Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Say what you will about Boaz Yakin’s epically awful Death in Love, but it wastes no time letting you know what you’re in for.
At least the charmingly brittle chemistry between leads Katherine Heigl and Gerard Butler keeps things moving pleasurably enough along.
Godard’s films are records (documentaries, even) of personal interests, ecstasies, and agonies at a particular time in the artist’s life.
Actor and avid sailor Sterling Hayden once said that no film has ever really captured the true essence of sea travel.
The dualities that abound in Jean-Luc Godard’s film are ubiquitous at whatever starting point one chooses.
At least John Hindman manages to keep his game performers from completely overdoing it.
Lee Anne Schmitt’s California Company Town is a social and aesthetic document of promise betrayed.
Director Geoffrey Smith presents issues of morality and mercy in all their heartrending complexity.
Chris Fuller leaves plenty of room for the viewer to create his own meaning. Perhaps too much.
A dramatization of a German woman’s diary chronicling the closing days of WWII, A Woman in Berlin shares something in common with its main character: anonymity.
Eileen Yaghoobian’s film provides a rare glimpse into the minds of the people behind concert posters.
The kid is standing there punching my hand over and over again, monitoring his breath.
The film never manages to generate the dramatic momentum necessary to create requisite suspense or a sense of import.
Wait a minute, isn’t success supposed to have a thousand fathers?
The Way We Get By’s empathetic reserve is only sullied by occasional lapses into cross-cutting and musical italicizing.
Its visual splendor seems designed to remedy the audience’s collective memory of the moon landing as a grainy, square image on TV.
Just sincere enough not to seem target-marketed, the film is a charmer of both semi-classic and partially derivative proportions.
The film is pitched halfway between legitimately self-aware slasher camp and—shudder—a sincere relationship thriller.
Sex slavery, Japanese hit men, and ordinary car thieves converge on the mean streets of Long Island City in Off Jackson Avenue.
While watching Sacha Baron Cohen’s latest parody of American narcissism and bigotry, another cinematic prankster came to mind: Lars von Trier.