Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Sadly, the film never poses the argument that Reverend Albert Wagner’s work is special precisely because it illuminates the politics of shame.
Alex Holdridge’s In Search of a Midnight Kiss mostly feels like a foregone conclusion.
The fantasyland-set script has a habit of wrapping up serious situations through flippantly easy shortcuts.
Pulse, about dead souls spilling through the Internet, isn’t just scary, it’s primally disturbing.
Isabel Coixet tosses off her adaptation of Philip Roth’s novella The Dying Animal with an elegant, bemused fascination.
After Sideways and, now, Bottle Shock, it’s official: I love wine as much as I hate movies about people who love wine.
Swing Vote is as tired as its stunt of casting a dozen cable-news blowhards as themselves.
The Mummy: Tomb of the Dragon Emperor makes the first two Mummy films seem like The Godfather I and II.
Whether she wants it or not, Patti Smith now has a No Direction Home to call her own.
This wannabe badass biker flick plays like a Kill Bill–Death Proof hybrid minus the genre-deconstruction angle.
The film is further confirmation that not every minor story from a subculture necessitates cinematic interpretation.
We took the time to chat about Guy Maddin, with both Vadim and Andrew giving us their thoughts on My Winnipeg.
The film is a commercially alienating satire of state, faith, and pop whose transgressions can be best understood in the context of its era.
Though we discussed everything from spirituality to positive con artistry, the subject of living in Chelsea with an albino skunk never came up.
For anyone who preferred Oliver Bean to Malcolm in the Middle, behold Sixty Six.
Dorothy Fadiman does a fine job outlining the ways in which the integrity of our electoral process is repeatedly undermined by fraud.
Baghead is the first mumblecore movie to fail from thematic overambition rather than excessive modesty.
Since we missed the release date, now might be a good time to address Benten Films’s double-disc release of Katz’s first two features.
Bustin’ Down the Door begins on a note of such rote summary that it effectively neuters all that follows.
If you eliminate almost all of the sci-fi elements, you’re left with The X-Files: I Want to Believe.