Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Texts and images (ideologies) collide in Made in U.S.A., but this seems Godard’s perpetual project.
Flim critics are a dying breed, since they’re either stuck online, being laid off from print publications or going off to Grad School.
The critics hated, hated, HATED this movie. And it was number one at the box office two weeks in a row. With good reason.
Tim Burton draws the strongly structured material together to produce a black comedy and still blacker tragedy surging with jugular urgency.
Only minutes in, Stephen Kijak establishes the latter-day Walker’s celebrated reclusiveness.
It hasn’t been easy for Mickey Rourke fans over the last 15 years. He’s given us much cause for complaint, and even despair.
Rod Lurie’s focus is on lean, intelligent storytelling, while keeping his righteous anger worked seamlessly into plotting and character development.
Seven Pounds takes the notion of self-sacrifice and pushes it beyond an act of nobility into the realm of a last-chance suicide mission.
That stink emanating from the vicinity of Yes Man is desperation.
Following in the footsteps of casas Coppola and Makhmalbaf, The House Next Door is proud to present a genuine family affair.
The film is devastatingly vital, just as much now as it was at the time of its making.
Wes Anderson has a great deal of empathy for his charming band of fuck-ups, but these characters are thinly drawn.
The aspirations of this quirky Belgian import might be feel-good indie, but the copious flaws smack of pure Hollywood drivel.
Emblematic of this film’s success is the last scene, which follows the book exactly.
The film’s plot is uneven, splitting time between three protagonists who together feature zero endearing defining traits.
While She Was Out is an empty husk of a survival thriller.
Documentaries in particular enjoyed a banner year, whether crafted by well-known legends of the medium or heretofore-unknown talents.
The film has a peculiar magic to it, and because of its pace the richness of its sense of detail often goes unnoticed.
This podcast commemorates the one-year-anniversary of Preston Miller’s Jones.
Van Heflin never became a big star because he was too honest an actor.