Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Th soul-crushing horrors of slave labor in the penal system are neatly interwoven into a highly gripping plot.
Chris Browne’s engaging documentary is a captivating portrait of America’s shifting entertainment preferences.
Werner Herzog’s heart and soul belongs to the jungles of the world.
John Sturges transforms the expansive emptiness of his frame into an omnipresent character.
Dominion: Prequel to the Exorcist turns out to be as dreadfully boring, ridiculous, and pompous as rumored.
The film’s schematic attempt to present two political extremes as equally repugnant and exclusionary is depressingly feeble.
Even though Henry Fonda is uncharacteristically stiff here, it’s easy to see why he became Ford’s leading man of choice.
The film features Sam Fuller’s punchy combination of crazy vulgarities and keen psychological insights.
Bomb the System captures the addictive, renegade spirit of urban graffiti writing even as it falters in its attempts to legitimize the illegal activity.
The second half plays slightly better than the first, if only because it gives in unashamedly to its plot of melodramatic intrigue.
The film was a signature failure that sums up David O. Selznick’s is entire career: a showman with big panache and no heart.
Some believe that there’s simply no place for political commentary let alone a point of view in a film review.
Masturbation takes on a devastating thematic function in Christophe Honoré’s film.
Here’s an irresistible pulp fantasy premise that screams drive-in classic.
The film feels as if it were intended by director Marilyn Agrelo as a point-by-point rebuttal of Jeff Blitz’s Spellbound.
Fritz Lang acknowledges that a show of human compassion prevents the growth of fascism.
In his TV commercials, Buck declares “I’ve got balls,” but the same unfortunately can’t be said about the film.
The film is a powerful wake-up call about the global problem of child labor.
Pure’s kitchen-sink realism is so spit and polished that it exudes a disconcertingly cheery affection for its characters’ lives.
The films of Jacques Demy take adolescent romantic dreams and utterly vindicate them.