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Reviews

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    Cannes Review: Abbas Kiarostami Drives In Circles In Dull 'Like Someone In Love'

    After heading to Italy for his last effort "Certified Copy," famed Iranian filmmaker Abbas Kiarostami had a very simple reason for making Japan the next stop on his international production jaunt. "...if I make a film in Japan, I won't be accused of making a film for the West. Making a film in Japan...

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    CANNES REVIEW: Alain Resnais' 'You Ain't Seen Nothin' Yet!' is an Uneven Throwback to His Best Work

    The most prominent member of the French New Wave's Left Bank filmmakers, the 90-year-old Alain Resnais has never really slowed down, but "You Ain't Seen Nothing Yet!" is hardly the poetic crowdpleaser of his last outing, 2009's "Wild Grass." While the new movie lacks ...

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    CANNES REVIEW: Why Cannes Breakout 'The Sapphires' Belongs On Broadway More Than the Big Screen

    Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.

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    Cannes Review: Chris O'Dowd Shines In The Otherwise Uneven 'The Sapphires'

    Among the The Weinstein Company's pre-Cannes Film Festival buys this year was the largely unknown (until it was bought) Aussie musical/drama/comedy effort "The Sapphires." It's certainly easy to see why this easy-to-digest, feel-good movie earned their attention. With a slate ...

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    Cannes Review: 'Roman Polanski: A Film Memoir' A Fascinating Look At The Director As Told By The Man Himself

    Who is Roman Polanski? That's the question at the center of "Roman Polanski: A Film Memoir," a deeply fascinating look at the life and (sort of) career of the controversial filmmaker as told by the man himself. But this isn't a hagiography -- the documentary doesn't shy away from the more tabloid-wo...

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    CANNES REVIEW: A Restrained Michael Haneke Delivers With Gripping Death Drama 'Amour'

    Few directors focus on dark, existentially dreadful scenarios with the consistency of the great Austrian filmmaker Michael Haneke. Less consistent in terms of style than theme, in movies like "Funny Games," "Caché" and the Palme d'Or-winning "The White Ribbon,&quo...

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    Cannes Review: Age & Illness Test Love In Michael Haneke's Unflinching 'Amour'

    Michael Haneke makes it clear from the opening of the film exactly where he's going in "Amour." Kicking off with a literal bang, a team of police officers force open the door of a flat in France, and with masks over their mouths, they walk around the apartment, open the windows and fin...

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    The Good and the Bad of Cristian Mungiu's Post-Palme Drama 'Beyond the Hills'

    Romanian director Cristian Mungiu seemingly came out of nowhere in 2007 to snatch the Palme d'Or for his last feature, the tightly constructed abortion drama "4 Months, 3 Weeks, and 2 Days," a distinctly powerful work. With so much pressure on the filmmaker from this early stage, Mungiu faced an imp...

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    Review: 'Antiviral,' Directing Debut of David Cronenberg Son Brandon, Pays Flimsy Homage to Dad's Work

    Editor's note: A version of this review originally ran during the Cannes Film Festival. "Antiviral" opens this week.

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    Cannes Review: Brandon Does David Proud, 'Antiviral' A Classic Cronenberg Freak Fest

    There is no doubt that no matter what Brandon Cronenberg decided to make as his first movie, the shadow of his father would loom large. So whether it just runs in the family, or if it was a calculated decision to do something audiences would expect from the Cronenberg mantle, full credit to Brandon ...

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