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Movie Reviews

  • Indiewire
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    Cannes '11: Five Lessons From This Year's Festival

    After 12 long days and even more sleepless nights for hundreds of people, the Cannes Film Festival finally came to an end Sunday. As with each year at this massive spectacle of media chaos and cinematic discovery, many moments and images (not to mention movies!) will continue to reverberate.

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    CANNES REVIEW | "Once Upon a Time in Anatolia" is a Mesmerizing Police Procedural

    Editor's note: A version of this review originally ran during the Cannes Film Festival. "Once Upon a Time in Anatolia" opens at Film Forum on Wednesday.

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    Cannes '11 | 28 Cannes Reviews

    Since kicking off last Wednesday with the world premiere of Woody Allen's well received "Midnight in Paris," the 64th Festival de Cannes has churned out one anticipated title after another. indieWIRE's Eric Kohn has been busy on the scene from day one of the event to review a slew of titles. Check o...

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    Bruno Dumont's "Outside Satan" Lacks Inspiration

    Editor's note: A version of this review originally ran during the Cannes Film Festival. "Outside Satan" opens Thursday in limited release.

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    CANNES REVIEW | Un Certain Regard Closer "Elena" Features Glacial Pace and Intriguing Philosophy

    Andrei Zvyaguintsev starts and ends his third feature, "Elena," with the symbolic image of a barren tree, an accurate reflection of the dreary narrative sandwiched between those two shots. All three of the Russian director's features - alongside "Elena," he directed "The Return" and "The Banishment" - deal with troubled family life. Only "Elena," however, explicitly states said trouble before confronting its consequences. His latest work is the most overtly philosophical of the three, less concerned with plot than contrasting values. Terminally slow and simpler than its glacial pace implies, "Elena" is a resolutely minor work, but not without...

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    CANNES REVIEW | Christophe Honoré's "Beloved" Closes the Festival with the Familiar

    With "Beloved" ("Les bien-aimés"), the closing night selection of the 2011 Cannes Film Festival, prolific French director Christophe Honoré returns to the postmodern musical turf he first explored in 2007's acclaimed "Love Songs." Here, he covers 45 years over 150 minutes and gives the impression of...

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  • Leonard Maltin
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    movie review—Pirates of the Caribbean: On Stranger Tides

    Remember how fresh and novel Pirates of the Caribbean seemed in 2003? Remember the fun of seeing Johnny Depp’s off-the-wall portrayal of Captain Jack Sparrow for the first time? It may be hard to think back that far, because the lumbering, pointless sequels have buried every trace of sponta...

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    CANNES REVIEW | Norwegian Director Joachim Trier Studies Addiction in Moving "Oslo, August 31st"

    Norwegian director Joachim Trier showed serious promise with his feature debut, "Reprise," a thoughtful coming-of-age drama about growing artist types with plenty of verve and style. His effective follow-up, "Oslo, August 31st," takes the opposite route. With its moving lead performance by "Reprise"...

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    CANNES REVIEW | Sorrentino's "This Must Be the Place" Puts Sean Penn in an Embarrassing Position

    The issue with "This Must Be the Place," Italian auteur Paolo Sorrentino's first English language feature, has nothing to do with whether it makes light of the Holocaust. That might be a worthy debate if it didn't face other problems. Chief among them: An uber-campy Sean Penn performance, a gratingl...

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    CANNES REVIEW | With "Drive," Nicolas Winding Refn Puts Ryan Gosling in the Fast Lane

    If "The Fast and the Furious" franchise borrowed liberally from 1980s action tropes and ditched plot in favor of sheer speed, it would probably resemble the mad hustle of "Drive," Danish director Nicolas Winding Refn's thrilling foray into the Hollywood arena. Combing a memorably gritty Ryan Gosling...

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