Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Fat Albert begins promisingly, but looks can be deceiving.
The animated sequences represent merely the most questionable formal tactic of a deeply cagey and secretive film.
Imaginary Heroes is a queer-eyed valentine to Sigourney Weaver.
In this extreme year, nothing was quite as outlandish as Team America’s showstopping scene of hardcore marionette sex.
Flight of the Phoenix is remarkably loyal to the Robert Aldrich’s 1965 action yarn of the same name, if only in plot.
In its own low-down deportment, The Cameraman is really a raucous, more accessible iteration of Man with a Movie Camera.
Wong Kar-wai means to depress Mr. Chow, but he bums out his audience in the process.
The film is a pleasantly episodic and surprisingly sinister account of a deranged lunatic trying to kill three orphans.
Oh, those wacky white folks!
Count on Wes Anderson’s visual and verbal witticisms and presence of Murray to guide us through the rougher waters of the film.
Million Dollar Baby is another act of faith from Clint Eastwood.
The closest kin to Gianni Amelio’s heartbreaking The Keys to the House may be Patrice Chéreau’s Son Frère.
Woman in the Moon is the great Fritz Lang’s somewhat labored final silent.
Writer-director Michael Radford drowns The Merchant of Venice in self-importance.
Steven Soderbergh’s Ocean’s Twelve is a starfucking circle-jerk orgy that doesn’t even have the common decency to get you off.
If liking musical theater is not in your DNA, this theme park ride is likely to make you violently ill.
It’s All True is an essential piece in the Orson Welles puzzle.
Niels Mueller’s film is a bitter pill about an everyman fed up with the lies inherent in the American Dream.
This kinky “cheating lovers” melodrama is drenched with his penchant for self-reflective wit.
The lush Therese and Isabelle presents a portrait of lesbian romantic bliss that’s refreshingly indifferent to the context of patriarchy.