Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film depicts, sans nuance or insight, the collapse of a tech firm during the dot-com era.
War games reach surreal heights in California’s Mohave desert.
Letter to Anna is a call to others to complete the investigation into Anna Politkovskaya’s death.
This latest Pixar production finds cute ways of tipping its hat to Christian creation and human record.
The film’s greatest strength is also its greatest limitation.
More than a fine and under-used actor, Ayres was an exceptional person, a model pacifist in a world that still cannot conceive of such an option.
If a Wookie can fondle a princess, can an Academy Award winner feed a 13-year old a Quaalude?
The film’s empty, arousing thrills are quick, fierce, and self-contained.
The world moves alarmingly on, but we remain the same, as continually locked down by one mode of living as another.
Somewhere along the way, Xanadu got the exoneration never accorded its 1980 sisters in shame: Can’t Stop the Music and The Apple.
The “good” news comes with the final words on the screen.
The travails of Sami Al-Arian make for a Kafkaesque example of the Bush administration’s post-9/11 detention policies.
This tapestry of intersecting Hollywood lives that illuminates nothing except for writer-director Jason Freeland’s obvious fondness for Short Cuts.
This is possibly the most poignant, profound, and artistically viable film you’ll see at the Human Rights Watch International Film Festival this year.
A character study of two people desperately fighting for a seemingly unattainable life, Matthias Glasner’s film is rigorous and wrenching.
The film explores, through a very personal lens, the sordid tale of the slave trade in the pious American north.
Roger Weisberg’s Critical Condition offers a salutary lesson in the difference in viewer response between the fiction and the nonfiction film.
The filmmakers may understand the artist as a woman and a living creature but they often treat her as if she herself were a museum piece.
And so it was, just like that, without potion, without alchemy, that I was shown the ropes at the tender age of 17.
Very Young Girls suggests a squandered opportunity.