After a series of dreary entries in the main competition, a trip to Directors’ Fortnight to see Takashi Miike’s latest gonzo exercise is exactly what the doctor ordered. And Jacques Audiard’s new film offers a crazy ending of its own.
After the doors opened for effects-driven science fiction, Superman, Star Trek: The Motion Picture, and Flash Gordon all looked to the past for inspiration. But not all get the balance between storytelling and effects right.
Style triumphs substance on a day when Gaspar Noé attempts to couch an earnest love story in hardcore sex, Hou Hsiao-hsien does his opulent take on the wuxia film, and Paolo Sorrentino’s latest has a pleasingly rhythmic flow.
The 1992 feature captures Spacey as he comes into his own, transforming from an actor who could disappear into the background to one destined to take center stage.
Critics polls confirm Gus Van Sant’s The Sea Of Trees as one of the most despised films to compete for the Palme, while Jia Zhang-ke and Pixar get ambitious even by their respective standards.
In 2005, Star Wars Episode III: Revenge of the Sith disappointed older fans. But it also created enthusiastic new ones. Ten years later, the finale of the prequel trilogy remains an object of controversy.
Our Cannes correspondent gets blown away by a movie he didn’t expect to like and disappointed by a longtime favorite.
There are familiar guidelines for adapting plays into movies, and making movies successful. James Foley’s film broke a lot of rules, and found most of its strengths in the process.
What makes James Foley’s shrewd adaptation of David Mamet’s Pulitzer-winning play a “Cadillac”? Two writers hash it out.
Cannes 2015 continues with the latest from Stéphane Brizé, Joachim Trier, Jeremy Saulnier, and Kiyoshi Kurosawa.
Schwarzenegger’s film comeback hasn’t caught fire yet, but what he has done onscreen has suggested plenty of reasons to be optimistic about the future.
After three days of darkness and grotesquerie, the festival embraces romance and offers its two best films so far, Todd Haynes’ superb Patricia Highsmith adaptation and Arnaud Desplechin’s prequel (of sorts) to My Sex Life...Or How I Got Into An Argument.
The infamous Cannes boobirds welcome Gus Van Sant’s latest with a chorus of derision while Woody Allen keeps on keeping on and the Italian Woody Allen, Nanni Moretti, offers a tonally woozy mix of comedy and drama.
The latest from Dogtooth’s Yorgos Lanthimos and Tuesday, After Christmas’s Radu Muntean are fascinating, but symbolically dense to the point of opacity.
Between the Mad Max films and the Babe and Happy Feet series, Miller made the seeming outliers The Witches Of Eastwick and Lorenzo’s Oil. But they’re all part of a career dedicated to treating movies as a kind of magic.
Our man in Cannes always looks for the festival to show him something new, and the first day obliged with many bizarre moments, most of them in Matteo Garrone’s fantastical anthology. Kore-eda Hirokazu and Philippe Garrel also make early debuts.
From Conrad Birdie to Beyond The Lights’ Noni Jean, fake stars often end up telling the real story of how pop music works—and how it fails.
Disney’s revisionist take on Sleeping Beauty looks different a year after its release, not because the hype has died down, but because it now feels more like part of a marketing wave than a stand-alone movie.
The brainchild of Geena Davis, made possible by a lot of corporate money, the first installment in the Arkansas-based festival directed the spotlight toward projects headed by those often confined to the margins.