Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Disney’s song-and-dance robots make the transition from small to big screen in High School Musical 3: Senior Year.
Much will be written about Kristen Scott Thomas’s performance in the new French film, most of it justified.
The ghosts from the past, entering the frame in reenactments, hover above Stranded from start to finish.
Agnès Jaoui’s Let It Rain is the kind of film it’s hard not to be snotty about.
The film’s commentary on vice and decency is far less immediate and realistic than its gritty aesthetic would have one believe.
Robert Davi makes his directorial debut with The Dukes, an indie crafted with considerably more heart than skill.
Homophobia in Muslim families and communities is a topic ripe for exploration, but I Can’t Think Straight isn’t the film to do it.
The film’s hyperactively effervescent portrait of ingrained social barriers and altruism’s ability to demolish them is genuine and sweet.
The film should be available to as many people as possible free of charge.
Zidane: A 21st Century Portrait is an overblown, nearly real-time documentary-cum-“art installation.”
Stranded takes a surprisingly Socratic approach to storytelling.
At its best, Betrayal stunningly illuminates how our surroundings profoundly imprint themselves on our dreams—and our nightmares.
It’s always a bad idea to argue with the Master.
Edvins Snore’s straightforwardly bookish and buttoned-up style makes Ken Burns look like Ken Kesey.
Nic Balthazar’s aesthetic is ugly, aloof, maddeningly literal, and unimaginative.
It’s unclear if it can work on stage, stripped of TV-star casting and distancing cine-frills, but the script’s cuts seem skittishly hedged.
In under 20 minutes of screen time, Jeanne Moreau supplies the film with an otherwise absent emotional weight of reconciliation to the anguished history of WWII France.
HND@Grassroots: Season 2, Episode 4 (22), “A Whiff of Whiteness” with Steven Boone and Lauren Wissot
Our first episode sans both John and Vadim features House contributors Steven Boone and Lauren Wissot on the weighty subject of Ballast.
Mary isn’t exactly a smart film, but it’s a bluntly instinctive one.
In Let the Right One In, the only thing more horrifying than the insatiable bloodlust of the undead is the everyday terror of adolescence.