Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Aside from Greta Garbo’s scenes, the film is basically just a long soap opera about despair, superstition, and redemption.
How to close it becomes a modern world’s ultimate ethical, self-reflective challenge.
Whereas the film’s artistry is often awe-inspiring, its dawdling, unfunny 116-minute story stalls at nearly every turn.
We all carry these movies around in our heads. Movies that we long to see, but are really just constructs in our mind.
Paradoxes run rampant throughout The Break-Up.
The documentary is part history lesson, part investigative journalism report, and part personal journey.
That characters frequently speak English in Typhoon is emblematic of the film’s dedication to slavishly mimicking American action blockbusters
It fuses formal schizophrenia with the cruelly episodic structure and fetishized period details of Hollywood biopics.
The film reconfirms Victor Nunez’s intimate familiarity with the Florida panhandle, but it’s also a reminder of his shortcomings as a dramatist.
Amos Gitai’s aim is not so much to streamline the volatile political realities around him as to photograph the conflicting seams.
The second chapter in Amos Gitai’s “City Trilogy” boasts a wry buoyancy absent from Devarim and Kadosh.
Each picture has something a little different to say about authority and the people below it.
This stealth, beguiling creature of a film is teeming on the inside with rapidly-growing ideas about cultural and personal malaise.
The film is almost preferable without the context provided by a ludicrous last-act revelation.
Jeepers creepers, Victor Salva is at it again.
Finally, a version of Reservoir Dogs for The New Yorker set.
Too many unnecessary flourishes interrupt the flow of the concert film that could have been.
Prepared to be stunned, because Brett Ratner does not completely sully your beloved mutants-versus-the-world franchise.
Even with little prior knowledge of Possession, the viewer is informed of its potential as exploitation horror in Carlo Rambaldi’s opening credit.
To those who enjoy science fiction, An Inconvenient Truth is one of those movies that makes one imagine an alternate reality.