Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Sometimes it’s worth reproducing the standard blurb, especially if it comes from the director’s own mouth.
David Mackenzie relishes dark tales of sexual obsession like a gleeful masturbator.
There’s something to be said for the sight of Vince Vaughn’s package being rubbed, in extreme close-up, through his dinner slacks.
The film ultimately chooses to embrace, rather than transcend via zany bawdiness, the schmaltzy genre within which it’s operating.
Like Paul Haggis, Mark Bamford confuses audience pandering for hope.
Eternal and Eyes Wide Shut are not kindred spirits.
In Terry Gilliam’s phantasmagoric cosmos, the earthly and the imaginary coexist in semi-harmony.
David Brower did more to save Mother Nature from Big Government than anyone before him.
This year’s most celebrated Sundance smash, Hustle & Flow is little more than a calculated bid for Hollywood megabucks.
Wait! What?! The rest of the Garbage Pail Kids are crushed in a garbage truck at the bequest of The State?!
No fragmented or psychedelic stone was left unturned in Suzuki’s genre demolition jobs.
Tim Burton’s film is akin to a disappointingly tame acid trip.
It’s difficult not to look at the film as an attention-grabbing stunt.
Werner Herzog’s first feature film establishes one of the German director’s most easily identifiable signature marks.
With just two features director Ira Sachs has created a distinctive, deliriously beautiful aesthetic.
What The Edukators could have used was a director with a touch of the perverse.
For a film shot in Ecuador, Crónicas feels curiously American in design.
Ambition is both Pretty Persuasion’s finest and weakest attribute.
Doing Time, Doing Vipassana strains to summon a sense of spiritual gravitas.
Jennifer Connelly soulfully pinpoints the fearful protectiveness of a mother confronting the possible loss of her offspring.