Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The stark melancholia of The Shaft achieves a rare authenticity.
The film possesses a comfortable feel for both its rural Oklahoma setting and Native American community, but little else.
Review: Stay the Same Never Change is catnip for devotees of Laura Mulvey and art installations.
BirdWatchers tells a story of great friction at once eerily poetic and didactic.
So Yong Kim’s film is a work of tremendous poise and poignancy.
The film’s real-imaginary ambiguousness eventually comes off as excessive affectation.
Ondi Timoner’s documentary surprisingly lives up to its Barnum-esque hype.
The promise that Alex Proyas showed with 1998’s Dark City is only very sporadically evident in Knowing.
This incendiary agitprop regards Vietnam as a story of murder, humiliation, xenophobia, cultural brainwashing, and unjustified warmongering.
Ray Griggs’s insufferably sloppy spoof elicits only agony.
So much of the criticism and praise of Watchmen centers on the dilemma of adapting the acclaimed source material.
The film’s short cuts rarely stray into the realm of parable.
The film retains the raunch and retrograde sexual politics of Brand Apatow bromances with none of the sporadic belly laughs.
The film is of interest mainly for its peculiar combination of immaculate form and clumsy content.
Bob Funk is in drastic need of a cinematic shock at 24 frames per second.
The audience will very much slog through the laborious twists of Tony Gilroy’s ultimately routine, money-stakes-only espionage caper.
I was over Louis Garrel before I was ever into him.
The film is on solid ground when it sticks to the women and their half-adoring, half-vicious relationship to each other.
The film’s portrait of bank-robbing as a solution to aimlessness seems quaint when viewed through the filter of today’s economic hardships.
The primary reason The Great Buck Howard doesn’t immediately float out of one’s mind is John Malkovich.