Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Aleksei Balabanov’s Cargo 200 rips life in 1980s’ USSR via the twin vehicles of horror and black comedy.
As often happens, the documentary is better than the feature film.
Corinne van Egeraat’s Cowboys In Kosovo is a film Jim Jarmusch might want to option.
Something’s kept me coming back to the writer-director’s filmography hoping to make a connection.
Roeg’s is a singular, haunting sci-fi experience.
For every project finished there are numerous others abandoned or left incomplete.
This holiday adventure has a big central concept and next to no desire to follow through on reasonably—much less fully—exploiting it.
Antonio Campos, who is now 25, worked on the script that became Afterschool throughout college, and had begun it earlier.
Dark discussions aside, we once again prove that you can charm your way onto the podcast by offering us work or calling us respectable.
Hell is Marley & Me.
It’s a a functional gift to all those people who stood in line, in vain, trying to catch a performance of Mother Courage and Her Children.
Seems we’re all of us susceptible, even this semi-lapsed Catholic boy, to the con of our beliefs.
The film is a surreptitious creation myth crafted to inspire pride in even the most diverse and elusive of ethnic identities.
One reacts to Last Chance Harvey with about the same level of revulsion directed at its titular character by the people around him.
Samuel L. Jackson has hit a rock bottom here that’s comparable only to Joan Crawford’s appearance in Trog.
Incongruous vocal intonations aren’t even the most significant problem plaguing Bryan Singer’s film.
Sam Mendes’s first, most crucial mistake is to buy what the Wheelers are selling.
Edward Zwick has crafted over two hours of repeatedly bad ideas.
Vicente Amorim’s film is literally and dramatically bloodless.
David Fincher would seem, in terms of temperament, an unlikely directorial choice for The Curious Case of Benjamin Button.