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Cannes Review: Killer Dance Moves and Crime In Simple, Formulaic 'Grigris'

by Eric Kohn on May 21, 2013

Chad-based director Mahamat-Saleh Haroun's last feature, the Cannes-winning "A Screaming Man," involved father-son tensions against the backdrop of civil war. By comparison, his followup "Grigris" is something of a letdown, though it works well enough on the scale of a basic character study. The mov...

MORE: Grigris, Reviews, Cannes Film Festival, Mahamat-Saleh Haroun

Shadow and Act

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DVD Review - Senegalese Drama 'Les Feux De Mansaré' ('Fire of Mansaré')

by Wendy Okoi-Obuli on May 21, 2013

Known mainly for his award-winning short films, in Les Feux De Mansaré director Mansour Sora Wade delivers a second feature film as a story about desire, choice and the freedom (or lack of it) of young people forced into a traditional practice where a male tags a girl at birth for marriage in a...

The Playlist

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Cannes Review: 'La Grande Bellezza' An Indulgent But Dreamy Reflection On Life, Love & More

by Kevin Jagernauth on May 21, 2013

Opening with a literal bang from a cannon and proceeding into an over-the-top party sequence, Paolo Sorrentino lets you know from the start that nothing will be held back in his latest, "La Grande Bellezza." After breaking out on the international scene with "The Consequences of Love" and "Il Divo,...

MORE: Paolo Sorrentino, La Grande Bellezza, Reviews, Review, Cannes Film Festival

Thompson on Hollywood

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Review Roundup: Critics Go Ga-Ga for Soderbergh's Outrageously Mesmerizing 'Behind the Candelabra'

by Beth Hanna on May 21, 2013

Critics are over the glittering, bedazzled moon for Steven Soderbergh's Cannes competition entry "Behind the Candelabra," set to premiere on HBO on May 26 and starring a no-holds-barred Michael Douglas and Matt Damon as the famed pianist Liberace and his younger lover, Scott Thorson. The Telegraph r...

MORE: Reviews, Cannes Film Festival, Behind the Candelabra, Steven Soderbergh, Matt Damon, Reviews

Caryn James

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Michael Douglas, Kitsch and Depth: Soderbergh's 'Behind the Candelabra'

by Caryn James on May 21, 2013

Despite the earnest pr spin surrounding it, Behind the Candelabra invites us to laugh at - not always with - the grinning, gaudy Vegas spectacle that is Liberace. But Michael Douglas' performance is also deep, sympathetic and brilliant, an act of impeccable mimicry that reveals the essence ...

The Playlist

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Cannes Review: Claire Denis Destined To Divide With Disturbing, Salacious 'The Bastards'

by Jessica Kiang on May 21, 2013

If all art is only ever about sex and death, Claire Denis’ Un Certain Regard film “The Bastards” may be the most "artistic" one we’ve seen in Cannes to date, as it rolls around positively shamelessly in the musk of both. Or it may be a grubby little exercise in exploitation, depending on who you tal...

MORE: The Bastards, Claire Denis, Reviews, Review, Cannes Film Festival

Shadow and Act

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Maryland Film Fest Review: 'Mother of George' Is The Best Film I’ve Seen Thus Far This Year

by Dankwa Brooks on May 21, 2013

Every year I pick a favorite film, among the many I see at the Maryland Film Festival, and this year it's a truly remarkable one—Mother of George.

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Indiewire

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Cannes: Suicide and Sexual Abuse Abound In Claire Denis' Frustratingly Muddled 'Bastards'

by Eric Kohn on May 21, 2013

Claire Denis' films are typically intimate dramas weighted with emotion, which makes it particularly dispiriting that "The Bastards," her eleventh feature, contains those ingredients without sufficiently pulling them together. A muddled revenge drama about family ties and traumatic experiences, the ...

MORE: Reviews, Les Salauds (Bastards), Claire Denis, Cannes Film Festival

Indiewire

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Cannes Review: 'Behind the Candelabra' is Steven Soderbergh's Glamorous, Garish and Great Goodbye (For Now)

by Alison Willmore on May 21, 2013

"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.

Indiewire

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Cannes: Family Problems Dominate In Clio Barnard's 'The Selfish Giant' And Kore-eda's 'Like Father Like Son,' But 'Borgman' Makes Them Scary

by Eric Kohn on May 21, 2013

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. At the Cannes Film Festival, which attracts stories from around the world, the notion of familial stability is eviden...

MORE: Reviews, The Selfish Giant, Clio Barnard, Like Father, Like Son, Hirokazu Kore-Eda, Borgman, Alex van Warmerdam

Cannes Review: Killer Dance Moves and Crime In Simple, Formulaic 'Grigris'

DVD Review - Senegalese Drama 'Les Feux De Mansaré' ('Fire of Mansaré')

Cannes Review: 'La Grande Bellezza' An Indulgent But Dreamy Reflection On Life, Love & More

Review Roundup: Critics Go Ga-Ga for Soderbergh's Outrageously Mesmerizing 'Behind the Candelabra'

Michael Douglas, Kitsch and Depth: Soderbergh's 'Behind the Candelabra'

Cannes Review: Claire Denis Destined To Divide With Disturbing, Salacious 'The Bastards'

Maryland Film Fest Review: 'Mother of George' Is The Best Film I’ve Seen Thus Far This Year

Cannes: Suicide and Sexual Abuse Abound In Claire Denis' Frustratingly Muddled 'Bastards'

Cannes Review: 'Behind the Candelabra' is Steven Soderbergh's Glamorous, Garish and Great Goodbye (For Now)

Cannes: Family Problems Dominate In Clio Barnard's 'The Selfish Giant' And Kore-eda's 'Like Father Like Son,' But 'Borgman' Makes Them Scary

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