Tag: top-stories
The Beguiled | Review
The Last Seduction: Coppola Eschews Subtext with High Profile Remake
Claiming to be a closer adaptation to Thomas Cullinan’s 1966 novel than the famed 1971...
The Florida Project | 2017 Cannes Film Festival Review
Zip-a-Dee-Doo-Dah: Baker Offers A Portrait of the South Like No Other
This time out we can move away from lazily defining Sean Baker's cinema as...
The Criterion Collection: The Marseille Trilogy | Blu-ray Review
Marcel Pagnol’s famed Marseille Trilogy receives a loving placement in the Criterion Collection after its theatrical US restoration release in early 2017 courtesy of...
The Journey | Review
Enemies – A Love Story: Hamm Imagines Peace Treaty as Male Bonding Episode in Flaccid Bromance
The reimagining of famed deliberations and clandestine alliances which...
Moka | Review
The Hand that Robs the Cradle: Mermoud Utilizes Devos for Sweet Vengeance
Revenge is a dish best served cold and a little neurotic, at least...
The Mummy | Review
You’ll Like My Mummy: Cruise Tastes an Ancient Curse in Lackluster Reboot
Casting immediate aspersions over the likely success of a newly recalibrated franchise (coined...
Past Life | Review
Music Makes You Lose Control: Nesher Explores Skeletons in the Closet with Period Drama
Having contributed to the rise of Israeli cinema since the late...
It Comes at Night | Review
Night of Your Life: Shults Plumbs Fear and Fear Itself in Arch Sophomore Effort
As a pure exercise in the powers of suggestion, It Comes...
2017 Cannes Film Festival: How the “Toni Erdmann” Snub Help Land “The Square” the Palme d’Or
When surveilling the postscript and how the Pedro led jury handed out the awards, the consensus is: job well done. However, while we were...
Criterion Collection: Martin Scorsese’s World Cinema Project No. 2 | Blu-ray Review
In 2007, Martin Scorsese founded the World Cinema Project, a nonprofit organization committed to restoring neglected and marginalized cinema from countries where major restorations...
The Assignment | Blu-ray Review
It’s been an arduous journey for action auteur Walter Hill’s latest film The Assignment, a B-grade schlocky piece of grindhouse pulp which has been...
The Conversation: What Cannes Do – Top 10 Favorites of the 2017 Edition
In one of the most cavalier Cannes juries of recent years, the Pedro Almodovar led voting body closed out the 2017 edition of the...
2017 Cannes Critics’ Panel: Campillo’s BPM (Beats Per Minute) Favored to Win Palme d’Or, but Ramsay is the Preferred Palme
We haven't seen these numbers since Blue is the Warmest Color dominated to eventually win the Palme, but Robin Campillo's BPM was selected by...
Based on a True Story | 2017 Cannes Film Festival Review
Hider in Her Head: Polanski Mines a Dull Playing Field with Psychological Thriller
The promising conceptualization of Roman Polanski directing a femme centric psychological thriller...
2017 Cannes Critics’ Panel Wrap-Up: Campillo, Ramsay & Zvyagintsev Place 1-2-3
2017 would see nineteen competition films, and from Day 3 and never giving up the lead, Robin Campillo's BPM held onto its lead to...
2017 Cannes Critics’ Panel Day 11: Lynne Ramsay Hammers out Career Best & Palme Contender in You Were Never Really Here
Kitchen sink realism in the distant past, You Were Never Really Here counts as feature number four, and yet this is her seventh visit...
You Were Never Really Here | 2017 Cannes Film Festival Review
Where Have You Been?: Ramsay Returns with Pronouncedly Fractured, Melancholic Adaptation
Returning from a six year hiatus after 2011’s We Need To Talk About Kevin,...
2017 Cannes Critics’ Panel Day 10: Fatih Akin Wants Revenge with In the Fade
Perhaps a surprise inclusion after The Cut was unceremoniously not selected for Cannes on his last time out, not including his pair of Special...
2017 Cannes Critics’ Panel Day 10: Francois Ozon Gets into Eye of the Storm with Amant Double
A prolific filmmaker with no fixed address, if one can't find François Ozon in Cannes you'll be sure to see him in Berlin, Venice...
L’Amant double | 2017 Cannes Film Festival Review
Double the Pleasure, Double the Fun: Ozon Hearkens Back to Enfant Terrible Days with Erotic Skin Flick
The forgotten art of the campy erotic thriller...
2017 Cannes Critics’ Panel Day 9: Sergei Loznitsa Seeks Justice with A Gentle Creature
With the competition coming to a close, one stand out filmmaker who has been supported by the fest but has yet to land any...
2017 Cannes Critics’ Panel Day 9: Critics Getting High with Benny & Josh Safdie’s Good Time
You always remember your first time. I was there when the two pees in a pod, Ronald Bronstein and Eleonore Hendricks were included in...
2017 Cannes Critics’ Panel Day 9: Sofia Coppola’s The Beguiled Mushrooms into Critic Fave
A longstanding "member" of Cannes well before she showcased her skillset with The Virgin Suicides in the Quinzaine (she was probably at the Apocalypse...
2017 Cannes Critics’ Panel Day 9: Hong Sang-soo’s The Day After Contains Color
I've been running behind with our grid, now in the clear and past the half way mark here is the latest updates from the...
2017 Cannes Critics’ Panel Day 6: Things Fall Apart in Michael Haneke’s Happy End
Whether it's construction sites, karaoke numbers, hamsters or the elderly, Michael Haneke's quasi sequel to Amour has failed to win over "all" critics. Happy...
The Day After | 2017 Cannes Film Festival Review
Three Women: Sang-soo Goes for Slight(ly) Sober in Black and White Mix-up
South Korea’s Hong Sangsoo surpasses his own prolific, breakneck speed with a whopping...
2017 Cannes Critics’ Panel Day 6: Yorgos Lanthimos Does the Mash Potato with The Killing of a Sacred Deer
He'll be referenced as the one who began the Greek New Wave in cinema and there was a time when we didn't quite know...
The Killing of a Sacred Deer | 2017 Cannes Film Festival Review
The Dear Hunter: Lanthimos Flatlines with Terse Revenge Fantasy
There’s no arguing the unique capabilities of Greek Weird Wave alum Yorgos Lanthimos, who broke out...
2017 Cannes Critics’ Panel Day 6: Baumbach Buries the Hatchet with The Meyerowitz Stories
Almost a dozen features in and The Meyerowitz Stories is Noah Baumbach's first time on the Croisette (if you exclude his screenwriting cred on...
2017 Cannes Critics’ Panel Day 5: Michel Hazanavicius Jump Cuts to Redoubtable
The first week ends with the return of Michel Hazanavicius and his latest project, Redoubtable. He gave us the OSS films, Cannes invited The...
Happy End | 2017 Cannes Film Festival Review
The Sunshine of Their Love: Haneke Dishes Up Black Comedy with a Dollop of Self-Loathing
Happy families are all the same in a Michael Haneke...
A Ciambra | 2017 Cannes Film Festival Review
Life of Pio: Carpignano Shows Them Who is Boss
With hand gestures that you’d typically associate to argumentative Italians and a Calabrian backdrop that one would...
BPM (Beats Per Minute) | 2017 Cannes Film Festival Review
The Beat Goes On: Campillo Mounts Generous Homage to ACT UP Paris
While there are several noted cinematic renderings of the early days of the...
2017 Cannes Critics’ Panel Day 4: Ruben Ostlund Tumbles Up the Stairs with The Square
He received an earlier screening late last night and has been consider the buzz title (mostly for better) and mentioned in the same breathe...
2017 Cannes Critics’ Panel Day 4: Robin Campillo Finds a Cure with BPM (Beats Per Minute)
With not one, but two items in Cannes this year (the other being L'Atelier from Laurent Cantet in the Un Certain Regard section), Robin...
2017 Cannes Critics’ Panel Day 3: Kornel Mundruczo’s Jupiter’s Moon Has Trouble Getting Off Ground
In comp for his third time and at the fest for a sixth time, Kornel Mundruczo was expected to move back into the fight...
The Square | 2017 Cannes Film Festival Review
Attenberg Follies: Ostlund’s Meta Commentary Skewers Social Contrivances
Adding to a body of work which comically and obsessively examines the underbelly of human desires and...
2017 Cannes Critics’ Panel Day 3: Bong Joon-Ho Has No Pet Peeve’s with Okja
He first hit the Croisette with another "creature movie" in 2006 with the Directors' Fortnight included The Host, and after showings of Tokyo! (2008)...
Let the Sunshine In | 2017 Cannes Film Festival Review
A Tall Dark Stranger: Denis and Binoche are Remarkable Bedfellows in Light Comedy
Claire Denis comes as close as she ever will to romantic comedy...
Wakefield | Review
A Most Wanted Man: Swicord Hangs Doctorow on the Snide Shoulders of Cranston
For evidence of Bryan Cranston’s ability to carry a film, look no...
2017 Cannes Critics’ Panel Day 2: Andrey Zvyagintsev Makes No Mistakes with Loveless
Technically the first film to show as it was offered early yesterday night, this is the Russian filmmaker's fourth trip to the Croisette out of his...
2017 Cannes Critics’ Panel Day 2: Fossil fuels Todd Haynes’ Wonderstruck
The first 8:30 a.m. press screening was a little bit of a nightmare for journos with security measures but into place that were extra...
Wonderstruck | 2017 Cannes Film Festival Review
Time After Time: Haynes Captures Wistful Tone of Bygone Eras
American indie auteur Todd Haynes explores dual cinematic pastiche in his most family friendly film...
Loveless | 2017 Cannes Film Festival Review
Some Great Reward: Zvyagintsev Rips into Missing Muscovites
Bitter familial separation and newly fermented coupling are equal bed partners in what staunchly begins as...
Live from Cannes 2017: Introducing Our Cannes Critics’ Panel
With no over three hour Romanian or Turkish film offerings, the 70th edition of Cannes with its nineteen Comp items is a rather lean...
Abacus: Small Enough to Jail | Review
Financial Risk: Steve James Banks on Chinatown Community Bank and Finds Political Returns
Steve James has a habit of sticking up for the little guy, as...
Alien: Covenant | Review
This Time It’s More: Scott Repeats the Beats of Initial Sci-Fi Classic for Sequel Prequel
There comes a time when too much tinkering with one...
The Conversation: Run the Comps – Top 5 Most Anticipated Main Comp Entries
It’s back to business as usual for the main competition contenders at the 2017 Cannes Film Festival, with programmer Thierry Fremaux re-inviting a number...
Paris Can Wait | Review
Forget Paris: Lane is a Fine Vintage from the Coppola Vineyards
At the age of eighty, Eleanor Coppola makes her narrative feature debut with the...
King Arthur: Legend of the Sword | Review
Le Morte d’Arthur: Ritchie Bastardizes another Icon
In the same punchy tradition in which he usurped Sir Arthur Conan Doyle for two studio Sherlock Holmes...
