Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
It takes aim at myriad targets and bluntly satirizing them in disparate styles that never mesh into a cohesive whole.
Daniel Zelik Berk’s film trots out murky plot twists that leave crucial details needlessly shrouded in mystery.
The film is preposterously conceived, but Stephen Susco so tightly, excitingly executes it that you hardly notice.
Reiner discusses the surprising new urgency that his new film took on after the 2016 election.
\Underlying many scenes is a strain of eeriness, as if the film were offering up a post-human spin on Pretty in Pink.
Fallout’s action scenes are cleanly composed and easy to follow, and so abundant as to become monotonous.
Jake Meginsky’s documentary is insular, precious, and too pleased with its unwillingness to reach out to the unconverted.
Burnham discusses how his film is an extension of his comedy work.
Skyscraper is little more than a faster-higher-stronger amalgamation of Die Hard and The Towering Inferno.
Kelly Macdonald is a master of understated vulnerability, but she can’t steer the film out of the doldrums.
It reveals that Alexander McQueen’s suicide was perhaps the all-too-predictable ending to a history of violence.
Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.
By the end of the film, it’s clear that the most merciful act for the series may be a stake through the heart.
Van Sant discusses the long road in bringing late cartoonist John Callahan’s life to the screen.
Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
The film is less concerned with placing Gauguin in his historical context than it is with his emotional tribulations.
The latest from Yorgos Lanthimos, The Favourite, takes us to the early 18th century, when England and France are at war.
In effect, it positions young jihadis less as fervid, bloodthirsty psychopaths and more as dumb kids at summer camp.
The various twists are all easy to spot and do nothing to challenge what we first learn about the characters.
Typical of Godard, the premise is only a means to take audiences down a series of rabbit holes.