Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Frank Tashlin turns the central conflict into just the sort of half-cocked farce the scenario deserves.
Benoît Jacquot’s A Tout de Suite retains an impressive poker face.
It endures as one of the finest Flynn-de Havilland collaborations, providing a grand stage for the duo’s playful, poignant rapport.
Neither a Doris Day musical nor a ferocious James Cagney gangster film, Love Me or Leave Me is a fascinating hybrid.
The film looks fabulous but it’s all very schematic.
This is a a morality play that only sees in black and white.
Paul Pavlikovsky’s follow-up to 2002’s Last Resort is also carefree and similarly anchored by the remarkable performances of its two leads.
The film is a remarkable synthesis of proto-feminist ideals and visionary aesthetics.
Didn’t anyone tell Errol Flynn he was no match for the mercurial Bette Davis?
Girlfriend talks as if she’s constantly burning her bras but she can’t tell when some scumbag is trying to shamelessly get into her panties.
Dodge City is a well-crafted and perfectly capable western.
Cinematic happy endings are enjoyable so long as they’re earned.
To borrow one of its character’s put-downs, King’s Ransom is a film “dipped in stupid.”
When The Sea Hawk is purely cinematic, it’s at the top of its class.
It conflates the angst of adolescent sexual development with the fury of Catholic retribution, suggesting at times an analog version of David Fincher’s Se7en.
Though there are no live torsos pulverized to mush in the film proper, there’s an unmistakable misogynistic bent.
One is almost tempted to entertain De Palma detractors’ arguments that his exploitation of Hitchcock tropes is nothing but a dead end.
It’s probably best to enjoy this pinnacle of ’80s horror trash with the virgin mindset of its lead character.
One of EC’s most lasting legacies is in the unforgiving dual nature of their bile against humanity.
William Lustig’s surprisingly evocative widescreen compositions are peppered with an absurd parade of Americana.