Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The Children Are Watching Us is a marvel of complex visual and emotional scope.
Laura Poitras’s My Country, My Country deftly elucidates the importance of creating an appearance of legitimacy.
It chooses an undemanding route to condemnation, bypassing consequential nuance and rationality in censuring Bible Belt zealots for their cruel, selfish hypocrisies.
Friends with Money is an understated comedy about money in a classless social setting.
By the time of the film’s condom-breaking scene, you’re meant to want the couple to graduate beyond their potentially one-night stand.
Matt Zoller Seitz’s Home is screening at this year’s RiverRun International Film Festival.
She’s the Man is a Twelfth Night for the ninth-grade set.
It’s little wonder that Alan Moore has officially disowned the movie version of his dystopian comic series V for Vendetta.
You must look past the directors’ guilt complexes to recognize the sweetly observed portrait of a Latino community ousting its undesirables.
An allegory in which the subtext out-bullhorns the text itself, this punk trend-hitching, teen actioneer skimps on little.
Among other things, Cassavetes hoped to offer young actors an alternative to the Method.
As its title implies, The Big Question investigates life’s most monumental spiritual issues.
Director Derek Wan’s Z-grade aesthetic is so sad and unpretentious its almost endearing.
This deceptively lighthearted comic confection is Mikio Naruse’s first collaboration (of a total 17) with the great Japanese actress Hideko Takamine.
It forms an interconnected web of loneliness, regret, and longing for happier times gone by.
Pernille Fischer Christensen joylessly scrubs Soap clean of sudsy silliness until all that remains is von Trier-ian starkness.
Perry Ogden vies for a sense of extreme docu-realism that’s impressively sustained but oddly detached.
First on the Moon is quintessentially Russian.
A Slightly Pregnant Man is a provocative, if minor, Jacques Demy film.
Depp strikes me as the sort of actor who always swings for the fences, even when a bunt would suffice.