Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
This Oliver Twist isn’t the nasty affair that Roman Polanski fans might be hoping for.
Neil Jordan’s film is an odd, at times off-putting mixture of camp inflection and earnest insight.
Thomas Riedelsheimer’s documentary cinema is enthralled by the intangible.
The Glass Shield doesn’t claim its scenario is applicable in every test case.
The film is little more than a compendium of Hollywood crime-film citations held together by that hoariest of cat-and-mouse clichés.
The film is a homegrown attempt to confront the fanaticism that gripped Nazi Germany during the early 1940s.
Miramax’s shelf-cleaning project continues with this prototypical WE-channel mushfest.
Director Peter Weir and screenwriter Andrew Niccol merely settle for purveying unthreatening, self-satisfied cleverness.
This is a a clumsy mutant hybrid pieced together with the flotsam and jetsam of Aliens, The Abyss, and Pitch Black.
The real delusion is the film’s belief that anyone talks, thinks, or behaves like its oh-so-quirky cast of well-meaning crazies.
Even Lestingois’s epigrammatic punchline, “one should only rescue those of one’s own class,” comes as a bemused quip of self-deprecation.
To cast Jean Gabin and Alain Delon side by side is to invite a crash course in French cinema history.
The film is simultaneously more complex and less labyrinthine than it sounds.
What Michael Almereyda sees in Eggleston’s work are the things that seem to drive Almereyda’s films: life as a continual paradox.
A bad movie is worst when you can sense the meaningful intentions of its creators.
The slapdash construction and narrative inconsistencies aren’t nearly as damaging to the film as the mediocrity of its animation.
It’s easy to imagine what My Left Foot might have looked like in the hands of a lesser director.
It’s bad from beginning to end, and like Jake, it’s totally full of itself.
Killjoy pro-monogamy pap is a minor price to pay for the gratuitously gross sight of Steve Carell peeing on his own chest and face.
Red Eye is a model of efficiency, shrouded in a veil of secrecy.