Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
This bumbling exercise in redundant replication is as disagreeably lukewarm as a heavily trafficked municipal baby pool.
It has frequently been cited as the first “real” Radley Metzger film, after a few preliminary directorial efforts in the non-erotic realm.
Radley Metzger’s Little Mother must’ve been an irresistible proposition for the filmmaker.
Prudes be damned, Radley Metzger doesn’t soft-sell the gay sex in the slightest.
A Heaven Can Wait DVD figures prominently in Hostage, but there’s more hellfire than wit or romance in Florent Siri’s thriller.
A great many supernatural things happen in The Jacket, though they ultimately make little sense and amount to even less.
It’s no surprise that the film’s only enduring legacy hinges on the psychological destruction of, as Madonna put it, “where life begins.”
Before parodying your action superstar image, don’t you first have to be an action superstar?
The film is more intriguing for behind-the-scenes gossip than its rather familiar screwball comedy machinations.
Save yourself the trouble: Skip D.E.B.S. and rent Pootie Tang instead.
Lipstick & Dynamite is but a goodhearted puff piece unable to deliver on the promise of its loaded title.
Dust to Glory is damningly scored with variations and remixes of James Horner and James Newton Howard compositions.
The proscenium arch that marks the difference between theater and film doesn’t get obliterated in Cukor’s film.
Unlike the FOX News Channel, Gunner Palace does not have the audacity to use “fair and balanced” as its ad slogan.
There’s a cult around Howard Hawks, who was unquestionably one of the most competent filmmakers of his era.
Is The Philadelphia Story about cutting Katharine Hepburn down to size?
Bergman’s film is one of cinema’s great comedies, consistently producing the kind of hard, hearty laughter that nourishes the soul.
The central conceit, that theater is the house of true art and film the way station of the illiterate, might’ve come off as self-important on stage.
The best thing that can be said about Cursed is that it’s scarier than Teen Wolf Too.
It’s comforting to know that one of my favorite critics, David Edelstein, doesn’t take the Oscars very seriously.