Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
In Wall·E, Pixar has returned its focus onto character and story.
The national debt might not be as scary-entertaining as the prospect of climate change, but it’s certainly a dire situation.
Nixon is a staggering work of empathy for Stone.
Keisuke Kinoshita’s film is not unlike one character’s description of the island weather: “Not too hot, not too cold.”
This miserable true-crime slog may be less graphic than Hostel, but it’s also significantly less honest about its intentions.
The following interview is definitive proof that sometimes it does indeed pay to dream.
The documentary offers little insight into the life and background of noted sculptor Richard Serra.
Are there any human truths to be gained from watching this sordid roundelay play out to its bitter end?
In a medium that devours beauty so easily, it’s talent that’s kept Ludivine Sagnier going.
There is such rich history and potential for moving around this universe, but who really wants to?
The film’s title is an appropriate stand-in for the movie itself: straightforward exposition laid bare.
Rocker is merely a passable goof-off, and one less challenging or fun than a night spent playing Rock Band.
The film is a slab of shoddy, hollow rubbish that can’t be bothered to concoct imaginative frights.
The film belongs firmly to Steve Coogan, which is fortunate since none of the film’s supporting players prove to be the least bit memorable.
Those who have seen O Lucky Man! are familiar with its radical-chic frowny-pique.
In Celebration most definitely chafes at being made into a film.
Phantasm IV: Oblivion at times feels like an expensive, 35mm home movie made by some kids in their backyard.
The Archers’ reliable eye for actors pays dividends in the large cast.
Seeing as how our heroes are constantly getting high, the film toys with the idea that what we’re seeing is in Dale and Saul’s heads.
As a tribute to its star, the documentary is damn near essential.