Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
Michel Hazanavicius co-opts Jean-Luc Godard’s personal life for cheap prestige-picture sentiment.
The new trailer for Ocean’s 8 reminds us, more than once, that committing a crime can be deliciously fun.
All eyes (at least most) are now on Timothée Chalamet.
This morning, the lineup for the 71st Cannes Film Festival was revealed.
Unlike Gareth Edwards’s Godzilla, which benefited from its Jaws-style slow burn, it’s all noise without crescendo.
The filmmaker discusses her inquiry into Argentina’s colonial past, shooting on digital, and more.
Director Jeff Wadlow’s Truth or Dare is, overwhelmingly, a silly horror flick that’s unconcerned with its silliness.
The triumph of Disobedience is how the performances and style exteriorize the interior worlds of the characters.
The film admirable in its defiance of recognizable modes and its naked showcase of Dumont’s exploding imagination.
Rüdiger Suchsland’s film is a master class in the relationship between image production and ideology writ large.
An incessant deluge of subplots drowns what could have been a sparse and beautiful ghost story.
Director Joshua Marston’s Come Sunday exists in a vacuum of blandly expositional generality.
It flattens Maryla’s personal story into hazy generalities about tolerance and the value of remembrance.
Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.
Even the depiction of how they waver during Wimbledon final fails to tie into the larger portrait of their rivalry.
The gravity of Krystal’s situation is undermined at every turn by the filmmakers’ excessively broad, comedic strokes.
Submergence’s globetrotting only succeeds at exposing the hollowness of the characters at the film’s center.
The effect of Sophie Fiennes’s approach to her subject is to take us out of normal time and put us on Grace Jones time.
The film adopts a half-hearted variation on A Beautiful Mind’s gimmicky approach to grappling with a man’s mental illness.