Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Throughout, it’s hard to know what’s real and what’s not.
The identifying phrase “New Italian cinema” is synonymous with that type of socially realist bildungsroman for adults.
Nia Vardalos soldiers on with the painfully unfunny assumption that everyone wants to be Greek.
Land of the Lost is halfway toward amusing, which means it’s just as close to awful.
This film and I have a minor history.
The film is structured like a comedy, but outfitted with only the most tedious sexual-identity riffs, generic characterizations, and no singular point of view.
Despite its meandering script, Sügisball is a mildly piquant experience.
Ball Don’t Lie contumaciously refuses to play to its strengths.
The straightforward, fly-on-the-wall approach that Nati Baratz takes doesn’t do justice to the supernatural aspect of such an incredible tale.
Sam Mendes makes movies that feel like department store displays, which makes Away We Go something of a surprise.
Todd Phillips peddles gonzo male camaraderie fantasies in which lifelong friendships are forged or reinforced through trials by fire.
First-time filmmaker Megumi Sasaki’s documentary Herb & Dorothy is as simple and straightforward as the subjects of its title.
While it may be short on insight, Kief Davidson’s movie has one distinct advantage: Kassim himself.
What we get from The Moon and the Sledgehammer is finally of considerably more significance than what we don’t.
The film coasts along lackadaisically, its early modesty helping to partially offset the corniness of its race-against-cancer setup.
The film’s premise seems ripe for execution in the vein of Neil LaBute’s style of behind-closed-doors perversion.
Yolande Moreau’s performance also proves a perfect tonal match for Martin Provost’s subtle, meticulous, and frequently beautiful compositions.
Herzog’s world is harsh and cruel, dominated by a violent natural order in which humanity’s place is precarious at best.
Like most of the others working on God’s Land, I have a day job that has nothing to do with filmmaking or entertainment.
Some of Hawks’s early films don’t have his distinctly dry personality, but Red Line is a helplessly personal movie about…impotence?