The Shape of Water’s setting yields an inherent coldness that Guillermo del Toro must work to overcome.
The cinematic touchstone throughout Schrader’s First Reformed is the Danish director Carl Theodor Dreyer.
Whatever political commentary Wim Wenders sought to make here is lost beneath confounding characterizations.
In its final act, director Haifaa al-Mansour’s Mary Shelley falls back into standard biopic rhythms.
Bloodlight and Bami is a fragmented, purposefully obscure exploration of Grace Jones’s life and art.
Suburbicon sees a bunch of candidly left-leaning movie stars doing their best to out-awful each other.
It was a shame that no special anniversary prize was created and bestowed on The Wandering Soap Opera.
In Milla director Valérie Massadian’s hands, the minor and the major are one and the same.
Jerusalem is a city of beige and tan, a vast barren sprawl that is, despite the brutal heat and muted colors, quite beautiful.
Olhar de Cinema, which takes place in Curitiba, Brazil, is a small festival but one that’s big in context and ambition.
The film is a dizzying experimental essay on what the everyday life of an artist looks like in the 21st century.
Cannes isn’t the Oscars, but there’s still a certain formula that often defines the recipients of the Palme d’Or.
A very charitable reading might say that Roman Polanski’s Based on a True Story is designed to be self-negating.
You Were Never Really Here is possibly the most thrillingly unclassifiable film to play at this year’s Cannes.
Robin Campillo’s 120 Beats Per Minute offers more than just the compelling social-realist ideas on its surface.
Good Time is at its strongest when it keys its intoxicating aesthetic to Robert Pattinson’s performance.
Claire’s Camera is one of Hong Sang-soo’s most formally intuitive and sharply written films in some time.
Sofia Coppola is faithful to the trajectory of Thomas Cullinan’s original story while reorienting our allegiances.
Mohammad Rasoulof and Abbas Kiarostami’s films ask fundamental questions without proffering easy answers.
A blackly comic performance by Colin Farrell provides the emotional anchor for Yorgos Lanthimos’s film.