Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
King Hu approaches the film’s physics-defying skirmishes and supernatural elements with complete sincerity.
The film is superficial when it means to be elliptical and regressive in its attempts to promote tolerance.
The discordant editing rhythms of Jeff Unay’s The Cage Fighter convey an erratic sense of time’s passing.
Lin Oeding’s film thrives on both the beauty of its natural, snowbound surroundings and the brutal instincts of man.
This man of many hats riffed on male anxiety, the lasting appeal of the horror genre, and more.
Oscar nominations were announced Tuesday morning, with Guillermo del Toro’s The Shape of Water leading the way with 13 nominations.
The film is most engrossing when the camera is channeling the peripatetic spirit of the main character.
The film’s animation is abundant in detailed backgrounds that make the characters stand out like placards.
Amos Gitai makes it difficult for viewers who lack intimate knowledge of the conflict to follow the proceedings.
The will-they-won’t-they of the film is a non-starter, and as such the film’s climax is stripped of suspense.
Dakota Fanning’s Wendy is less a truly thought-through character than a compendium of quirks.
The film isn’t just a social and political landmark, but a technical and aesthetic one as well.
Like Me is an unconventional fusion of horror film, road movie, and sadomasochistic sex drama.
Though it pretends to stick up for all the schmucks in the world, the film is really just laughing along with the assholes.
Den of Thieves displays a reverence for the taut and moody tension-building tactics of Michael Mann’s Heat.
Until proven otherwise, we see no reason not to be optimistic about the Grand Pooh-Bah of film prizes’ potential for further underdog surprises.
Forever My Girl makes one wonder if Bethany Ashton Wolf actually thinks this is what true love is like.
12 Strong inevitably proceeds as a jaunty imperial adventure through the wilds of northern Afghanistan.
The film’s tension between ethnographic ensemble study and thesis-oriented docu-essay is irreconcilable.
Emotional complication might have elevated Maze Runner: The Death Cure out of its programmatic torpor.