Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Free Style provides ample opportunity to swoon over Corbin Bleu’s big floppy hair and Disney Channel-grade emoting.
The women interviewed here deserve a movie that does more than take them at their word.
If this is the best that out-of-order indie romances can get, why bother with them?
The sole saving grace of the film is St. Trinian’s student body.
There’s no denying the power of Bong’s tremendous stylistic control over the film’s shifts in mood.
The parrying between the withholding diva and her frustrated chronicler brings to mind Sunset Boulevard.
It’s a funny thing about repetition.
Despite the outrageous prices and rude patrons, I still prefer to watch movies where they were intended to be seen: in the movie theater.
It’s a prankster film that seems to have been made on the fly by Korine and a handful of his friends.
Souleymane Cissé targets his film specifically at polygamy’s prevalence among the leisure class.
Filipino filmmaker Raya Martin confuses broad scope with great depth in his alternate-history fable Independencia.
Among the certainties in the world of film criticism, there’s one that stands above all others.
Toy Story 2 errs on the side of sweet and light.
Throughout, you get a sense that Precious isn’t living out a recognizably human tragedy, but a condescending drama queen’s notion of one.
The film is a ravishing dose of pure cinema, and a litmus test for the viewer’s capacity to withstand Pedro Costa’s exacting formalism.
Harmony Korine’s Trash Humpers has a premise so mind-bogglingly stupid that the outcome could only be genius or daft.
Call it Land of the Dull.
Whatever his reasons, Khrzhanovsky directs his first (mostly) live-action feature, at age 69, as if it were his own last testament.
Toy Story does the impossible in casting us up.
As with Palindromes, the film revolves around a casting gimmick, with its predecessor’s roles now embodied by all new performers.