Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Writer-director John R. Hand’s film is a wild cocktail of nightmarish sensibilities.
Last weekend marked a dubious footnote in movie history.
August Days seems a profound amalgam of all the versions of this story that could ever be told.
Any movie that begins with an extended Marguerite Duras quote is sure to be locked into a way-off-center groove.
It inadequately addresses how the elitism of the theater world explicitly works against Kushner’s attempts to bring his eye-opening work to the masses.
The film comes across as the type of overreaching indie that’s apt to be mocked by the clerks at Kim’s Video.
Driving Lessons is the type of movie that makes you want to single-handedly dismantle the British film industry.
In the new issue of Shock Cinema, House contributor Jeremiah Kipp interviews unconventional leading man Ron Perlman.
There’s little sense here of a journey reaching culmination, experience left visibly in its wake.
In expertly tracing how Republicans play a better game of politics than Democrats, it also provides the party of Kerry and Clinton with a handbook to switching the tables around in 2008.
There’s little of substance here beyond a slightly pleasurable twinge of recognition.
In the 1960s, there was a belief that the force of social change could revolutionize the world.
Laura is routinely seen as a prime slice of film noir, though Preminger scarcely delved into the furious paranoia that always was the genre’s bread and butter.
With an enviable, well-stocked cast of character thespians and a carefully dilapidated motel set, Eaten Alive is all ingredients, no recipe.
Humming just beneath the film’s aesthetically serene surface is Hong Sang-soo’s belief in the importance of images and the act of seeing.
Open Season is an ideal film for small tykes still undergoing potty training.
Alberto Lattuada’s Mafioso is many things, but a good movie ain’t one of ‘em.
It’s the dearly departed Princess Diana whose royal presence looms largest in the film.
Offside is another cyclically crafted jewel in the spectacular crown of Iran’s national cinema.
Bamako doesn’t correct the injustices committed by The Constant Gardener, reversing them by flaunting an all-brain-no-heart ethos.