Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film is a nasty, soulless celebration of everything cool and romantic about violence.
Jared Hess still seems to see his characters as little more than objects of comedic fun.
A brief walk through a local Barnes and Noble effortlessly castrates the movie’s ambiguous satirical aspirations.
The film’s first half is a refreshing portrait of an idyllic elsewhere that seems to have escaped globalization’s commodify-or-die edicts.
Not one of the Mistress’s finest, but amusing.
The film’s more conventional elements are overcome by a core of idealism and fury that shows “incredible resistance.”
Spoilers ahead, this is going to get ugly.
In cinema as in life, the devotion inspired by cults can—like the Jonestown thirst for Kool-Aid—border on lunacy.
Labor Day is a promotional film best suited for broadcast in an office lobby.
Anthony Fabian treats his material with a respectful reserve that keeps events from toppling over into corny histrionics.
Storm effectively builds its moral and political investigation into the fabric of its central court case.
An Irish-set comedy-drama, Turning Green isn’t particularly comic or compellingly dramatic.
The Saw franchise goes, ugh, topical with this sixth installment.
Like Werner Herzog, Denmark’s premiere provocateur knows not to be afraid to laugh at the absurdity of chaos.
Stan Helsing’s satire-on-satire approach is little more than a crutch for newfound levels of brazen stupidity and filmmaking laziness.
To be worth a damn, the material must avoid insincerity.
It’s hard to escape the feeling that this is one film that already has its eye on the next chapter.
The film’s form overshadows its debt to reportage as most would understand the term.
Astro Boy succeeds at creating a complex world filled with second-class robots and sometimes careless, greedy humans.
Mira Nair has clear gifts as a director, and her most appealing are her generosity and sense of texture.