By Indiewire | Indiewire May 28, 2013 at 1:7PM
From the Palme d'Or winning coming of age epic "Blue is the Warmest Color" to Steven Soderbergh's star-studded Liberace biopic "Behind the Candelabra" to James Franco's most ambitious directorial effort to date, Indiewire was on the scene at the 66th Festival de Cannes to review the bulk of the most anticipated titles to premiere on La Croisette. Below find all the reviews published over the course of the festival.
Lesbian Coming-of-Age Epic 'Blue Is the Warmest Color' Offers Honest, Sexually Frank Insights
The first sex scene in "Blue Is the Warmest Color," Abdellatif Kechiche's French coming-of-age drama about a young lesbian couple, lasts longer than any other sequence in the movie. To dwell on its length, however, shortchanges its relevance to this three-hour-long feature.
With 'Nebraska,' Has Alexander Payne Gone Soft?
The first project that the filmmaker didn't write himself, "Nebraska" lacks the vulgar edge typically at the center of his scenarios. It's a sad, thoughtful depiction of midwestern eccentrics regretting the past and growing bored of the present, ideas that Payne regards with gentle humor and pathos but also something of a shrug.
Unfortunately, by re-teaming with Refn for the far less inventive genre exercise "Only God Forgives," Gosling has tumbled into the exact trappings that "Drive" smartly assailed.
James Gray's Marion Cotillard-Starring Period Drama 'The Immigrant' Is the Most Divisive Film in Cannes Competition
Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
James Franco's Ambitious Directorial Effort 'As I Lay Dying' is Dragged Down by Franco's Own Performance
The actors are generally surprisingly solid, with one conspicuous exception: Franco himself, who might have been too busy on set to concentrate on his work as an actor and/or to direct himself properly.
Robert Redford's Strangest Role of His Career Is In J.C. Chandor's 'All Is Lost'
While simplistic to describe, however, the movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
Martian Zombies and Liev Schreiber Can't Quite Salvage 'Last Days on Mars'
Despite its impressive visuals and a solid first act, 'Last Days on Mars' devolves into a stupid and uninspired zombie flick that ruin's the movie's initial promise.
'Behind the Candelabra' is Steven Soderbergh's Glamorous, Garish and Great Goodbye (For Now)
"Behind the Candelabra," which premiered at Cannes today before heading to HBO on Sunday, May 26th at 9pm, is Steven Soderbergh's virtuoso swan song to filmmaking (at least for now), his final feature before stopping to focus on his painting.
After his epic 1985 Holocaust documentary "Shoah," filmmaker Claude Lanzmann shows that he is still very much capable of mining engrossing material about the atrocity, with his latest "The Last of the Unjust" covering the Czech ghetto Therienstadt.
Killer Dance Movies and Crime In Simple, Formulaic 'Grisgris'
The movie has a lot less on its mind and makes no drastic attempts to overreach. A straightforward tale of overcoming personal and professional challenges with no fancy dressing, "Grigris" goes down easy but offers nothing remotely fresh.
Suicide and Sexual Abuse Abound in Claire Denis' Frustratingly Muddled 'Bastards'
Despite a strong cast and shadowy mysteries that deepen the plot, "The Bastards" creates the sour impression of a half-formed work.
Family Problems Dominate In Clio Barnard's 'The Selfish Giant' And Kore-eda's 'Like Father Like Son,' But 'Borgman' Makes Them Scary
Movies for families tend to embrace the value of sticking together. However, movies about families -- at least those with a certain amount of gall -- assail that very same principle.
Why 'Inside Llewyn Davis' Isn't the Minor Coen Bros. Movie It Looks Like
The Coen Brothers surprised and impressed with "Inside Llewyn Davis," their 1960's-set tale of a fledgling folk musician thanks to a revelatory performance by Oscar Isaac in the title role as well as a catchy score by T. Bone Burnett.
'The Dance of Reality,' Alejandro Jodorowsky's First Film in 23 years, is a Return to Form
Legendary cult director Alejandro Jodorowsky returns to the filmmaking scene after over two decades without losing any of his brazenly surreal panache.
Arriving on the heels of his Oscar-winning 2011 drama "A Separation," "The Past" sees Iranian director Asghar Farhadi leaving his native country for France, while still maintaining his steadfast devotion to his characters' emotions.
Teens Living Dangerously in Sofia Coppola's "The Bling Ring" and Francois Ozon's "Young and Beautiful"
Two films explore overeager youth, both yielding interesting results: Sofia Coppola's depiction of teens robbing celebrity homes in the real-life-inspired "The Bling Ring," and Francois Ozon's "Young and Beautiful," which portrays a young girl who becomes a prostitute online.
Forget 'The Great Gatsby,' The Best 3D Movies at Cannes Is Directed By Jean-Luc Godard
A jumbled semiotics class on acid, the 3D anthology film "3X3D" is the second omnibus project produced by the European Capital of Culture (following last year's "Centro Historico"), but it stands alone as a uniquely strange experience.
With 'Only Lovers Left Alive,' Jim Jarmusch Caps a Great Year For American Auteurs in Cannes
If the fashionable bloodsuckers of the "Twilight" movies traded their frantic stares for expressions of ennui, they might have something in common with Adam (Tom Hiddleston) and Eve (Tilda Swinton), the retro cool vampires at the heart of Jim Jarmusch's "Only Lovers Left Alive."
The Highlights From Un Certain Regard
It was a big year for American films in competition at the Cannes Film Festival, but in the neighboring Un Certain Regard section, they came and went with a whimper. Perhaps that's because they simply played it too safe in a section filled with daring creativity. Literally translated as "Of a Certain Regard," this spillover section carries the whiff of snobbery ("it's good, but not good enough for competition"), but also makes room for a broader spectrum of international cinema than the 20 competition slots provide. The American cinema in Un Certain Regard suffered by comparison to far more adventurous titles.