Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
If it turned out to be Spielberg’s final film, it would make for a fitting final curtain call for his brand of escapism.
The festival is rich in contemplations of identity, tradition, and more that straddle the line between truth and fiction.
RaMell Ross’s documentary is more powerful when its imagery more obliquely subverts historical totems.
The film is a dazzling collage of styles and approaches in which every scene feels different from the one before.
In a city known for reinvention, anyone can be anything, which implies that everyone is also no one.
Writer-director Susan Walter’s film is almost determined to disprove the causality of social phenomena.
After a certain point, Olivia Newman’s film treats the womanhood of its main character as an afterthought.
In a move that reaffirms its structuralist concerns, the film concludes on a bald-faced homage to Wavelength.
For all the trauma that suffuses its middle act, Valérie Massadian’s Milla nonetheless resolves on a hopeful note.
It works as a warning shot for those standing to lose their privilege were women actually allowed to write their own stories.
The film is a collection of old-fogey clichés, with a narrative that mixes a career retrospective with a road trip.
Lynn Shelton’s film firmly resists supplying its main characters with easy, you-can-have-it-all answers.
Brad Anderson’s Beirut shows how espionage might appeal to the sort of masochist who’s also an adrenaline addict.
If nothing else, writer-director Hlynur Pálmason’s film is a feat of formal conception and craftsmanship.
Arthur Conan Doyle’s legendary characters feel as if they’ve been air-dropped into a universe where they don’t belong.
Throughout, Midnight Sun’s tone vacillates jarringly between corny, broad humor and unrestrained treacle.
It resists exalting its main character merely for his resilience in the face of such a harsh, uncaring reality.
Its simple but valuable moral lesson finds comfortable enough expression in an aesthetic that’s banal but consistent.
Black Mother finds director Khalik Allah doubling down on his established aesthetic to bold, hypnotic ends.
Pacific Rim Uprising is a more fascinating, unpredictable creation than its predecessor, and one that sticks longer in the mind.