Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Issues of class don’t matter to the filmmakers, who romanticize the possibility of Fandila’s dying while giving the bulls he dances with the shaft.
The film’s cinematography proves almost as inert as its star’s grimacing tough-guy routine.
Saying that it’s just a movie is like saying that Sarah Palin is just a politician.
The Oliver Stone of the 1990s might have found something epic in the strange saga of George W. Bush, but he undoubtedly would not have made W.
This being a big-budget American film, there is the obligatory car chase, not bad of its kind.
Director Pamela Taner Boll, perhaps inadvertently, presents an unnecessarily restrictive definition of what an artist is and what she does.
Notoriously, Colbert always wanted her left profile to be favored in two-shots, and this was a defining obsession.
Quarantine’s use of camera feels like more of an excuse to shoot things fast and cheap than an attempt to provide thematic insight.
To Live and Die in L.A. is a forceful, semi-serious diagnosis of a prevalent human malady.
If you spend an entire career chronicling power relationships among the incurably self-absorbed, is that not in itself a form of self-absorption?
Serbis may be the first film to equate third-world life in the late capitalist era to squatting in a rundown porn palace.
La León is never so interesting unto itself as it is in suggesting greater things to come.
Frontrunners is a smooth but surprisingly negligible account of an election for student union president.
The film is another of Kiyoshi Kurosawa’s chilling portraits of micro and macro alienation.
The artistic psyche has never been more joylessly explored than in Synecdoche, New York.
Generally, the film is a compelling portrait of Hollywood egoism, though it suffers from this very egoism itself.
There’s a whole lotta healing in the film. Big Racial Issues too. And down-home heartwarming platitudes set to acoustic guitar ballads.
All that’s missing from this Edenic scenario is Cyndi Lauper belting “High and Mighty.”
Talento de Barrio is a riches-to-riches story.
The sumptuous atmosphere and two spirited lead performances ultimately trump (if just barely) the storytelling deficiencies.