“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.
“The Card Counter” is a film that invites questions and inspires reflection: There are layers to understanding the work, and the screening experience does not end after leaving the theater.
The off-putting beginning and the gratifying end yield a film that’s just okay, but still worth watching for the infallible acting of Thompson and Stone.
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.
“Annette” is a film that, logically, shouldn’t exist. And yet, here it is, willed into its oddball existence by French filmmaker Leos Carax (“Holy Motors”).
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.”
“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.
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.
Not only does Chow work to distill a complicated problem into a moving documentary, but he also does critical work to show the protesters as genuine people, rather than radical talking heads.
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.
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.
“JFK Revisited” is a part-gripping, part-didactic watch that makes a strong case that the murder of President Kennedy is still very much unsolved.
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.
“Les Intranquilles” is a film that aims to walk that difficult line as it tackles one of the most deadly and complicated mental illnesses: bipolar disorder.
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.
Farhadi's latest Cannes entry, “The Hero,” is his most elaborate and least realistic maze of impossible choices to date.
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.
Despite its attempts at engaging with complex concepts of racism in Europe and America, classism, family, and acceptance, the film essentially leaves its characters where they started.
“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.”