Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Like Gabriel García Márquez, Carlos Sorin creates imagery with sensual exactitude.
The film understands the ways in which unspoken resentments tend to accumulate and unresolved conflicts later harden into regrets.
But it’s hard to reconcile this Ceylan with the deadpan stylist who drew my attention with 2002’s Distant.
America’s relationship with Star Trek began before man ever set foot on the moon.
It’s not the music, it’s the refrains that got me.
Looking for an adultery- and revenge-fueled family melodrama so subdued that it keeps a hit-and-run fatality, cuckoldry, and murder entirely off screen?
Here, Logan is a blandly brooding bore too grumpy to be a prototypical do-gooder yet too noble to be a cold-blooded antihero.
The too-much-information age is a strange thing indeed.
Matthew McConaughey has the looks, charm, and self-deprecating good humor fit for modern assembly-line studio rom-coms.
The film uses sex comedy to espouse the retrograde notion that the only fulfilling sexual position is one-man-one-woman missionary.
Despite occasional stabs at humor, Eldorado is a tragedy.
In Ice People, director Anne Aghion locates the banal amid the beautiful solitude of the Antarctic landscape.
The film is an obtuse stylistic immersion from the typically on-point and perceptive Jim Jarmusch.
The film is uninterested in developing one of these characters beyond a near-silent abstraction.
Revanche is a character-driven fallout-from-crime tale full of midsummer sunlight and yearnings for redemption.
The Skeptic awkwardly suggests Poltergeist as a 12-step self-help program.
Even in the wake of Shortbus’s auto-fellatio and musical rimjobs, it still retains the capacity to reduce audiences into paroxysms of humpy outrage.
Nagisa Oshima just can’t win. After getting in trouble for being too pornographic, he was chastised for not being pornographic enough.
Surely first-time writer-director Lindsey Christian knew what she was doing.