Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
This is the sort of shrill circus act that people love to confuse for foreign correspondence.
Some of the most powerful moments in the documentary are the glimpses of the 1971 Winter Soldier hearings.
It’s all very interesting, but it still feels like a cut-and-dry homework assignment…or a Paula Abdul song.
Lee Je-yong’s film has very little to say about a culture war and a battle of the sexes.
This plot-holed clunker is a mushy ode to maternal devotion embellished with spaced-out sci-fi senselessness.
The loss of home resonates powerfully throughout the documentary.
Ousmane Sembène’s polemical film resonates on a large scale.
You know girlfriend is in trouble when she walks into church without a bra.
Bruce LaBruce’s film is a necessary breath of astringent air.
What do any of its random acts of humor really have to do with the Hollywood industry?
The most striking reference point for David Gordon Green’s Undertow is Charles Laughton’s The Night of the Hunter.
In Zhang Yimou’s orgiastic film, love isn’t so much a fabulous extension of history as it is a colorful off-shoot.
Orca isn’t a cheap thrill, but it sure does seem like it’s in a rush to finish.
Mike Leigh’s kitchen-sink melodramas may detail the lives of the Brit lower class, but they resonate on a universal level.
The only thing worse than a bad lowbrow comedy is a bad middlebrow Britcom.
Roger Michell’s direction can only be described as bourgeois.
The campy Resident Evil: Apocalypse may be brain dead, but it’s nonetheless also heartily, feverishly alive.
It isn’t difficult to sense the hot air emanating from What the Bleep Do We Know?
Cheap, touching, and downright nasty, Kevin Smith’s first feature still remains the ultimate cinematic tribute to slackers.
David R. Ellis’s proficient direction helps sustain a consistently frantic, tense pace.