With his latest, Nuri Bilge Ceylan is purely interested in slowly unveiling a thematic can of worms that will tear people apart one long take at a time.
Drive’s narrative trajectory goes down a long and winding road into hell.
Across his latest, Almodóvar melds his consistent themes with an unsettling combination of warm compositions and sinister desires.
The sky is falling in Melancholia, but the impending apocalypse is more slow-motion dive than outlandish spectacle.
Immigration politics are at the forefront of Le Havre.
Can any critic fully trust their initial reaction to such a thematically mammoth film like Terrence Malick’s The Tree of Life?
Hollywood is a windfall business.
Stylistically, The Kid with a Bike is one of the Dardennes’ most fluid films.
Nanny Moretti’s warm and affecting Habemus Papam couldn’t be farther from Miss Bala in style.
Lynne Ramsay returns to the world of filmmaking after a nine-year hiatus, and we’re all the better for it.
The narrative trajectory of Midnight in Paris may be one-note, but it’s a lovely and charming one.
If Cannes is the cinephile’s version of the Olympics, the media critics covering the event are its long-distance runners.
So to help us fight lame, we’ve got Grady Hendrix, he of the multi-headed New York Asian Film Festival hydra.
The festival ended with its longest competition title, and it wasn’t even a complete film.
Tender Son is pretentious, Gothic-tinged, and more than a little clunky.
Cannes Film Festival 2010: Fair Game, Route Irish, & Uncle Boonmee Who Can Recall His Past Lives
Joe Wilson: Great American, or greatest American?
If Poetry’s emotions are diffuse, Our Life’s are downright incomprehensible.
Xavier Beauvois’s Of Gods and Men is, no more and no less, a handsomely mounted French prestige picture.
There isn’t a single moment in Biutiful where one can’t feel the director pulling the strings.
I Wish I Knew is a bit inscrutable, never quite locking down an easy theme or single organizational strategy.