Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Simply put, Eden is like knockoff Leigh or Loach, unfocused kitchen-sink realism.
Give us torture porn any day.
With low aspirations come low expectations comes modest surprise, at least in the case of Role Models.
Race, gender, tradition, politics and sexuality get thrown together into a bright but bland masala mix in Shamim Sarif’s debut feature.
I was so busy trying to find Anne Hathaway’s face in the frame that I missed the emotion she was expressing.
Can you spank a ghost?
Exactly what a B movie should be, Toby Wilkins’s resourceful Splinter uses its limited means to its advantage.
The film is a true tall tale that unfolds like the Great Unwritten Cold War Rock Novel.
Kevin Smith and Seth Rogen were bound to work together.
The First Basket coast its ambitions in a thin novelty-trivia crust.
Writer-director Dan Sallitt joins us to discuss his recent retrospective at Krakow’s First Annual Off-Camera Film Festival.
Curtis Hanson’s film is a throwback in nearly every way: in setting, in style, in performance, in storytelling..
Rodrigo García’s monotonously deliberate, portentous latest is solely predicated on its twist ending.
Deadly traps may remain the bread and butter of the Saw series, but the real trick has become keeping these fetid sequels moderately fresh.
This is a complete disappointment for those familiar with the original game.
The film is, conceivably, every bit as annoying as any random Kate Hudson rom-com, only with different annoyances.
The documentary is content to slide on hagiography and shortchange cultural critique.
Like other recent agitprop docs, Saving Marriage leans on players in the policymaking game as talking heads on issues and tactics.
Fertile to a fault, Abel Gance’s films seldom settle into a single format, style or genre.
Most Bruce Campbell performances are campily self-aware, so My Name Is Bruce immediately seems redundant.