Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Béla Fleck, jazz/bluegrass banjo player, embarks on an African adventure in Sascha Paladino’s documentary.
Cult director Monte Hellman lets the motors do the talking in Two-Lane Blacktop.
When 17 Again isn’t pilfering from its betters, it’s engaging in the most Pavlovian button-pushing.
The film is a pure narcotized rush of blistering action, odious stereotypes, and shock-for-shock’s-sake nastiness.
Honigmann’s mastery of craft is abundantly clear in the fixed and methodical camerawork.
Ondi Timoner is fascinated by troubled men of extraordinary insight, calling them “delusional visionaries.”
Heddy Honigmann’s presence is mostly low-key and observational, binding her interviewees’ testimony with recurring footage of recent heads of state.
Lemon Tree rests on its aura of subliminal female solidarity.
This series finale episode will probably not go down in TV history as one of the great series finales.
Kevin Macdonald can’t begin to approach the paranoid genre mastery seen in the films of John Frankenheimer and Alan Pakula.
The film is a workmanlike slab of agitprop against racially profiled drug sweeps and plea bargains that extort innocents into ruin.
Daniel Adams’s adaptation of Joseph Lincoln’s novel Cap’n Eri could just as easily be called Two Brides for Three Salty Seadogs.
It’s a testament to Michael Caine that Is Anybody There? is even sporadically palatable..
Sleep Dealer grapples with the Latino immigrant experience, and it does so by harnessing the batty tropes of science fiction.
The film consistently trips over its zeal to approach the heady subject matter without appearing reductive.
A more accurately descriptive moniker would have been Dragonball Stagnation.
How does Miley decide when and where to be Hannah in the first place?
Wallace wrote for Premiere in the mid-to-late 1990s, about subjects as diverse as David Lynch, Terminator 2, and the Adult Video News Awards.
The documentary instead serves as a fairly surface-oriented hagiography of a self-conscious rock-star photographer.