Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller.
The Sisters Brothers proffers a sort of Edenic vision of a latter-day El Dorado that’s worth basking in.
The rapport between Richard E. Grant and Melissa McCarthy offers deeper pleasures than the main plot of the film.
The intimacy of writer-director Mia Hansen-Løve’s Maya is as precise as its intellect is vague.
It often exhibits an interest only in the accrual of incidents, which eschews psychological shading.
High Life is a vision of the future as bleak and feverish as director Claire Denis’s 2013 thriller Bastards.
Director Panos Cosmatos’s Mandy is a profoundly violent and weirdly moving poem of male alienation.
None of director Steve McQueen’s prior features has explored its subtext with such depth.
There’s something missing here, a spark of zeal and immediacy to the depiction of anti-democratic atrocity.
Like the film, Dave Bautista’s Knox is a copy of a copy, shorn of the details that distinguish a true original.
With Burning, Lee Chang-dong extraordinarily obliterates the bifurcation between life and representation.
There’s barely a single scare in this Halloween that isn’t undermined by some forced bit of funniness,
By treating its main character as exceptional, the film validates the punitive system it seeks to criticize.
Olivier Assayas drains the film of the playfulness at its margins, leaving only an esoteric lecture in its place.
As always with Frederick Wiseman, it’s the quotidian gestures that haunt one in Monrovia, Indiana.
Who knew that Will Tippin from Alias and Mother Monster had this much spark between them?
Director Shane Black’s streak of puckish nihilism is an attitude that makes him a perfect for this franchise.
Wildlife, a film about the destruction and rebuilding of self-esteem and the self, is utterly devoid of ego.
Peppermint, Pierre Morel’s first feature film set in the United States, is brainless propaganda for the MAGA market.
The film’s florid screenplay affords Yorgos Lanthimos ample opportunity to assert his idiosyncratic worldview.