Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Brian Taylor’s film invests a hoary conceit with disturbing and hilarious lunacy.
Obsessed by symbolism and decorum, Greg Barker’s documentary misses the sea change in plain sight.
The film fails to seriously address Joseph Beuys voluntarily joining the Hitler Youth and serving with the Luftwaffe.
The film mines its tale of magic for an imaginative allegory about the excesses of scientific inquiry.
Sutherland and Mirren are likeable here, but they’re stuck in little more than an upbeat wish-fulfillment fantasy.
The film is a doodle, but in its offhanded way, it effectively attests to the resolute nature of the Russian character.
Babak Najafi’s Proud Mary is a so-so action melodrama with an insulting whiff of generic blaxploitation stylistics.
The final optimism of the film’s worldview lands with a conviction that’s rare in contemporary Hollywood cinema.
Paul King’s Paddington 2 profoundly believes in the harmonizing power of warmth, politeness, and the absurd.
Wang Bing’s Bitter Money straddles a line between raw information and a formed, if open-ended, narrative.
Damon Cardasis follows a rather didactic approach to his 14-year-old’s protagonist’s plight in Saturday Church.
Ziad Doueiri’s film is well acted and staged with periodic liveliness, but its earnestness grows wearying.
Even when deeply rooted conflicts arise, the film balances the more argumentative outbursts with comic reprieves.
Last night during the Golden Globe Awards, 20th Century Fox premiered a new trailer for the spy thriller Red Sparrow.
Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
The Inside remake is at best competently mounted and at worst a case study in watering down chaos for an American market.
Daniela Thomas’s presentation of her story is so impassive, so doggedly unemphatic, that it makes little impact.
Humor Me writer-director Sam Hoffman isn’t willing to disrupt his familiar and tightly structured plot.
The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.
The film’s mixture of sensationalism and self-conscious artiness is experimentally disingenuous at best.