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Review

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    Cannes Review: 'Room 237' An Outstanding, Fascinating & Funny Exploration & Celebration Of 'The Shining'

    Is "The Shining" just a horror movie about a guy who goes berserk in a hotel, or is it subversively about the history of American genocide? Why did Stanley Kubrick use cans of Calumet and Tang in the hotel's storeroom? Were these just random products, or were they each chosen and framed in the camer...

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    12 Reviews From Cannes 2012: 'Amour,' 'Moonrise Kingdom' and More

    We've hit the halfway point of this year's Cannes Film Festival. Indiewire senior editor and film critic Eric Kohn has caught all of the biggest films from directors like Alain Resnais, Michael Haneke, Cristian Mungiu. To help you keep track, we've compile a list of all of our first doze...

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    Cannes Review: Chris O'Dowd Shines In The Otherwise Uneven 'The Sapphires'

    Among the The Weinstein Company's pre-Cannes Film Festival buys this year was the largely unknown (until it was bought) Aussie musical/drama/comedy effort "The Sapphires." It's certainly easy to see why this easy-to-digest, feel-good movie earned their attention. With a slate ...

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    Cannes Review: 'Roman Polanski: A Film Memoir' A Fascinating Look At The Director As Told By The Man Himself

    Who is Roman Polanski? That's the question at the center of "Roman Polanski: A Film Memoir," a deeply fascinating look at the life and (sort of) career of the controversial filmmaker as told by the man himself. But this isn't a hagiography -- the documentary doesn't shy away from the more tabloid-wo...

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    Cannes Review: Age & Illness Test Love In Michael Haneke's Unflinching 'Amour'

    Michael Haneke makes it clear from the opening of the film exactly where he's going in "Amour." Kicking off with a literal bang, a team of police officers force open the door of a flat in France, and with masks over their mouths, they walk around the apartment, open the windows and fin...

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    Cannes Review: Brandon Does David Proud, 'Antiviral' A Classic Cronenberg Freak Fest

    There is no doubt that no matter what Brandon Cronenberg decided to make as his first movie, the shadow of his father would loom large. So whether it just runs in the family, or if it was a calculated decision to do something audiences would expect from the Cronenberg mantle, full credit to Brandon ...

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    Cannes Review: The Bondurant Boys Deal Moonshine & Violence In John Hillcoat's Lively 'Lawless'

    "It's not violence that sets men apart, it's the distance they're willing to go," Forrest Bonduarant (Tom Hardy) tells his youngest brother Jack (Shia LaBeouf) in "Lawless." And with a set of brass knuckles in his pocket and a pistol in his waistband, he knows what he's talking about. That theme is ...

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    Cannes Review: It's Ad Men vs. Bad Men in Pablo Larrain's Exciting, Funny, Moving 'No' Starring Gael Garcia Bernal

    Playing as part of the Director's Fortnight, Pablo Larraín's "No" is exactly the kind of film you hope to stumble across at Cannes -- a film that hadn't been on your radar until buzz from too many quarters too diverse to be ignored made you seek it out, discovering a fil...

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    Cannes Review: Faith & Love Collide In Cristian Mungiu's Powerful 'Beyond The Hills'

    Can blind, unquestioning devout faith be just as corrupting as sin? Can love be as all consuming as evil? These are the big, broad themes being explored in Cristian Mungiu's deliberate and somewhat cryptic "Beyond The Hills," a very slow burn drama that finds both religious and emotion...

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    Cannes Review: Xavier Dolan's Messy 'Laurence Anyways' Is Both Ambitious & Admirable

    "The sky's the limit," Fred (Suzanne Clement) says when she's asked about what people will say when her boyfriend Laurence (Melvin Poupad) decides to become a woman. It's 1989 and she believes that her generation is ready to handle transsexuality -- and perhaps they are -- but ...

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