Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Joe Eszterhas and Adrian Lyne have each made one good movie: Flashdance
João Pedro Rodrigues will not fall to his knees before the cackling god of the Sophomore Slump.
Like Jared Hess before him, director Michael Kang is the new kid on the block who wants to play inside Wes Anderson’s clubhouse.
Paul Morrison’s Wondrous Oblivion might have gone down easier if it weren’t so honeyed.
There are more than enough corpses to fill a cemetery once the smoke clears in the film.
Similar to its two predecessors in melodrama and gloss, the film follows in its own tradition of quality.
Land of the Blind is a concoction difficult to swallow as either piercing allegory or clever farce.
How better to follow upon the heels of an all-Deadwood week than with an ode to the western towns that preceded the title locale?
The crowd sequence that climaxes the film is a conceptual miracle in the way it uses rear-projection to simulate childlike flights of fancy.
The film’s story may be slight but Ramón Salazar’s sparkling tribute to an alternative lifestyle and unconventional female beauty is liberating.
The Mostly Unfabulous Social Life of Ethan Green is another step back for the gay community.
Throughout, Jack Black’s accented delivery is consistently and hilariously passionate.
Heading Southis an acute portrait of the willful blindness that helps foster inequitable colonialist conditions.
As his overactive jump cuts prove, Russ Meyer directs films as though he’s perpetually on the cusp of a fantastic orgasm.
The film is a poetic consideration of life reaching out for life.
The film plays it straight and boring, chasing its predecessor’s tail of mediocrity.
Jailbait seems only interested in expounding upon the familiar horrors of lock-up.
Nicholas Jarecki’s The Outsider doesn’t have the edge of a race-conscious James Toback film.
The film is a chimera of poignant, tangled socio-politically charged ellipses with an atmosphere that affects a sense of musical healing.
As an example of unembedded reportage, The Blood of My Brother is quite remarkable, offering a startlingly intimate glimpse at everyday Iraqi life, circa 2004, under the current U.S. occupation.