Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Throughout, Rainer Werner Fassbinder delights in the little moments that embolden routine with a spark of possibility.
The film, so devoted to the intricacies of the autistic experience, makes its comedy and pathos inextricable.
Like the play, it makes something so viable, tense, and compelling out of the anxious boredom of trench warfare.
Complicating Sophie Turner’s character would have allowed the film to feel as if it had more on its mind than pulling the rug out from under us.
The potential comic absurdities of the premise are squandered as soon as the film settles into a tepid coming-of-age tale.
Gringo’s circuitous narrative never allows for a character or storyline to develop in a particularly efficient way.
The film is content to deliver a few jumpy thrills before slinking away into the night like one of its murderous marauders.
Jared Leto is clearly intended to make this take on the yakuza underworld palatable for U.S. viewers.
Hong Sang-soo’s Claire’s Camera is governed by a narrative circle that suggests relief as well as entrapment.
A Wrinkle in Time’s by and large cramped worlds never look like anything other than animated projections.
This talented, hard-working thespian’s feeling for tumult is matched by his feeling for concision.
The artist discusses the role photography plays in his work and the sculptural nature of farming.
Andy Goldsworthy’s landscape-based sculptures explore impermanency as a sign of grace and transcendence.
Khalik Allah’s Black Mother is an aesthetic experience that’s at once raw, exalted, and singular.
Roland Joffé’s film is largely successful in its attempt to grapple with the terrible truths of apartheid and its legacy.
The battle of wills between Lavrentiy Beria and Nikita Khrushchev propels the film’s most pointed satire.
Thoroughbreds is a film about the disastrous perils of too little empathy, but it never evinces much of its own.
This is a complete list of our predicted winners at the 2018 Academy Awards with links to individual articles.
What the contents of Faye Dunaway’s envelope taught us is that best picture can’t just be the most safely, inoffensively well-liked film.
It’s difficult to think of a film more out of step with the current culture than Eli Roth’s Death Wish remake.