Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
It creates a mood of philosophical pensiveness that casts genre mechanisms as pieces of a haunting puzzle about inner reflection and identity definition.
Black Dynamite reproduces the extreme-contrast visual palette, lame musical cues, gratuitous violence, cheesy kung-fu combat, and macho ladies’ man one-liners of its predecessors.
The film is a twee Danish comedy that alternates trite New Age psychological moves with outbursts of cartoonish violence.
A largely sentimental documentary of the final months of the Valhalla of New York punk clubs and the failed attempts to save it.
With Outrage, filmmaker Kirby Dick falls short of his previous, nuanced work in Sick and Derrida.
Cropsey promotes the notion that Andre Rand may have been a scapegoat for a community with a history of denial.
Digesting over 500 hours of footage, Marshall Curry has expertly stitched together a 90-minute triumph in crowd-pleasing, wholesome entertainment.
As abstract modes manifest a deluge of unearthly creatures and madness, Dazzle reveals the crack in the walls of humanity.
These bucolic 30-year-old ninnies are even more tiresome than the randy little shits the stars played in their breakthrough vehicle.
Jake Goldberger has lassoed a great cast to ham it up in this comical homage to Billy Wilder’s classic noirs.
Alexis Manya Spraic leaves no stone unturned in her exposé of Larry Hillblom.
Easy Virtue gracelessly flattens its creator’s light gifts.
Once the legends hit the stage, the film finds a more comfortable groove.
The film is a studied testament to the splintered state of the gay community.
The film suggests nothing more than an homage to Pretty in Pink or Some Kind of Wonderful.
Exasperating for its mundane narrative of youthful non-courtship camouflaged by Manhattan street-video naturalism.
The film unavoidably devolves into a treatise that, though timely, feels a tad too on the nose.
The latest from the Dogma cine-factory is notable for director Kristian Levring’s visual suggestion of madness.
Even those with a soft spot for 1991’s cult PBS documentary The Dancing Outlaw will likely have a hard time warming up to the doc.
It banks on the sizzle of its pair of young female stars and their enactment of class and erotic tensions to flavor its Sapphic noir melodrama.