Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Behind the music, Saturday Night Fever is more or less a chip off of Rocky’s block.
By stripping away the political context that made Forrest Gump a pop culture hot potato, this film isolates and magnifies its story’s emotional appeal.
The film is all swagger and mouth, but with no real affinity for the grittiness of thug life.
The film is a galvanizing tribute to the undeniable muscle behind one singular communal voice.
It’s easier to think of the film as a qualified success given its undeniable recovery from a laughably abysmal opening scene.
Ferris’s upbringing allows him the luxury of flitting all he wants like he actually earns his joie de vivre.
The film is a center without a hold.
Now that the geeks have inherited the earth, Objectified examines their ethos and process for remaking it through industrial design.
Even the trip to Long Island where we were shooting our scenes felt a little traumatic.
Slant caught up with del Toro in Beverly Hills to discuss his work with his fellow Mexican filmmakers.
The Eclipse is a much duller tale than its Irish literary festival setting would suggest.
An exposé of severe poverty with every trace of glamour carefully removed, the film trains its camera on the poorest of the poor.
Interestingly enough, Atom Egoyan provides his own critique of his dizzying, thematically dense whatsit, albeit inadvertently.
All the world’s a financial transaction just waiting to be negotiated in The Girlfriend Experience.
The film is an unruly beast, always in sync with its out-of-control protagonist.
Th film forgoes campy self-awareness in favor of reverential faithfulness.
Little Ashes is less a film than just a series of bad ideas piled on top of one another.
Armando Iannucci’s debut feature In The Loop carries on the staggering comedic traditions of its source material.
You never forget your first love, which in the case of Eric Bana was a 1974 Ford XB Falcon Couple nicknamed “the Beast.”
The film is a revelatory howl against the still-gestating, $8 trillion-and-counting financial-services industry bailout.