Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Gene Wilder is, of course, the reason that most people think they like this movie.
If you’ve ever watched Unsolved Mysteries, you’re already well acquainted with the pleasures of The Fourth Kind.
The film never quite musters up the energy to dive headfirst into the cosmic and fatalistic implications of death-by-weather.
Endgame is one of those films whose heart-in-the-right-place earnestness is so palpable that you kind of feel bad knocking it.
Robert Zemeckis is as committed to motion-capture CG animation as Ebenezer Scrooge is to pinching pennies.
Christian horror films wear their faiths on their sleeves, but more often than not their protagonists wind up coming to terms with their own agnosticism.
The film resides between two default docu-perspectives and it’s all the better for it.
Like so many Merchant-Ivory films, Howards End is a luxurious frame without a picture.
One has to wonder how posterity might have treated The Dead had it not been Huston’s final film.
The grand theme of Wim Wenders’s film is storytelling in all its forms as a coping mechanism of the human race.
The film gets at something essential about man’s sense of his own dignity and the importance to the American notion of self.
Frederick Wiseman is concerned with process, the process of art’s creation, and, to a lesser degree, the process of an institution’s functioning.
American Movie director Chris Smith affects an Errol Morris pose with Collapse.
The film’s scattershot blasts at unconventional warfare and hippie transcendentalism are too impotent to produce much laughter.
Splinterheads seems to have misplaced most of its jokes.
So what did frighten me as a kid?
Trouble Every Day is quite possibly Claire Denis’s most challenging and unsettling film, both utterly typical of her approach and yet also a true outlier in her career.
This Is It is, in spite of all efforts made by Sony and their team of embalmers to obfuscate it, a genuinely haunted document.
Even with the Bush and Iraq documentaries, I still try to end on an upbeat note.
All five movies give their young characters complete ownership of their respective worlds.