Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Though well cast, the film simply lacks for the very mysteries that dignify the novel.
Observe and Report is funny most precisely because it’s sad—as well as sick, skeezy, and just this side of scary.
Lymelife loads its thin running time with enough content for a film twice its length.
George Orwell’s work cuts across the political spectrum.
While Lord knows the last thing the Oscar telecast needs is to be longer, one category I would love to see added to the proceedings is best ensemble.
The central gimmick inspires one to paraphrase guruji Louis Armstrong: He who has to ask what yoga is never gets to know.
Adventureland is a sweet-hearted study of romance among college grads coping with their new independence in the summer of 1987.
When we started recording these, they were a joke.
The film is elevated by Brian Cox’s hardnosed, desperate performance as the ringleader of a five-man team escaping from a London penitentiary.
Whereas John Singleton’s 2 Fast 2 Furious had fun indulging in incessant auto-erotica, there’s little sexiness here.
Dreyer was committed to the idea of romantic and sexual love between two people as the living embodiment of God on earth.
Forbidden Lie$’s expressionistic tendencies eventually come off as needless ornamentation.
Anna Boden and Ryan Fleck are up to bat again with the immigrant baseball story Sugar.
The overbearing Lifelines is a service not worth dialing.
The picture signaled a welcome return to the settings and themes of Rossellini’s neorealist origins after years of baffling experiments.
The bloated, cocksure eponymous character of Danton makes for a puzzling fictional hero, especially in light of his historicity.
Majid Majidi’s lyrical, gently comic The Song of Sparrows grounds its low-key humor in the realities of poor, semi-rural Iranian life.
Sugar ultimately runs headlong away from the clichés that mar formula sports-related narrative films.
Renny Harlin’s 12 Rounds attempts to put the final nail in the coffin of the static shot.
Coming off helming the Judd Apatow-produced smash Superbad, Mottola goes for more blatantly tender notes in filming his pet project.