Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
I, Tonya’s attempts to implicate viewers is its broken shoelace, too pat and glib to be convincing.
The impudent, unruly streak that so often gives Guillermo del Toro’s films their pulse has been airbrushed away.
Brian Smrz never contrasts the film’s violence with stillness, allowing us to enjoy a sense of foreboding escalation.
This is a gruesome art-world fairy tale unafraid to face the bitter details of its hero’s tumultuous life.
The unvaried register of the filmmaking leads the narrative to feel aimless and dramatically inert.
It’s hard to come away from the film feeling anything but disdain and a twinge of embarrassment toward Gay Talese.
Throughout, everything blurs together into a frenzy of outrageous emotions and hysterical behavior.
The film ends up defining Loïe Fuller less by her innovations than by her willingness to suffer for her art.
Throughout, Francesco Patierno’s pacing is too hurried to lend much depth or insight to the film’s revelations.
Bharat Nalluri’s The Man Who Invented Christmas doesn’t seem remotely aware of the scenario’s ultimate irony.
Sion Sono, allergic to subtlety, is terrified that we won’t notice his detonation of Nikkatsu’s sexploitation traditions.
The film curiously steers toward surmising Hedy Lamarr’s psychological state as it pertained to love and pleasure.
The actor discusses how he throws himself physically into his roles.
It hits concurrent notes of peril and bliss, but even at a scant 67 minutes it can seem a bit aimless and scattershot.
The film brings Pixar’s emotional directness to a festive, reverent, and wide-ranging pastiche of Mexican culture.
Golden Exits, the new film by Alex Ross Perry, a favorite of this festival, is an explosion of the director’s aesthetic.
Andrea Pallaoro’s Hannah attains a discomfiting intimacy in its chilly examination of a woman coming undone.
Director Timothy Reckart’s The Star turns the greatest story ever told into just another kids’ movie.
The film reinforces the idea that it’s the job of those with disabilities to inspire the jerks of the word to be nicer.
Matthew Porterfield’s Sollers Point conveys the limitations of freedom within towns like the one at its center.