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Review

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    Cannes Review: The Bright Colors Of 'Grigris' Can't Save Monochrome Story

    While Cannes had no shortage of high-profile titles to choose from, sometimes the most exciting thing about hitting the Croisette is discovering something flying under the radar. And unlike the auteur and star-driven movies, the push and pull over going to see something unknown versus eating, writin...

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    Cannes Review: Worthy Medieval Parable 'Michael Kohlhaas' Nowhere Near Sum Of Impressive Parts

    Itself loosely based on a true story, the 19th century novella by Heinrich von Kleist, “Michael Kohlhaas," has been adapted several times for screen, notably by Volker Schlöndorff in 1969, even spawning “The Jack Bull," a pretty good HBO restaging starring Johns Cusack and Goodman, in 1999. But with...

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    Cannes Review: Emmanuelle Seigner A Raucous Revelation In Polanski’s Otherwise Stagy, Pointless ‘Venus In Fur’

    Ever had the feeling, when the credits roll and the lights go up, that you’ve been watching a completely different film to everyone else? Welcome to our morning, which was spent at a screening of the last Cannes 2013 competition film, Roman Polanski’s adaptation of the David Ives broadway play “Venu...

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    Cannes Review: Droll, Louche & Languidly Playful 'Only Lovers Left Alive' Is Jarmusch At His Most Enjoyable & Accessible

    From the very first opening titles, written in a Germanic font that immediately conjures everything from “Triumph of the Will” to images of big-busted ladies screaming in campy close-up in 1970s cheapie horrors (it may be the only time in Cannes that a film got a big laugh for a typeface) it’s perfe...

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    Cannes Review: J.C. Chandor Puts Robert Redford Through Watery Hell In Bruising, Formally Rigorous 'All Is Lost'

    It almost feels like JC Chandor is showing off. In what is only his second feature film, after the chalk-and-cheese financial collapse movie “Margin Call," he sets himself a kind of exercise in filmmaking rigor, in the bare-bones, one-man survival-at-sea story “All Is Lost” and delivers. From the st...

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    Review: Visual Grandeur Of ‘Epic’ Undone By Undercooked, Rote Story

    Let’s get one thing out of the way: “Epic,” the latest from Blue Sky Studios (the “Ice Age” films, “Robots” “Horton Hears a Who” and “Rio”) is at times breathtakingly beautiful. The Chris Wedge-helmed feature presents a visual step-up for Blue Sky and we are luckier for it. The film features a rich ...

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    Cannes Review: James Gray’s Careful, Poised 'The Immigrant' Builds Slowly To A Resonant Climax

    A strangely chimeric movie, that only reveals its truest colors in its closing moments, James Gray’s “The Immigrant” which screened In Competition this morning in Cannes is a meticulous reframing of the director’s familiar themes and concerns that mostly lived up to our high expectations, while neve...

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    Review: 'Nancy Please'

    We've all known people like Nancy. The title character of Andrew Semans' "Nancy, Please" is a real pill, dark eyes, slumped shoulders, and an eternal pout. There's always drama in Nancy's life, and she's always expressing it physically. She's always impetuous, always difficult, and frequently nasty,...

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    Cannes Review: Masterful ‘Blue Is The Warmest Color’ Is The Sublime Story Of A Transformative Relationship

    Why do we watch movies? No, really, why is it? As close an answer as we’ve ever come to for our own, fairly evident obsession with what we consider the greatest storytelling medium humankind has ever developed, is well, that life is short. Bear with us a second on this: basically to submerge yoursel...

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    Review: 'Before Midnight'

    What happened at the cliffhanger ending of 2004's "Before Sunset?" Did Jesse (Ethan Hawke) manage to catch his flight back to the United States or did he and Celine (Julie Delpy) finally re-consummate their nine-year-after-the-fact romance? These questions are answered in Richard Linklater's trilogy...

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