Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
There are vast differences between the three mediums of Batman.
Gender and genre are continuously bent in Serge Bozon’s uniquely weird and often starkly beautiful film experiment.
Teh film is a groan-worthy SNL sketch distended to feature length.
It takes great pains to tart up its mildly intriguing subject matter, but its aesthetic overload finally proves more exhausting than illuminating.
Episode 14 is really “Episode Tavern” and I wouldn’t have it any other way.
Why does the sadness-tinged optimism of one of these films stay with me like a benediction?
Gillian Armstrong’s film trades suspense entirely for tawdry period swoonery.
Special effects have come a long way since Jurassic Park, but you wouldn’t know it from Journey to the Center of the Earth.
William Holden had physical guts. He shows that time and time again in his performances.
Its stumbling and bumbling makes the Cubs’s century-long ineptitude seem charming by comparison.
The film strives to be nothing more and nothing less than Cinderella in a de facto brothel.
Red exudes a distinct ’70s Southern-exploitation vibe.
The Agape orphanage’s children frequently exhibit more political awareness than the man attempting to tell their story.
When I was very young, I received a fuzzy toy caterpillar.
Oshii, Miyazaki, and Kon.
Its indictment ultimately feels like a secondary issue to Polanski’s apparently incontrovertible guilt.
Eager not to overstay its welcome, Hancock ultimately sheds essential exposition in a mad, foolish dash to the finish line.
Trumbo is a poignant, mind-stirring documentary about the defiantly prolific screenwriter Dalton Trumbo.
Judah Friedlander’s character is the only one in this pretentiously darling little indie dud who earns our compassionate respect.
The film is Decasia with its conscience raised and its volume turned way down.