Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Right out of the gate, the film only sees a kind of blunt irony in this blurring of her public and private selves.
It’s a hollow tale of vengeance led by a protagonist whose mainly defined by his tendency toward martyrdom.
Cox’s punk western has been dug up from the dregs of oblivion by Kino and handsomely given a long-overdue director’s cut Blu-ray treatment.
From the opening image of Alfonso Cuarón’s Roma, the banal and sublime walk hand in hand.
Audiard discusses his alterations to the source novel, as well as his on-the-fly shooting style.
Life Itself revels in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
By the end, The House with a Clock in Its Walls completely loses sight of the trauma and grief that was meant to give the film its emotional core.
A few too many on-the-nose needle drops make Beautiful Boy play like a schmaltz-infused music-video-cum-alarmist-anti-drug-PSA.
Its success is due to the way it relies on Radner’s often elegant words to relay her experience of female stardom.
It’s a poignant portrait of an artist trying to transcend the limitations of his art by refusing to see the process through.
Jordan’s deft control of pace and tone elevates the film past mere gimmickry.
Peter Farrelly respects the severity of the characters’ social context while ensuring that Green Book never steps outside its protagonists’ relationship.
Natalie Portman plays the older Celeste like a car revving in first gear, deafeningly loud but scarcely moving.
Michael Moore's circus-showman duplicity is as crass and abhorrently self-promoting as that of Donald Trump.
Ari Gold’s The Song of Sway Lake plays like several disparate melodies overlapping one another.
Passion, along with the delicious disorder that so often accompanies it, is only allowed into the film toward the end.
The filmmaker discusses what Ben Mendelsohn has in common with Catherine Keener.
Jonah Hill’s feature-length directorial debut, Mid90s, is a repository of contemporary indie trends.
It often suggests the film that American Beauty might have been if the latter had been pruned of its smug hysteria.
The film is a rallying cry against a suffocating patriarchy that rapes its servants and disenfranchises its daughters.