Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
William Lustig’s Maniac Cop should’ve been the cult actioneer to end them all.
The filmmakers may have created the gay camp classic of 2006.
Bobby is an overly earnest bit of hero worship buried amidst an especially pedestrian, multi-narrative melodrama.
Even those unfamiliar with the work of Roberto Rossellini should get something out of Guy Maddin’s haunting and memorable short.
If Marie Nyreröd’s documentary feels somewhat haphazard and incomplete, it is for a good reason.
The film is full of truisms and guided by a Forrest Gumpian philosophy that might best be summed up as “Life is like a knuckleball.”
Throughout, generalizations about monogamy and varying sexual orientations are bandied about, then meekly pooh-pooh’d.
This is in honor of critic and blogger Andy Horbal’s Dec 1-3 salute to criticism.
It’s a damn shame they couldn’t manage to supply a villain with the balls of an Ursula, a Cruella, or a Maleficent.
Alpha Dog boasts a menacing drum n’ bass score and lots of meaningless split screen effects.
An Unreasonable Man offers a tribute to the career of Ralph Nader.
The film has an excellent pedigree, but when it poops it stinks of a Tim Allen movie.
Mort Nathan’s Van Wilder 2: The Rise of Taj defines pedestrian filmmaking on every conceivable level
The film is ultimately hopeful in its belief that the human comedy, whatever its fallacies and failures, is always granted continuance.
How to explain the generous reviews granted to the latest film by Tony Scott, the meister of the overbearing, trashy exploitation action genre?
The Nativity Story never quite becomes more than efficient religious programming for a built-in audience.
A wonderful charm filters through these almost collegiate efforts, as if these underfunded Brits, in doing their best, did it better.
This “event” picture makes sense in this culture where going to the movies has become not unlike patronizing an arena sport.
The Pursuit of Happyness expectedly suffers from Gabriele Muccino’s overstated handling of the material.
Mel Gibson is sick, but his new film profits from his weakness.