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Review

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    Cannes Review: 'Seduced And Abandoned' Enjoyably Explores The Surreal World Of Film Financing

    It's hardly any surprise for people who follow film news (or read this site) that cinema, at least as far as the major Hollywood studios go, is mostly a dead art. With a shift toward four-quadrant, brand pushing, sequel spawning blockbusters, the days of the $50 million drama are a distant memory. A...

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    Cannes Review: ‘Borgman’ Delivers A Deliciously Dark, Twisted Cannes Competition Treat

    Caustic, surreal, creepy, and blackly funny, Dutch polymath Alex van Warmerdam’s “Borgman” is the trickster god in this year’s Cannes competition pantheon. Tonally similar to recent cultish favorites from Yorgos Lanthimos and Ben Wheatley (“Dogtooth” feels like a particularly close and favoured firs...

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    Cannes Review: The Coens Brothers' 'Inside Llewyn Davis' Is A Funny, Melancholy Look At A Wayfaring Stranger

    Long hours on the road, sleeping on sofas, eating very little, playing shows for little money; it's a wonder why anyone struggles to make it as a musician. But for Llewyn Davis (Oscar Isaac) there really isn't any other option to playing music. "...And what, just exist?" he counters, when his sister...

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    Cannes Review: 'A Touch Of Sin' Sees Jia Zhang-ke Change Things Up, With Peculiar, Bloody Results

    Ooh-ed and aah-ed over, but largely in more arcane cinephile circles, Chinese director Jia Zhang-ke (Venice winner “Still Life,” Cannes 2012 doc ”I Wish I Knew,” “The World”) has made a name for himself to date with detailed, glacially paced, social realist films, often in the documentary tradition,...

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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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