Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film suggests a throwback to one of those old Hollywood moonshots of thorny romance and life-or-death adventure.
Throughout the film, we come to understand the camera’s distance from its subjects as an act of respect.
Claire Denis finds the inexorable beauty (and sadness) in that most corrosive and fugacious of feelings.
It’s modest in scope, its concerns limited to man’s attempts to live both morally and harmoniously with nature.
Andrei Konchalovsky’s film is more than an exercise, as pitiless moments accumulate with enraged relentlessness.
The film is deeply concerned with the salvation found in the meditative power of the arts.
Brawl in Cell Block 99’s economy of storytelling is as efficiently brutal as the eventual skull-crackings.
How strange and apt that the year’s most sensorially and ideologically dense film is a comedy of microaggressions.
The film gives Una a little more agency, but director Benedict Andrews often invalidates such empowerment.
It begins as a clever pseudo-mumblecore provocation only to quickly turn into indefensible nonsense.
The film’s hopscotching-in-time structure, informed by specific remembrances of Chavela Vargas’s life, is refreshingly unconventional.
It’s anchored by two intuitive performances which mine the psychological complexities of a troubled relationship.
Joe Wright’s Darkest Hour reinforces only the most simplistic and patriotic vision of Winston Churchill.
It passionately covers a number of important issues without quite unifying them into a coherent whole.
Noah Baumbach’s The Meyerowitz Stories is a cunning and frequently hilarious film about exhuming the past and finding no diamond in the rough.
Simon Curtis’s film is often bathetic, but its most glaring faults lie in its extreme structural imbalance.
Ismael’s Ghosts simultaneously collapses and expands Arnaud Desplechin’s entire body of work.
Throughout, it always threatens to put too fine a point on otherwise thrillingly indeterminate situational comedy.
Last Flag Flying is colored by how time reshapes our sense of self, embracing some memories while occluding others.
Doug Liman’s American Made largely eschews any sense of verisimilitude in favor of wacky comedy bits.