Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
The film’s first image sets up the template for this magnificently excruciating study of romantic degradation.
Cinderella has probably destroyed more lives than any other Disney film.
It’s not long before you realize that the film is just an excuse to put on a gospel show.
Substitute The Devil’s Advocate’s satanic legal scheming with unethical sports gambling practices and you’ve got Two for the Money.
If only the movie could have found a way to put Shirley MacLaine in every scene.
David Redmon is impressively hands-off, allowing the material to speak for itself about the headless beast of globalization.
It goes without saying that the discovery and restoration of Beyond the Rocks is a cause for celebration.
With Sympathy for Lady Vengeance, Park Chan-wook delivers more virtuosic but empty flash.
Jodie Foster’s Nell might describe Dandelion’s characters as tays een da ween.
Through the Forest is a quixotic film of tone-poem rhythms about the unquenchable desire for lost love.
Without Jessica Alba’s bootylicious presence, the shallow Into the Blue would sink like a stone.
The Brechtian formalism that stirred the more ambiguous Dogville’s philosophical inquisitions is put to uninspired use in Manderlay.
The film is a modest vision of characters trucking on in spite of their difficult circumstances.
From down-home Christian horror to Disney?
Sam Raimi’s sequel/remake is full-on gore slapstick, more Tex Avery than Dario Argento.
Slant Magazine sat down with the director to discuss the making and politics of HellBent.
The film is one for the ages, and in anticipation of its first-run release, we met with Sachs at his office in downtown Manhattan.
The Green Cockatoo is a highly entertaining curio of early British cinema.
Mitsuo Yanagimachi’s film is a captivatingly detailed ode to community and the movies.
The Squid and the Whale dares not harshly judge its all-too-human characters.