Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
To call Holly Woodlawn’s performance one of the very greatest in all of cinema would be an understatement.
Spanish auteur Álex de la Iglesia continues to show absolutely no signs of reconciling his dramatic and comedic impulses.
Marcos Siega’s hackneyed, by-the-books action-comedy deserves a dunce cap.
For filmmaker Simone Bitton, Israel’s security fence is a symbolic representation of her own divided identity as both Jew and Arab.
It would be pure absurdism if Akerman’s detached logic didn’t make so much sense.
The film proves that Mormonism and makeup-adorned punk rock aren’t oil and water entities.
Chaos is a dim approximation of Last House on the Left.
Oyster Farmer becomes something of an afterthought, but it’s a lovely excursion while it lasts.
Hard Goodbyes goes from being appropriately child-like to simply childish.
The film is all about bullies, PG-rated house parties, nerd-dunking, “That’s my boy” winking, and vapid teen romance.
Stealth doesn’t stray from Rob Cohen’s tried-and-true aggro blueprint for making movies.
The film exists to appeal to a demographic it perceives to be burnt out from fending off all that bad advice from Cosmopolitan.
John Dahl’s dust-collecting WWII chronicle The Great Raid finally arrives with the dull thud of a bomb that fails to detonate on impact.
Takitani’s life is not only mundane but seemingly forgettable.
9 Songs is a minor wisp of a work, a fleeting and hazy recollection of several rapturous moments out of time.
The film succumbs to the dull, sloppy obviousness it had previously worked so hard to skirt.
Richard Linklater’s remake remains largely faithful to the original film’s spirit of crude rebelliousness.
Unknown White Male gradually transforms into a first-person documentary portrait not of rediscovery but of wholesale reinvention.
I think we’re far enough along in our civilization that the following can be stated with absolute authority: all Michael Bay movies are evil.
Johnnie To’s film is a compelling amalgam of aesthetic showmanship and human movement.