndez Esparza crafts a revealing portrait of life as lived under a regime of race and class oppression.
The film understands that money is a defining element of art-making, whether or not we wish to admit it.
Johnny English Strikes Again seems almost hellbent on aiming for the lowest common denominator at every turn.
Grant discusses portraying persons who have good and bad in them.
McCarthy discusses how her process changed to play a real person.
Throughout Caniba, there’s a singularly disquieting relationship between the filmmakers’ formal experimentation and their subject.
The film is a slow, directionless anti-thriller that never manages to build tension or establish any stakes.
The Guilty is a taut chamber thriller dominated by Jakob Cedergren’s flinty yet highly emotive visage.