Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Saul Levine’s edge is his elation and his constant pricks at our consciousness bring about a sort of revelatory catharsis.
Scuttlebutt has it that this year’s edition of the New York Film Festival is one of the richest in the festival’s 44-year history.
Lino Brocka’s portrait of familial treachery and societal abandonment channels its melodrama through the filter of neorealism.
Expertly groomed for Oscar, this laughable concoction barely passes for satire.
Manoel de Oliveira is someone Luis Buñuel actively rebelled against: an aesthete.
It drenches itself in an atmosphere of unreality positioned somewhere between waking and slumbering states.
Will there ever be a decent movie made about any part of Ludwig van Beethoven’s life?
The stench of the film is overwhelming, signaling the start of the Oscar season.
The film is the Academy Award-baiting version of Don’t Ask, Just Tell cinema.
You’ve got to give it to the Jackass crew: Their commitment to their crass craft is awe-inspiring.
The story of Marie Dressler’s career is one of the most anomalous and curious of show business tales.
Jet Li’s Fearless finds the Chinese star saddling his trademark ass-kicking with didactic messages about the futility of brutality and revenge.
Sean Penn is in full-on Greatest American Actor mode in All the King’s Men.
It’s the film’s belief in the act of remembering as essential and ongoing that remains its most enduring and poignant characteristic.
Sucks to be Nearing Grace on the same week that Zerophilia opens.
An indispensible book, mixing surprising and original insights with the usual amount of bemused and sometimes flatulent Thomsonian pontificating.
Remarkably, Coppola doesn’t ask us to take Marie Antoinette as she thinks she was, but as she probably was.
John Gulager’s gleefully gory horror movie is a far cry from inspired.
The film makes Héctor Babenco’s Ironweed look like Umberto D.
Forest Whitaker gives a tour-de-force portrayal of a creature who is all the more horrifying because his evil is so recognizable.