Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Jay Delaney’s film operates under the bizarre presumption that it’s some sort of corrective to your run-of-the-mill Bigfoot movie.
To paraphrase Peggy Noonan, Choose Connor mires itself in far-fetched bullshit narrative.
Tim Burton’s imagination jumped into the saddle and held onto the bridle with Beetlejuice.
Like last year’s more dim-witted The Kingdom, Ridley Scott’s latest is first and foremost beholden to dull thriller conventions.
I have not read the novel, but James McBride’s screenplay is a mess.
Sympathy comes at a premium in Chouga.
There’s one defining moment in An American Carol that assures you this is a David Zucker film.
This is a short documentary about Peanuts animator Bill Melendez.
The theme of “the double” has exerted a complex and ambiguous fascination throughout the cultural history of the last century.
It’s nearly enough to make one wish for more Revolver. But not quite.
Everything is literally and figuratively black and white in The Express.
Le Doulos roots itself in traditional noir themes of providence, of loyalty and betrayal.
The film’s environment is so meticulously, thoroughly realized that it’s breathtakingly immersive.
Joe Swanberg and Greta Gerwig’s efforts seem calculated to discourage enthusiastic amateurs from getting anywhere near a camera.
Jerzy Skolimowski’s film is only interested in soiling its viewer with a cheap and gimmicky moral relativism.
Sergei Dvortsevoy’s Tulpan appears something like actual reality, half-planned and half-found.
What Roy Disney and colleagues should’ve done was pitch their project on an epic scale on a season’s worth of television.
Picture of Dorian Gray isn’t awful, though it’s certainly an instance in which an outright debacle would have made a much more interesting film.
The needlessly convoluted and contrived premise is enough to give one a headache.
Jia Zhang-ke’s latest is simultaneously more and less than meets the eye.