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Review

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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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    Cannes Review: Alexander Payne’s ‘Nebraska’ An Overfamiliar Tale Of Connections Broken & Remade

    There’ve been great masses of critical laurels laid at Alexander Payne’s door over the years, some, in our eyes, more earned than others. When it really hits home, the director’s quiet humanism and wry humor can yield perceptive insights, especially into certain trademark areas of expertise: family ...

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    Cannes Review: Cannibal Tale ‘We Are What We Are’ Threatens To Give Horror Remakes A Good Name

    “When I saw his movie,” said director Jim Mickle in his opening thank you to Jorge Michel Grau, the director of “Somos Lo Que Hay,” “I was jealous of everything: the idea, the plot, the style, and jealous that it was playing at Cannes in Director’s Week.” And so Mickle went about securing the rights...

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    Review: Provocative Doc 'We Steal Secrets: The Story Of WikiLeaks' Is Essential Immediate Viewing

    Titles can be sticky, none moreso than “We Steal Secrets: The Story of WikiLeaks.” The “we” mentioned could be speaking in first-person perspective in regards to the muckracking online collective, which helped power the biggest security breach in government history. Then again, is the story of WikiL...

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    Cannes Review: 'Only God Forgives' Stretches Refn's Neon-Noir Style Over Too Little Oedipal, Amoral Substance

    With the weight of expectation behind it, Nicolas Winding Refn’s “Only God Forgives” was never going to be able to deliver the same neon blue jolt of surprise that thrilled through the 2011 Cannes crowd at the first screening of “Drive.” But the audience in attendance today was prepped and primed, a...

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    Review: 'Fill The Void' An Orthodox Jewish Romance Caught Awkwardly Between Comedy & Melodrama

    After a Cannes Film Festival which attracted criticism for including no female directors whatsoever, new Venice Film Festival head Alberto Barbera seems to be having bit of a dig at his Gallic rivals with his first year in charge. In the official selection alone, there are four female directors or c...

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

    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,...

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

    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...

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    Cannes Review: Steven Soderbergh's 'Behind The Candelabra' Puts Dazzling Entertainment On Top Of Toxic Relationship

    It's almost unfair how easy Steven Soderbergh makes it look. As the filmmaker heads into his hiatus from movie-making, he's spent the few last years dipping between high grade entertainment ("Magic Mike") and accomplished genre films ("Side Effects," "Haywire") and for his goodbye, he's more or less...

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    Cannes Review: The Rich Also Cry In Valeria Bruni-Tedeschi’s 'A Castle In Italy'

    It’s hard not to read a degree of self-justification into Valeria Bruni-Tedeschi’s (mostly) French-language comedy-drama “A Castle In Italy,” so we’re not really going to try. We took notice of the film in advance mainly because it made headlines as the Cannes Competition’s sole entry from a female ...

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