Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Terry Malloy’s bloodied walk to the warehouse at the end of On the Waterfront.
A cinematic echo of 2003’s double album Speakerboxxx/The Love Below, Idlewild is two separate movies in one.
Time and again, Snakes on a Plane stumbles when it should soar.
For anyone unfamiliar with Robert Wilson’s work, Susan Sontag’s hyperbole may be a sign of what you’re in for.
What director Joe Swanberg’s LOL lacks in ambition it makes up for in nuance.
Frank Tashlin fashioned a blend of joyous abandon and trenchant nihilism that continually undercut laughter with despair.
There’s not so much an Oliver Stone shot as there is an Oliver Stone rhythm.
The film’s startling saber-toothed violence and blend of mystic and modern impulses recalls Pier Paolo Pasolini’s Porcile.
Noah Baumbach’s gift for crafting characters out of flesh and blood gives the film an associative realism.
Chinatown’s final revelations are all about personal intrusion.
Greg Pritikin’s mockumentary proves that satirizing reality TV is a fool’s errand.
The film is a stupefying mixture of dreadful dialogue, wooden acting, outdated attitudes, and dark cinematography.
If only it was rewritten in a manner different than the Bryan Singer film, well that would have been magic, wouldn’t it?
A surprise success that won Frank Borzage his second directing Oscar, Bad Girl hasn’t worn as well as some of his other romances.
The albatross of Pedro Almodóvar’s flamboyant ’80s oeuvre will encumber the director as long as he makes films like Volver.
The film is a pale imitation of Dario Argento’s early giallos.
The film argues, lucidly and surreptitiously, for the extinction of a country’s outmoded sate of affairs.
This is a startling story of a continent excluded from world trade and wanting to wean itself off foreign aid.
There’s something of an ill-fated air surrounding the films of the Russian directors Elem Klimov and Larisa Shepitko.
People in Frank Tashlin’s movies often become extensions of their material possessions, and the irony of the merchandising cuts both ways.