Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
A naughty, mind-opening artifact from a more sexually liberated era? Fuck that.
Femme Publique is a love letter to actors, who Andrzej Zulawski vividly admires for charging fearlessly into his material.
Sentiment dooms Fassbinder’s characters, though they push on as long as they can, even deferring their inevitable ends to proxies.
Arriving at least two years after the Asian-horror-remake craze subsided, The Uninvited delivers a spooky-stepmom saga free of invention.
Tie-ins are the lifeblood of any successful comic franchise and essentially every major blockbuster film.
It bears only superficial comparisons to the aesthetic purposes of predecessors like The Last King of Scotland and City of God.
Liam Neeson kicks physical and moral ass in Taken.
Shadows, the third feature from celebrated Macedonian director Milcho Manchevski, is in many respects a masterful bit of filmmaking.
Mary Poppins is at the surface level an absolutely impenetrable, pulverizing piece of agit-pap.
The film heralds Hannah Senesh’s life with a sustained and striking briskness that avoids shameless exploitation.
Medicine for Melancholy is a french-braided triptych of progressive themes.
If you choose to swim in sewage, don’t complain about coming out feeling like shit.
Historical events referenced in the first two films are brought to life in this passionless, idea-deprived prequel.
Angels With Dirty Faces go to Mumbai. On steroids.
It deserves credit for being one of the first films to engage American cinema in a discourse on the immigrant experience.
The Lodger is so mired in ineptitudes that the weather is the least of its problems.
It opens with a breathless orgasm of proofs to Murphy’s Law.
Hailing from Romania, Nemescu died, aged 27, while editing California Dreamin’.
I leapt at the chance to send a few questions, via e-mail, to Chantal Akerman on the film itself and on working with Delphine Seyrig.
Inkheart is top-heavy with postcard-pretty Italian locations, undistinguished digital beasties, and clunky, one-note humans.