Cannes 2015 Review: THE LOBSTER Starts Strong But Loses Its Way

Boy, I wanted to love this movie. Really, I did. I mean, the first shot of the film is a delight - a woman is passively driving in a car. She gets out, windshield wipers still flailing away, and... More »
By Jason Gorber   

Cannes 2015 Review: THE SHAMELESS Delivers Hardboiled Melodrama With Top Drawer Performances

"Learn the rules like a pro, so you can break them like an artist." -Pablo Picasso Today's Korea, whether looking at its entertainment, fashion or culinary scenes, is a society awash with fusion. Nowhere is this more true than in... More »
By Pierce Conran   

Cannes 2015 Review: THE ANARCHISTS Cares Not For Your Bourgeois Cinematic Ideals

How do you say "awards-bait" in French? Take two of the hottest young stars in France, team them up with a rising star director, and then give them a period topic with obvious shades of hot button current events. The... More »
By Ryland Aldrich   

Cannes 2015 Review: SON OF SAUL, A Wrenching, Riveting Holocaust Tale

Son of Saul has two obvious strikes against it. It's a handheld, close POV movie, usually the sign of filmmakers too austere to pick up a tripod, eschewing good framing in favour of shakycam "grit." Then there's the subject... More »
By Jason Gorber   

Cannes 2015 Review: SLEEPING GIANT, Provocative And Probing

Despite a seemingly endless number of tries, pulling off the 'coming-of-age' film well is miserably difficult. There's a balance between precociousness versus pandering that makes the balance extremely delicate, as complex and awkward as any pubescence. When it goes... More »
By Jason Gorber   

Review: MAD MAX: FURY ROAD, A Tour De Force Masterpiece

How's this for hyperbole: George Miller is the Australian Spielberg. You've got a director with a wide diversity of films (from The Road Warrior to Babe to Happy Feet), all injected with an almost preternaturally gifted ability to have... More »
By Jason Gorber   

Cannes 2014 Review: THE SALT OF THE EARTH Celebrates Photographic Art

There are a few titans of narrative cinema - Martin Scorsese and Spike Lee come first to mind - who make documentaries that rival their feature film work. Another example is Werner Herzog, a filmmaker whose non-fiction films are still... More »
By Jason Gorber   

Cannes 2014 Review: WHITE GOD Unleashes The Hounds Of Allegory

Doggedly heavy on allegory, the film by Hungarian director Kornél Mundruczó's White God (Fehér Isten) has a relatively simple premise - beware the comeuppance for those that treat badly those they believe to be inferior.At its heart, the film plays... More »
By Jason Gorber   

Cannes 2014 Review: THE INCIDENT (EL INCIDENTE) Is One Of The Most Intriguing Mexican Films Of The Year

In what it feels like the scene with the most personal dialog during the first half of Isaac Ezban's The Incident (El Incidente), the agonizing character of Amores Perros' Humberto Busto shares his thoughts about life in general. "Life is... More »

Cannes 2014 Review: THE ROVER Drives A Steady Course

The Rover is a slow burn Western, a film with brief explosions of violence that are interspersed along a dry, dusty narrative landscape.Directed by Animal Kingdom's David Michôd, there's a cold, calculating air to the film that may put off... More »
By Jason Gorber   

Cannes 2014 Review: Soviet Hockey Movie RED ARMY Scores Big

The film opens with Viacheslav Fetisov in a crisp suit, taking a phone call. An exasperated director asks questions, while "Slava" stares at his phone, ignoring the interruption. It's as if a czar has been interrupted mid-bite at his feast.... More »
By Jason Gorber   

Cannes 2014 Review: FOXCATCHER Is Captivating, Rewarding

John Eleuthère du Pont, one of the heirs to the vast Du Pont fortune, had it all it seemed. Wealth almost beyond measure, he studied and wrote on ornithology and was an avid philatelist, having paid at the time a... More »
By Jason Gorber   

Cannes 2014 Review: THE BLUE ROOM, A Surreal And Engaging Noir Thriller

While most film audiences outside France will recognize Mathieu Amalric as the villain from Quantum of Solace, he's been directing films in addition to his great acting work for more than twenty years in his native country. HIs last feature,... More »

Cannes 2014 Review: THE SEARCH, A Solid Lob Right Down The Middle

Somebody remind Michel Hazanavicius that he already has the Oscar. Because it seems that the raison d'être for the French director's multi-lingual, morally hectoring war drama is solely to add some weight to his effervescent filmography. To bolster his standing as... More »
By Ben Croll   

Cannes 2014 Review: WILD TALES Is Wicked Fun

I've seen some of the best (and worst) films out of twenty years of doing festivals by seeing that random film that fits between two scheduled other screenings. Sometimes it works (it's how I discovered a love for Kim Ki-Duk,... More »
By Jason Gorber   

Cannes 2014 Review: Action Thriller THE TARGET Misses the Mark

Normally we read about which new Korean thriller has had its remake rights snatched up by a Hollywood studio (news which invariably leads to a fervent chorus of opposition among Korean film fans) but these days we're starting to see... More »
By Pierce Conran   

Cannes 2014 Review: SELF MADE, Funny, Savage, And Smart

Shira Geffen made a splash in 2007 with her debut Jellyfish, a film she co-directed with her husband, writer Etgar Keret. This time Geffen is going solo, and though she may not have many credits on her resume, her confidence... More »
By Ben Croll   

Cannes 2014 Review: Xavier Dolan's MOMMY Delights

With Mommy, Xavier Dolan, at the age of 25, solidifies himself in the pantheon of great directors. It may sound hyperbolic, but the film features an explosive freshness, a delicate balance between humour and tragedy that's simply intoxicating. Mommy is a beautifully realized... More »
By Jason Gorber   

Cannes 2014 Review: LOST RIVER, Or Ryan Gosling's Memorably Weird Thesis Film

The answer to the question can Ryan Gosling direct is a resounding 'Sort of.' Lost River is an unwieldy mess of a film, all over the place, scatterbrained, entropic. You could even go so far as to call it an... More »
By Ben Croll   

Cannes 2014 Review: GIRLHOOD Challenges Expectations From Its Very First Moments

Girlhood (Bande des Filles) quite literally kicks off to a running start. In the first second in the very first shot, a rush of decked-out football players come hurtling head-on directly at the camera. Backed by thumping, synth-heavy electropop, we follow... More »
By Ben Croll   
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