Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
There are horrors, yet the film’s overall mood is one of enchantment.
Despite the ever-lurking presence of death, Andrzej Wajda’s in a playful mood throughout, having fun with his legacy.
Ade’s film is an instant contender for the pantheon of breakup movies.
After the monotonous guide through history that was In Search of Mozart, Phil Grabsky’s follow-up plays like a much-needed shot of adrenaline.
Jonathan Mostow succeeds only in delivering an action film that’s as artificial as its subjects.
The film’s bibilical allusions and interest in issues of morality and madness are too facile to prop up a lack of second-half scares.
Like its gifted if excitable protagonists, Fame would have done well to stay in the classroom a bit more.
Police, Adjective is really two movies, varying significantly in their degree of success.
Scott Hicks’s largely unsteady grip on the story derails the film from its initial path of depicting genuine anguish.
At best, Don Argott advances David Simon’s art to offer a leaner, meaner template for complex investigative filmmaking.
Michael Almereyda’s latest documentary is a series of incidents, moments in time, collected over 10 years of travel.
All the world’s a stage, and everyone in it is a drama queen.
As screenwriters, here is why you should do your research.
It paints a haunting trifurcated portrait of people set adrift by forced large-scale economic and cultural transformations.
Eccentricities of a Blonde-Haired Girl is one of Manoel de Oliveira’s more banal inquiries into the objectification of women in life and in art.
The most interesting aspect of Capitalism: A Love Story, the latest doc from the once-radical Michael Moore, has nothing to do with the film's subject matter.
After Jean-Pierre Jeunet’s wantonly prettified toy cities, Trash Humpers’s pageant of belligerent grubbiness is almost welcome.
Robert Wise’s oeuvre is a study in extreme contrasts.
The employment of façades is a key motif in Broken Embraces, and an unintentionally apt one at that.
I wish I could say the film was about the homoerotics of phallic compensation, pathological American individualism, or the relationship between analyst and analysand.