Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film not only shows its modest origins, but the frustration of its maker.
With The Intruder, Claire Denis’s evolution from narrative cogency toward a more elusively trance-like aesthetic reaches a mesmeric apex.
There are several good reasons why Peter Jackson should not have remade the 1933 classic tale of beauty and the beast.
Woody Allen has been playing a joke on us all these years and in his new film Match Point he finally cops to it.
The films of Frank Tashlin, Jerry Lewis, and Hope and Crosby all worked the same territory, ZAZ just took it as far as it would go without snapping.
It’s so contrived and smugly pleased with its own tolerant attitudes that it comes off as a rank slice of Christmas cheese.
It’s hard to envision a worse big-budget film version of Mel Brooks’s Tony Award-winning musical The Producers than this dreadfully lifeless affair.
There are two sides to every story, the saying goes, but in this super-Rashomon-meets-Shrek CGI contraption there are no less than five.
It’s difficult to fault a film that scrutinizes the veracity of childhood with such clarity.
Loving Couples executes subversive surgery on oppressive social orders only to switch to the more comfy affirmation that the universe belongs to mothers.
Theo Angelopoulos’s compositions modulate from lyrical to brutal.
Rob Marshall doesn’t hype the soul of Japan, only its artifice.
It focuses less on the ever-present and distracting bibilical allegory and more on its magic-and-monsters fantasy.
There’s no moment during this true-life Little Codger That Could tale that doesn’t drip with unabashedly calculated schmaltz.
Aeon Flux assumes an anti-establishment sci-fi façade in order to promote alarmist slippery-slope anti-science attitudes.
Adam Goldberg’s film is a meandering cautionary tale about a frazzled actor’s steep plunge into madness..
Apart from You is finally all frustrated anticipation, nowhere more evident than in the climactic train station farewell.
In essence, Robert Lepage has remade 2001: A Space Odyssey without the Kubrick film’s sense of spiritual wonder and elation.
The Tales of Hoffmann looks magnificent, but it’s ultimately just eye candy for aesthetes.
Its main character may renounce California glitter for a down-home family life in Jersey, but Just Friends is as Hollywood as they come.