Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
When you think of Escape to Witch Mountain and Return from Witch Mountain, do you think of Thomas Pynchon and Thomas Mann?
Trudell belongs to a strain of documentary biopic wherein one-sided reverence is the principle impetus.
Why is it so hard to make myself write an appreciation of Christopher Penn?
The New World is a new watermark.
It may come as a shock—though I doubt it—that I missed out on the first offering in the Big Momma’s House franchise.
Annapolis is an extended “Be All That You Can Be” advertisement for the character-building benefits of military service.
The drama exudes a sobering gravity, but after a while the whole thing starts to exhibit the look and feel of a History Channel original movie.
Debra Kirschner’s The Tollbooth has all the nuance of a stun gun.
I watched the re-cut The New World Saturday night and was knocked out, not just by the movie but by the circumstances.
The day-to-day actions of a Mikio Naruse character are typically mundane and repetitious to the point of none-too-subtly cloaked disdain.
Nanny McPhee is filled with British pros having a field day.
Every magic hour, light-drenched image in Víctor Erice’s The Spirit of the Beehive is filled with mysterious dread.
In case you needed to know, Christianity wins hands down, across the spread.
Noted upon its original release for a documentary style readily linked to Italian neorealism, Vidas Secas now seems relentlessly subjective.
We probably all know a post-grad film student or two who could have told this same exact story.
The film reveals the depressingly thin line between elements of its fantastic setup and authentic American history.
Through the Fire is a case study in the consequences of making a sports documentary about a contemporary national figure.
Garrett Brown might be the most influential filmmaker that the moviegoing public hasn’t heard of.
It’s become an industry workhorse not because he was any sort of Luddite, but because he thought the Steadicam encouraged lazy filmmaking.
Kayvan Mashayekh’s inquisitive debut feature risks being overshadowed by its troubled production history.