Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The directors’ judicious patience with their subjects allows them to capture some remarkable storytelling.
Havana Marking’s social observations resonate most effectively when she concentrates on the titular TV show itself.
It’s an apparatus by which audiences can see how easily political and social narratives can be manipulated.
It functions as a message-movie slasher film or, rather, a hot-button Passion of the Christ, replete with the participation of that film’s Jesus himself, Jim Caviezel.
Enervated and uselessly ugly, Surveillance does manage to create its own disturbing, alternate world.
Grief has rarely felt quite so empty as it does in Quiet Chaos.
A coolly elegant kineticist, Kathryn Bigelow specializes in impressionistic phallus jostles.
Mrs. Goundo’s Daughter probes the subaltern core of Mali’s feminine psychology.
Naftaly Gliksberg forgoes providing highly personal context that might have made up for the haphazard nature of his inquiry.
This is where I came from. And I’m happy about that.
Reconciliation is the watchword for the villagers in My Neighbor, My Killer whether they like it or not.
In 1984 it seemed as if this movie didn’t succeed with anyone except me.
This bibilical buddy comedy often makes you wish that 2001: A Space Odyssey’s dawn-of-man apes had never picked up that bone.
The program consists of a collection of short films created by youth from every far-flung corner of the world.
Macchio’s chemistry with Shue is as palpable as it is with Morita, though needless to say it plays in a different rhythm and key.
The film is the art house’s all-time “blind men describe an elephant” artifact, entirely by design.
Let’s cut to the chase: Is McG to blame for the semi-smoldering wreck that is Terminator Salvation?
The documentary Back Home Tomorrow blazes out of the gates with a form/content double-shot.
Paul Verhoeven found in Gerard Reve’s work a near-perfect mix of the cinematic ideas and images that stimulate him most.
On paper, the film’s only purpose is to resolve the seemingly insurmountable plot element of Spock’s death in Star Trek II: The Wrath of Khan.