Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Key to the film’s pervasive sense of paranoia are its varied, though tonally similar settings.
Jacques Rivette’s masterpiece is a deceptively light-hearted confection that begins and ends (or, rather, begins again) at the entrance to a Parisian wonderland.
The film vacillates between genuine insight and didactic mystique-of-the-artist bullshit.
The received wisdom on Jacques Rivette, for supporters and detractors alike, is that his is a cinema of endurance.
The friction between her real-life protagonist clan’s traditional customs and the outlying modern world remains the backbone of Byambasuren Davaa’s ethnographic cinema.
Cautiva cowers in the shadow of Andrés Wood’s artful and daring political drama Machuca.
As much as it flaunts them, Santa Clause 3 doesn’t want to examine and play with our cultural customs
The beauty of sci-fi is that you can always hope for improvements in the future—to technology, society, equality.
A bit of a trick question, admittedly.
The film’s deep respect for human resilience and hope ultimately renders cynical accusations of touristy condescension moot.
Digital animation has elbowed claymation out of the frame and a certain frenetic coarsening has settled over Aardman’s latest.
The film is a kindred spirit of The Mushroom Club, Steven Okazaki’s Oscar-nominated documentary about the legacy of the atomic bomb in Hiroshima.
Sloppy Seconds gets off on the twisted lengths people will go to in order to get their groove on.
The film invites us to squirm at uncomfortable human interactions that are funny for reasons at once superficial and deeply thoughtful.
Shottas regurgitates worn-out gangsta tropes in telling the story of two hoods trying to make it big in both Jamaica and Miami’s crime worlds.
The heavy lifting is left mainly to the performers, who virtually all make the grade.
In terms of Hollywood history, Kathryn Bigelow’s film is the perfect document of its time.
If Curly’s Christmas letter could take human form, it would clearly take the form of Jennifer Jason Leigh
He’s roughly a few thousand years old and still a hopeless romantic…or a tana leaf junkie, depending on who you ask.
The tenor of The Magic Gloves reveals a certain kinship to the deadpan cinema of Aki Kaurismäki and Jim Jarmusch.