Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Yeah, I stole that from John Ford’s famous “I’m John Ford. I make westerns.”
Lichman & Rizov “Live” at Grassroots Tavern: Episode 18, “This Podcast Gets a 48” with Mike D’Angelo
This is our first season finale, so we go out in style with Mike D’Angelo.
In the world of the film, miracles exist, faith is the wisest operating principle, and intelligent thought is everywhere discouraged.
You could be excused for thinking the film was made under the Hays Code.
Rohmer has said that The Romance of Astrea and Celadon is probably his swan song, and he’s not pulling any punches here.
The great jazz singer Anita O’Day operated in some far-out be-bop realm of her own.
No wonder George Lucas originally chose, with his Star Wars prequels, to skip over the Clone Wars.
Serbedzija is the perfect hero for Milcho Manchavski, a sardonically comical man’s man.
Fly Me to the Moon is in 3D because, without the glasses-required effects, not even a three-year-old would sit through it.
Ben Stiller was thinking about himself and his friends when he wrote this film, but he left out the crucial third party that defines comedy: the audience.
Davis Guggenheim eschews the grandstanding of rock ‘n’ roll hero worship by attempting to be specific about the artist and his or her craft.
The film is stifled by Joe Fox and James Nubile’s frankly incompetent approach to both documentary storytelling and aesthetics.
The Dark Knight is the most entertaining blockbuster of the summer, which still doesn’t mean it’s any good.
The stand-out, Dog Tags, vividly dramatizes its characters’ desires, all rooted in the decrepitude of land and memory.
The film is an eloquent tribute to the oppositional figures who helped shape our country’s authentic history.
My fantasy world is way cooler, and less offensive, than Woody Allen’s.
Among its achievements, Pineapple Express makes explicit much of the underlying homoeroticism inherent in the buddy movie.
For artistic representation, Jack Brooks: Monster Slayer gets a near-perfect score, less so for its restrained sense of fun.
Risky Business’s status as the film that made Tom Cruise Tom Cruise overshadows its status in the teen-movie pantheon.
Almost all of Bancroft’s best work can be found in the handful of films she made in the ’60s.