Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Bing Liu masterfully uses his insider’s access, managing to stay inside and outside of the material at once.
Jesse Peretz’s film is loaded with inconsequential detours and questionable character psychology.
Alison McAlpine’s documentary lacks urgency beyond its persistent pondering of the sky’s eternal mysteries.
The actor discusses what Jonathan Groff taught him about being number one on the call sheet.
The Wife beats us over the head with a morality tale of women not standing a chance in the workplace.
Director Jeremiah Zagar’s powers of observation eclipse his feel for expressionism and melodrama.
It all feels cheap, a far cry from what S. Craig Zahler can do when overseeing both a film’s words as well as its images.
The filmmakers mine a good deal of satirical humor from their characters’ thirst for extravagance.
Growing pains and burgeoning sexual identity take center stage in several titles duking it out for the Pardo d’Oro at this year’s festival.
The festival program successfully raises universal questions that transcend the context in which they’re asked.
Decker discusses her film’s flamboyant imagery and her affinity for horror.
The Meg resonates for the way its computer-generated beast makes way for the Statham-acious spotlight.
Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
The film is concerned above all with ensuring that we share its main character’s sense of dislocation and entrapment.
Today, the Film Society of Lincoln Center’s New York Film Festival announced its main slate of films for this year’s event.
The film creates an incestuous atmosphere that’s reminiscent of the stories of Edgar Allan Poe.
It’s clear-eyed about its young characters, even if the drama it constructs around them tends toward the superficial.
Martin Scorsese captures the exquisite agony and pleasure of passion that’s forced to remain theoretical.
The cumulative effect of the film’s realist approach reinforces the unsparing nature of international conflict.
Unlike the red balloon that Pooh follows through much of the running time, Marc Forster’s film lacks lightness.