‘Free Guy’ Review: A Disappointing Exercise in Intermediality

“Free Guy” is, overall, an exercise in mediocrity. Unfortunately, for Lieberman and Levy, the confluence of video games and cinema meant bringing in real-life Youtubers at the expense of making a quality action movie.

Trailer Breakdown: ‘Spider-Man: No Way Home’

The thrilling teaser is the most watched movie trailer in history, garnering a staggering 355.5 million views in 24 hours — beating out “Avengers: Endgame” by almost 70 million views.

‘The Suicide Squad’ Does Not Suck: A Review

By treating the ideas of evil and malice with nuance, “The Suicide Squad” tells a compelling story about villains, without depriving them of all the traits that make these characters villains in the first place.

‘Words Bubble Up Like Soda Pop’ Review: An Effervescent Celebration of Love and Art

In a genre as saturated as the film’s neon-heavy color scheme, Kyōhei Ishiguro’s cinematic directorial debut makes a splash not just with its bright palette but also with its reinterpretations of romance tropes.

The ‘Spirited Away’ Soundtrack at 20: Rediscovering the Name of Life

I don’t really remember the first time I watched “Spirited Away” — but its soundtrack, like Chihiro’s hair tie, will always be a connection to Miyazaki’s unforgettable cinematic world, shining with the warmth of “One Summer’s Day.”

From Cannes: ‘Nitram’ is a Compelling, if Unsure, Look at the Makings of a National Tragedy

“Nitram” is undoubtedly a strong technical film, especially with Jones's lead performance. However, its convoluted relationship with mental health, and its self-confused goals of sharing the Port Arthur Massacre story still leaves it with plenty of room to grow.

From Cannes: Portrait of an Artist: Christina Rose

The Harvard Crimson sat down with Rose while she was at the 2021 Cannes Film Festival to chat about identity, inspiration, hope, and what’s next for her career. This conversation has been edited and condensed for clarity.

From Cannes: ‘Women Do Cry’ is a Part Moving, Part Tone-Deaf Portrayal of Womanhood in Bulgaria

Though “Women Do Cry” has its strengths — genuine, intimate moments between female family members, moments of excellent acting from Bakalova and Stoyanova in particular — it shows a blatant disrespect for the LGBT community at every turn.

From Cannes: ‘A Feleségem Története’ (‘The Story of My Wife’) is All Shimmer and No Substance

In nearly three hours, “The Story of My Wife” gives the audience only one developed character (who’s not particularly compelling), a strange relationship that hardly seems worth saving, and a confused and undercut message on trust and control.

From Cannes: Portrait of an Artist: Eva Lanska

The Harvard Crimson sat down with Lanska at the 2021 Cannes Film Festival to discuss her path to directing, advice for young filmmakers, and what it takes to succeed as a woman in a notoriously difficult industry.

From Cannes: ‘Red Rocket’’s Portrayal of an Aging Porn Star is Rich, Intricate, and Socially Irresponsible

Baker fully immerses viewers into his subjects’ everyday lives to the point that you feel like you’re a part of them, and he brings that same level of research and immersion to “Red Rocket” — the story of a broke, aging porn star who returns to his small Texas town.

From Cannes: ‘Titane’’s Horror Will Dazzle and Liberate You

With “Titane,” Ducournau doesn’t just venture deeper into the disturbing and grotesque than most directors would dare. Rather, she breaks every possible rule about how to exist in a female body — and creates a glamorous, gory exploration of gender and gender fluidity that is unlike anything you’ve ever seen.

From Cannes: ‘Drive My Car’ Uncovers the Secrets of the Guilt-Ridden Soul

In “Drive My Car,” Hamaguchi guides viewers into the depths of grief and guilt with the careful understanding of someone who has been down those same roads — and, perhaps, has truly found a way out.

From Cannes: ‘Une Histoire d’Amour et de Désir’ Excels at Being Just That

“Une Histoire” not only excels at what it sets out to do, but also leaves its audience rapt and aching for more. As Bouzid said of her hopes for the film at the beginning of the premiere, “I hope you’ll want to love, and to wish to do something else than love. To touch, too.”

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