Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Recidivism is the name of Gridiron Gang’s game.
Brian De Palma eschews the Classics Illustrated mannerisms of L.A. Confidential in his adaptation of James Ellroy’s novel.
How to explain The Decay of Fiction?
De Palma’s oeuvre owes at least some part of its brash vitality to the destructivism his critics sparked in the director’s bruised ego.
Brian De Palma’s characterizations may not have the subtle tongue-in-cheek wit of Tom Wolfe, but his version of the story is both more comic and angrier for it.
Never has a film with Luc Besson’s fingerprints on it popped so little.
In its own way, the film is just as stylized a take on the crime genre as something like Warren Beatty’s Dick Tracy.
Hey, there’s a reason they call the new DVD the Everything’s Duckie Edition.
The Covenant falls into theaters like a fashion magazine adapted to the screen.
Snake Eyes is about multiple perceptions of one major event, their relationship to each other and to the audience.
Though sexy and sweet-hearted, the film is, finally, a trifle—a work-in-progress like the story’s characters.
Most of the film just lies there inertly, vainly waiting for one of its competitor duos to concoct something amusing to say.
Intensity exacted a high price, and Kim Stanley seems to have paid it willingly, even gloatingly.
“Push It to the limit” goes one song in the film and Brian De Palma wilfully obliges.
Argentina, which has emerged as one of the most prolific national cinemas of the new millennium, dominated the Latinbeat program last year.
As a polemic, Patricia Foulkrod’s documentary has the urgency of stray sniper fire.
The film isn’t a sequel to Ong-Bak: The Thai Warrior, but it’s a thinly disguised retread.
David Leaf and John Scheinfeld’s The U.S. vs. John Lennon doesn’t strain to be topical.
The film strikes notes—unique in Brian De Palma’s work—of unmitigated existential disappointment.
The split between the story’s disparate realms is so clean it’s almost pathological.