CANNES REVIEW: Miike's 3-D Hara-Kiri Takes Its Sweet Time Dying a Very Slow Death
Werner Herzog. Wim Wenders. Animator Michel Ocelot: Everybody's jumping on the 3-D bandwagon these days, whether they have ideas that are well-suited to the medium or…
CANNES REVIEW: Even With Sean Penn, Sorrentino's This Must Be the Place Most Certainly Is Not
In the past few years we've seen a mini-renaissance in Italian filmmaking, an environment in which young filmmakers like Paolo Sorrentino have been able to flourish…
CANNES REVIEW: Ryan Gosling Owns the Road in Drive
As we critics settled into our seats before last evening's screening of Drive, the big topic of conversation was -- what else? -- Lars von Trier's exile from Cannes…
Banned Filmmaker Jafar Panahi Sends a Message in a Bottle with This Is Not a Film
The annals of filmmaking are filled with stories of people who managed to make films against all odds, without money, without shooting permits, without proper…
REVIEW: Pirates of the Caribbean: On Stranger Tides is Both Good-Natured and Exhausting
Rob Marshall's Pirates of the Caribbean: On Stranger Tides is the most modest picture in the Pirates franchise since the 2003 Curse of the Black Pearl -- which doesn't…
CANNES REVIEW: Almodóvar, Antonio Banderas Reunite For Twisted Skin I Live In
In the late '80s I had a boyfriend who warned me off Pedro Almodóvar's sex-death-religion free-for-all Matador, claiming it was the most perverse movie he'd ever seen…
REVIEW: Woody Allen Returns to Form — For Real This Time — With Midnight in Paris
My friend the critic Howard Hampton once lamented that too many young people have no sense of the past as a real place. Anything predating, say, the era of Star Wars…
Subdued Pedro Almodóvar Returns to Cannes, and Cannes Returns to Normal
Poor Pedro Almodóvar. His new movie, The Skin I Live In, is suitably lush and twisted, but especially after the Lars von Trier Nazi fiasco yesterday, the press…
'I Understand Hitler': Lars Von Trier Confounds Stars, Press at Cannes [UPDATE]
The post-Melancholia press conference this morning was going swimmingly. Maybe too swimmingly. The stars (Dunst, Gainsbourg) were there, members of the fine supporting…
CANNES REVIEW: No Snoring During Hanezu! Though Who Could Blame You?
It's 11:45 on Tuesday night in Cannes, and seemingly just outside my window are the loudest fireworks I've ever heard. Good thing I'm not asleep yet, and too bad I'm not…
CANNES REVIEW: Lars von Trier Gets Happy, in His Way, with Melancholia
Lars von Trier's Melancholia is neither the provocation nor the yowl of anguish that his last picture, Antichrist, was. For those reasons, it's less effective and also…
CANNES REVIEW: Aki Kaurismäki Lets the Sunshine in with Winsome Le Havre
In the press notes for Aki Kaurismäki's lovely, unassuming, buoyantly sad-sacky Le Havre, French journalist Christine Masson asks the famously depressive Finnish…
Cannes at Midpoint: Will Tree of Life Wow the Jury? Or Could a Slow-Burning Favorite Sneak Up From Behind?
Monday marked the Cannes Film Festival midpoint, a time to pause, reflect and -- cry. When a friend warned me last week that at some point I would burst into tears -…
CANNES REVIEW: Sensuous, Intriguing L'Apollonide Takes a Fatal Wrong Turn
I was with French director Bertrand Bonello's L'Apollonide for about seven-eighths of the way through, which reminded me how painful it is to be tossed out of a picture…
Waiting for Terrence Update: The Elusive Malick Retains His Aura of Mystery
The Tree of Life press conference this morning was almost as hot a ticket as the screening itself. I wandered by to see if there was any chance of funneling myself in, à…
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