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Review

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    Cannes Review: The Mind Heals The Soul In Meandering & Unsatisfying 'Jimmy P.'

    If Freddie Quell came back from World War II as an unhinged animal, Jimmy Picard (Benicio Del Toro) is the polar opposite, an intensely quiet but no less wounded man, who is out of sorts in post-war America. But he is also a Native American, which brings to his life a whole set of experiences (espec...

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    Cannes Review: 'Like Father, Like Son' A Tender, Loving Portrait Of Parenthood

    How is being a parent defined? By your actions, or does the simple virtue of being related by blood automatically give you that title? Those questions and more lie at the core of "Like Father, Like Son," a tender and involving portrait by Kore-Eda Hirokazu that centers on two set of parents -- and o...

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    Cannes 2013: Kristin Scott Thomas Shines In Sizzle Reel Footage From 'Only God Forgives'

    Finally from our roundup of tonight’s Weinstein Company 2013 preview reel (you can read about “The Immigrant” here and the rest of the movies teased here), and well, we’ve kind of saved the best for last. Or at least, the best received on the night. Nicolas Winding Refn’s “Only God Forgives” is with...

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    Cannes Review: Death Lingers & Lifts In Thoughtful 'Miele'

    If Michael Haneke's "Amour" presented death as a sobering inevitability, one that will test the bounds of our ability to love, actress Valeria Golino has a slightly more nuanced perspective in her directorial debut "Miele." While the subject of euthanasia is the entryway into the story, Golino wisel...

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    Cannes Review: 'Fruitvale Station' Recounts A Tragic True-Life Story With Good Performances & Intentions, But Little Subtlety

    There are now a few stories surrounding Ryan Coogler’s “Fruitvale Station,” which screened in Cannes yesterday. There’s the “Fruitvale Station” that as a debut, passion-project feature from an untested filmmaker, was plucked from obscurity, championed, notably by Forest Whitaker, and put into produc...

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    Cannes Review: Asghar Farhadi's 'The Past' A Mostly Powerful Look At The Messiness Of Stasis

    When "The Past" opens, we see a couple communicating through a thick pane of glass at an airport. They can't hear each other, but through gestures and mouthed words, they can get the gist of what the other is saying, but between them is an immovable object that prevents a full understanding of what ...

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    Review: Kim Ki-Duk's Golden Lion-Winning 'Pieta' Is A Bruising Mother-Son Relationship Drama That Ultimately Disappoints

    With only a few days left of the Venice Film Festival, no clear front-runner has emerged to pick up the Golden Lion. “The Master” is probably the best-received film to date, but festival juries often shy away from the most obvious pick. “To The Wonder,” “At Any Price” and “Fill The Void” all have th...

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    Cannes Review: Being 'Young & Beautiful' Isn't Easy In Francois Ozon's Latest

    "No one's serious at seventeen," goes a line from Rimbaud's poem of the same name, and it's just one of a handful of confused messages in Francois Ozon's "Jeune Et Jolie (Young And Beautiful)," a flesh-filled exploration of teenage sexuality. Ozon, no stranger to provocative imagery, takes off the r...

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    Cannes Review: Sofia Coppola's 'The Bling Ring' A Mostly Empty Exercise In Excess

    American cinema seems preoccupied with the emptiness of excess, at least in the first half of 2013. Baz Luhrmann luxuriates in the meaningless wealth of "The Great Gatsby," while Harmony Korine put his own twisted spin on the dark soul of the American dream in "Spring Breakers." And now comes Sofia ...

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    Cannes Review: Ari Folman's Part-Animated 'The Congress' Is Overstuffed And Overwritten, But Sort Of Fascinating

    Ari Folman's "The Congress" aka "Robin Wright at The Congress" aka "Reviewer's Nightmare" (last title mine) opens the director's fortnight at Cannes this evening and screened for a group of alternately beguiled and baffled press this morning. Evoking Miyazaki and perhaps on-form Gilliam in its best ...

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