Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Just pick a title or titles from Altman’s filmography, or some other vaguely or tangentially Altmaesque topic, and weigh in.
Surely it can’t be a good thing when a film’s press notes tell a better, more evocative story than the film itself.
The sci-fi epic that has proved surprisingly divisive for such a gentle movie.
Before I Love the ’80s made revisiting Big Movie Moments chic, spoofs usually existed independent of the titles they implicitly mocked.
Not only are Björk and Matthew Barney two peas in a pretentious pod, they’re also slabs of sushi inside a bento box.
Jean-Daniel Verhaeghe’s film remains ponderously stuck in lesser Merchant-Ivory territory.
It’s a shame not to be able to hear such a strong critic week in and week out.
Whoever watches it is likely to come away with a different set of observations related to the film’s structural and visual decisions.
It’s hard to fathom what drew Sidney Lumet to Find Me Guilty aside from the opportunity to once again immerse himself in courtroom wrangling.
The financial success of Brokeback Mountain undeniably represents a sea change in mainstream acceptance of homosexuality.
The film’s themes, along with its avalanche of formal signifiers, are all fused together in the magisterial hunting sequence.
Sound of the Mountain is reportedly director Mikio Naruse’s favorite among his pictures and, to a point, it is easy to see why.
Shadow of a Doubt is about awakening, the simultaneous darkening and enlarging of the world.
Michel Gondry’s film is a casual mix of live hip-hop and man-on-the-street stand-up.
Leonardo DiCaprio, like Natalie Portman and Kirsten Dunst, seems less complicated and charismatic the older he gets.
A class can be taught comparing British and American manners using only Kind Hearts and Coronets and The Family Jewels.
As a shameless stab at kid-friendly uplift, Eight Below, at least during its Animal Planet-ish segments, nonetheless has a benignly cheesy, big-emotive charm.
The film’s impossible direction is matched only by the impossible dialogue.
The parks are shrines to Disney’s personality and imagination, an autobiographical spectacular.
Self-reflexivity can only take a film and its makers so far.