Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film could be summed up in one word that would surely stump its protagonist: “Lugubrious.”
All of Us can’t help feeling hopelessly slight despite its obvious good intentions.
This year’s edition seems most conspicuous for not bearing the teeth marks of Dario’s daughter Asia.
If it weren’t for Lawrence of Arabia, I might well not be typing this out.
The film subverts the conventional guilty pleasures of the Vietnam genre by stressing the guilt and blunting the pleasure.
The Last Bolshevik is Chris Marker’s version of a love letter.
The scariest thing about it is that it intends for its stereotype-mining ooga-booga racial tensions to be both incisive and thrilling.
Family That Preys is nothing if not an exquisite and effortlessly crowd-pleasing reflection of a morally plagued, money-worshipping society.
Steven Soderbergh’s immensely anticipated Che trains a cool head and a sharp eye on Che Guevara.
It’s time to accept that narrative film may not be the best way to deal with complicated socio-political issues like the Israel-Palestine conflict.
The second season of The House’s “Grassroots Tavern” podcast series begins, fittingly, with our second episode.
In Synecdoche, New York, Charlie Kaufman indulges all his thematic quirks like a dieting matron lunging at a box of bonbons.
Chris Marker thoroughly mines Denise Bellon’s photography for all the ethnographic, artistic, historic, and philosophical merit that it’s worth.
It’s a lecture, and one delivered in such a way that the only people likely to care are those already in the movie.
Max Ophüls is a true romantic, and he covers a huge range of male and female types in La Ronde.
Atom Egoyan’s latest finds the director back in Canadian Traumaland after his Hollywood sojourn in Where the Truth Lies.
David Lean did nausea well, or a sudden burst of madness, but he is most stimulated by the theme of sexual repression.
Filmmakers need to stop viewing audiences in linear terms, to start widening the net, embracing an umbrella approach, thinking in the language of prisms so peasants and kings get fed together.
The Coen brothers’ film paints its floundering Washington inhabitants as intractably or even fatally stupid.