Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Films aren’t built on sexy motors alone.
It’s not beer, it’s not drugs, it’s just a film, and yet we leave elated, having been taken for a ride.
Steven Soderbergh merely grafts the wheeler-dealer movie industry he knows so well onto the sex biz and calls it a day.
Pressure Cooker is breathtakingly equal opportunity in its search for human poetry.
Communication by touch is perversely the film’s most effective reoccurring image.
The film is a giddy procession of intermittently successful jump scares and make-you-vomit sight gags.
Adapt if you can, director Diane Cheklich seems to be saying, and if you can’t, well too damn bad.
For better and (largely) for worse, Owl and the Sparrow is defined by its Amerindie aesthetic.
Stephen McHattie has a voice like a baritone snake, equal parts silky and sinister, and it’s the main attraction of Pontypool.
What Goes Up’s point that Americans create icons to fulfill their own screwy needs is made through contrived and nonsensical plotting.
The film meditates on the myriad permutations of love and sensuality, from familial longings to food fetishes.
They’re just cars, powerful and loud, that look cool and go fast. And in David Cronenberg’s hands, that’s almost enough.
God help you the second you start thinking about this film again.
This is probably one of the busiest blockbusters I have seen in a while.
Judgment Day finally happens in Terminator Salvation, and as Sarah Connor predicted, anybody not wearing two-million sunblock has a really bad day.
The film often plays like a straight-faced homage to a genre of film that has been cannily geared in recent years to urban audiences.
The nuances of human relationships are conveyed via Pixar’s predictably acute attention to detail, coded in mysterious evocations of mood.
It homes in on the quotidian small talk characteristic of people who define themselves by defining themselves.
Director Shawn Levy remains unable to convey the type of grand, awe-inspiring scope and wonder that his material requires.
When Jim Jarmusch met hard-boiled, irreverent Japanese filmmaker Seijun Suzuki, they spent an entire evening hanging out.