Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film is one of the few entrancingly esoteric, radically raw dialectics ever made.
Do the Right Thing is an undiluted representation of its creator’s artistic command.
Its status as the film that confirmed both Stanley Kubrick’s reputation and the arrival of beat-sick irreverence can no longer be retracted.
What would another occupation bring, and when will Israel and the U.S. join 111 nations in signing a cluster-bomb ban agreement?
The Bounty delivered everything a great sea story should.
Let’s face it, there’s plenty wrong with the so-called wholesome entertainment of the mid-1980s.
The film operates as though it contains the undiluted essence of life’s fueling dialectic formula.
Sandra Bullock and Ryan Reynolds’s fruitful combative rapport can’t withstand the film’s adherence to formula.
Unfortunately, Masha Novikova’s documentary doesn’t sizzle like its title, but merely fizzles out.
There is something distinctly portentous about seeing a foreigner dressed as a gangster.
Hematophagous audiences dissatisfied with Drag Me to Hell could do worse for a double feature than Dead Snow.
The End of the Line brings glad tidings of a new threat to the planet’s sustainability.
The film is a rigorously researched and highly thorough piece of investigative reporting on the silent epidemic that is Lyme disease.
As it unfolds, Woody Allen’s Whatever Works assumes an increasing note of poignancy.
Last Holiday is a tour-de-force of nuanced, humanist-minded performance.
Barmak Akram depicts his milieu and its inhabitants as struggling to face the obligations that arise from their complicated circumstances.
Director Aida Begic does well in establishing her protagonist’s dogged labor as grief put into memorial, kinetic action.
Crude is both a tribute to human-rights tenacity and a sobering account of the multinational-Moloch greed that can keep justice in limbo.
Coppola discusses what it means to be a personal filmmaker these days in Hollywood.
Godfrey Cheshire’s film avoids the pitfalls of its most obvious precursor, 1997’s Family Name.