Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The buried themes in James Gray’s film slowly emerge from its accumulation of quotidian, seemingly small details.
The latest IMAX deep-sea-dive exploration is expectedly rudimentary but a splendor to watch.
The documentary keeps sentimentality from seeping into its streetscapes and low-budget apartments.
In case you weren’t paying attention, given Sally Hawkins’s egregious snub and all, Werner Herzog is now an Oscar nominee—and not a moment too soon.
We’re back again after our New Year’s Pubcast/Boys’ Party with a special ode to a newly reborn film festival.
Man’s Castle is my second attempt at understanding Borzage after being defeated by History Is Made at Night.
To quote Homer Simpson, it seems everything is all wrapped up in a neat little package.
Coraline is that rarest of creatures
No fuzzy, talking animals can possibly and unexpectedly tip this year’s Visual Effects contest like they recently did.
During the last 20 minutes of Interlude, Sirk goes in for the kill.
Can Eastwood pick ‘em or what?
AMPAS finally elects an executive committee to give a second chance to films snubbed during this category’s first round of voting.
The film can’t help but approximate its unsatisfying elevation of chit-chat into a primary mode of rom-com narrative communication.
Throughout, Ashby’s bemused direction tempers every blunt edge.
The film seems determined to sully the legacy of Blake Edwards and Peter Sellers’s original series.
Annie, are you okay?
The second golden age that the film inhabits is perhaps only apparent in retrospect.
You really have to wonder what exactly made the Friday the 13th series so wildly successful.
Friday the 13th Part 2 never aspires to be termite art.
There’s less memorable POV shots from the killer and more images from the perspective of the victims.