Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Leilo discusses finding the balance between his characters’ respective narrative arcs.
It too often relies on lazy synchronicity, drawing awkward parallels between Sakamoto and the films he’s worked on.
Throughout Avengeners: Infinity War, rapidity (of dialogue and drama) is mistaken for actual rhythm.
Every moment in Jones’s film is so precisely textured that it becomes fantastical.
One may wonder whether Per Fly would have been better served by making a documentary about the oil-for-food scandal.
In delivering its moral pabulum, Yolanda Ramke and Ben Howling’s film forgets to frighten its audience.
It proffers an ambiguous portrait of men attempting to do honorable work in a fundamentally dishonorable war.
It’s an earnest, genuine attempt to show the familiar hardships of a relationship, specifically one between two women.
With a humanistic touch, Peter Livolsi depicts people who never feel that they’re better than anyone else by virtue of their beliefs.
The actress discusses the film’s vacillations in tone and how she finds her characters.
With this film, Nathan Silver has created one of modern American cinema’s great not-quite-romances.
Every event in Michel Bergmann’s film is presented with the cheeky abandon of a lighthearted comedy.
It initially suggests a low-rent blend of a Polanski class parable with a relationship drama in the key of Malcolm D. Lee.
Abby Kohn and Marc Silverstein’s I Feel Pretty never really taps into the inherent absurdity of its premise.
Tellingly, Pass Over’s best moments are the documentary segments that frame the filmed performance.
Given the sheer amount of comic material in Super Troopers 2, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.
His films are obsessed with the ambiguity of villainy and the perishability of the human spirit.
In his new film, director William Friedkin locates the intersection existing between religion and pop culture.
It’s a neat trick, immuring audiences in the scowl of the skeptic, but after a while it becomes a cage.
Throughout the film, Lucas Belvaux sidelines the emotional textures that might complicate all his sermonizing.