Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The drama builds slowly, playing out against the backdrop of a polite Japanese society where few speak their mind.
Romero is committed to un-snarky examinations of life along the border between suburbia and rural America.
Instead of taking an indirect sociological tack, the film opts for fairly transparent post-Graduate countercultural hot-button topics.
Flowing feels supremely indebted and connected to Eastern Buddhism’s karmic path toward enlightenment.
Mikio Naruse slowly distances us from his lovers and their actions so that the film’s climactic progression of events hits us all the more fiercely.
It’s to Mikio Naruse’s credit that he clearly doesn’t favor any one of his characters over another.
Setsuko Hara in Sudden Rain uses her trademark beatific grin as a kind of Noh-theater disguise masking a virulent emotional undercurrent.
Even in its stripped-down form, there’s almost nothing here you haven’t seen before.
A better name for Chicken Little might have been My First Spielberg Movie.
In tenor, The Approach of Autumn recalls the stark, light-touch despondency of Morris Engel’s Little Fugitive.
As those un-Holiday raised arms attest, it’s all Diana Ross up in there.
The film is something of a dull slog through territory better covered in Mikio Naruse’s prior Sudden Rain.
The film is unable to deliver the single novel concept or unexpected surprise that might justify its existence.
The film evokes the ’70s less palatably than it does the pervasive sexual freedom of the time.
Rabbits don’t have vocal cords, so Big Science can’t hear them scream.
The Weather Man disingenuously conveys the fickleness of day-to-day existence via a monsoon of profane, contrived moroseness.
The film is torn between its affections to the shrill Yentl and grim Boys Don’t Cry.
Stitched together from a variety of disparate elements, The Legend of Zorro is a frustrating hodgepodge of a movie.
Some movies defy criticism and inspire reactive critical insanity.
Jean-Pierre Melville’s film achieves an atmosphere of otherworldly beauty and grace.