Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Cartoons predictably grappling with issues of respect, honor, and subservience, the film’s Asian characters act and sound like throwbacks.
The very title of Michael Tolkin’s film evokes slippery visions of both spirit and sex.
Common Wealth is far and away Álex de la Iglesia’s most enjoyable film to date.
In Eytan Fox’s Walk on Water, the Sea of Galilee is paved with good intentions.
After the one-two-three punch of Tesis, Open Your Eyes, and The Others, Alejandro Amenábar has gone completely out of his mind.
The film’s expressive comedown makes a last-minute terror alert all the more shocking.
The film is a masochistic spectacle of mostly unexamined violence, self-injury, rape, and naughty sex.
The film is a hollow CGI extravaganza that reduces a child’s fantasy trip to the North Pole to a roller coaster ride of excitement.
For Jonathan Demme, a filmmaker whose raison d’être is the celebration of diversity, Philadelphia is an unfortunate misstep.
There’s little sassiness or swing to this toothless update of the minor late-’60s film that made Michael Caine a star.
At what point after a film is greenlit does a movie exec turn to the filmmakers and demand an intimate “homo” moment between the screenplay’s straight dudes?
The film reduces the atrocities committed in the African country to the stuff of a rote suspense thriller.
The film is a wild orchestration of flamboyantly touching images and fair ground theatrics.
The cumbersome Finding Neverland never gets off the ground.
The second and third parts of Larry Cohen’s It’s Alive trilogy are by turns silly and sublime.
The second and third parts of Larry Cohen’s It’s Alive trilogy are by turns silly and sublime.
In the end, the film succeeds only in applauding a materialistic, self-absorbed audience’s pop-cultural cheekiness.
Larry Cohen disquietingly blurs the lines between what’s normal and what’s not, and what it is to love a child unconditionally.
Three on a Couch is a film that flies any number of directions.
John Carpenter wisely turns his focus on the fissures of his own microcosmic civilization under duress than that of their skin and veins.