Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Hong Sang-soo hurtles full-bore into the subjectivity of the horny man with Night and Day.
Perhaps no director since Hitchcock has been quite this obsessed with glimpses and gazes.
Annihilation and resurrection are the twin axes upon which The Wrestler turns.
The film is an unfunny, uninventive live-action variation on animated Disney animal adventures like Lady and the Tramp and The Aristocats.
Changeling announces itself as an autopsy of an expansive body of lies that it never actually performs.
For as impressively accurate as this film is, it still comes off as a purely moneymaking venture.
What we need is the Broadcast News version of The Women.
Steve McQueen is interested in using Hunger to silently document the daily intricacies of committing a crime.
If this is the future of American indie cinema, than perhaps consideration should be given to blowing the whole thing up.
This is not meant to be an overview of Paul Newman’s career, or even a list of favorite performances.
Episode 3 marks the first time we’ve started recording under our new name.
By this point, I think we could be discussing Godard for all I remember.
The drinking continues. The arguments get louder. We get worse. Sigh.
Their work in the 1970s exemplifies what ultimately became the prevailing style of American film direction in that era.
It’s too easy a joke to say that Blindness lacks vision.
Clark Gregg is in way over his head.
This universal tale is set against the background of a post-WWII Japan still contemplating its loss, its destruction, and its Americanized renewal.
Flash of Genius’s portrait of obsession run amok largely forgoes Zodiac-like density for Hollywood Uplift 101 simplicity.
The film is an ode to uncertainly and obliviousness that stylistically keeps moving well after its ideas have reached a dead end.
Soderbergh’s professed neutrality toward Guevara’s life and times succeeds mostly in leeching the emotion out of them.