Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
With Stick It, Jessica Bendinger looks to do for gymnastics what her Bring It On did for cheerleading.
Barry Sonnenfeld directs the film with the same amount of wit and style that characterized Wild Wild West.
The alternately enchanting, austere, and bewildering mise-en-scène is frequently one of denial and disruption.
The Cinemascope frame has never looked or felt as much like a coffin.
Nick Nolte’s weathered skin-formerly-known-as-sexiest-alive appeal is nearly authoritative enough to make you believe Clean’s otherwise unforgivable non sequiturs.
Dead Man’s Shoes is fearless for not adhering to any conventional notion of how sound should complement image.
The film suggests a Universal Studios theme park ride—a machine optimally designed to make one feel as miserable as humanly possible.
Here are five haiku about movies, movie characters, and celebrities.
It’s not surprising that deducing the mysterious bad guy’s identity is as easy as spotting which actor seems most bored.
After a while, it’s not Sean you’re following but your own evolution to the here and now.
The one-two punch of the film’s script-in-a-can and 80% of the cast’s negative mindset is difficult to overcome with a last-second goal.
In a world is as bleak and overwhelming as the one Béla Tarr envisions here, even a half-hearted pop song feels like good medicine.
Despite its often-overwhelming nonsensicality, there’s ultimately something irresistibly fiendish about Silent Hill.
Durgnat’s core strength was his refusal to be seduced by intellectual fashion.
How does one satirize a show (or a president) that nobody takes seriously anyway?
Corn figures prominently in Richard Squires’s Crazy Like a Fox.
The film, more than any in recent memory, taps into a palpable, overpowering sense of childhood wonder.
Cross of Iron would almost seem a proper mea culpa by Sam Peckinpah for his controversial career.
Slant spoke with Zahedi about the dual challenges of serving his subject and his audience.
The Devil and Daniel Johnston hopes that Johnston and his mythic realities are never lost.