Movie Reviews
Cannes Review: 'The Immigrant'
Has Alexander Payne Gone Soft?
Cannes: 'All Is Lost'
Cannes: 'Grigris'
Cannes: Clare Denis Disappoints
Cannes: Franco's 'Dying'
Cannes: 'Last Days on Mars'
Cannes: 'Llewyn Davis'
Cannes: Alejandro Jodorowsky's Latest
Cannes: 'Congress' Indicts Hollywood
Cannes: Farhadi's 'The Past'
Teen Movies at Cannes
How Gratuitous is Luhrmann's 'Gatsby'?
Caryn James on 'Gatsby'
Polley's 'Stories We Tell'
The Best 2013 Indies (UPDATED)
Keanu Reeves' Weirdest Role
The Best Double Bill of the Year
Where Are the Good Tribeca Narratives?
'Gasland' Gets a Sequel
Tribeca Review: 'Lenny Cooke'-
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Roman Polanski's Rarely Seen Formula 1 Racing Doc 'Weekend of a Champion' Is Restored and Updated at Cannes
In May 1971, Roman Polanski went to Monaco with documentarian Frank Simon to shadow the world's greatest Formula 1 racer, Jackie Stewart. The result, a personable chronicle in which Polanski appears on camera casually chatting with Simon and hearing about his craft, never received a proper U.S. rele...
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James Gray's Marion Cotillard-Starring Period Drama 'The Immigrant' Is the Most Divisive Film in Cannes Competition
Moments after leaving an early morning press screening of James Gray's "The Immigrant" in the final stretches of the Cannes Film Festival, I immediately encountered two extreme perspectives on the movie. Conversing with a pair of knowledgable cinephiles, one extolled the classical virtues of directo...
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Cannes: 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. After a brief heterosexua...
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Cannes Review: With 'Nebraska,' Has Alexander Payne Gone Soft?
Alexander Payne's movies walk a fine line between cruel satire and emotional truth, but in "Nebraska," it's particularly hard to discern which is which. The black-and-white road trip dramedy might be his least essential work, but it's also notably distinct from the rest of it. The first project that...
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Cannes: How 'Only God Forgives' Suggests Ryan Gosling's Schtick Has Worn Thin
Ryan Gosling is a talented actor who has faced the same challenge most distinctive performers inevitably must confront: the danger of turning into a walking cliché. To that end, the decision to avoid traditional blockbuster vehicles in favor of Nicolas Winding Refn's ultra-violent B-movie-turned-art...
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Cannes: Robert Redford's Strangest Role of His Career Is In J.C. Chandor's 'All Is Lost'
J.C. Chandor's flashy directorial debut "Margin Call" contained a complicated plot involving financial turmoil, an ensemble of name actors and numerous locations. His followup, "All Is Lost," takes place at the complete opposite end of the production scale: Robert Redford spends its entire duration ...
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Cannes Review: Killer Dance Moves and Crime In Simple, Formulaic 'Grigris'
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...
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Cannes: Suicide and Sexual Abuse Abound In Claire Denis' Frustratingly Muddled 'Bastards'
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 ...
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Cannes Review: '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.
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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
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...
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