The ninth day of Cannes 2014 includes new films from Olivier Assayas (co-starring Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz) and Ken Loach (co-starring scandalous jazz music).
Technical gimmickry dominates the day, as Jean-Luc Godard revolutionizes 3-D with his new avant-garde puzzle Goodbye To Language, and Xavier Dolan invents his own Instagram-like aspect ratio for Mommy.
The latest from Cannes includes a new pile of fluff from The Artist director Michel Hazanavicius, and a solid gloss on weak material from André Téchiné.
After a sluggish first half, Cannes picks up a little back-half momentum with another great drama from the ever-reliable Dardenne brothers, and a wonderfully bizarre diptych from Pascale Ferran.
As the festival reaches its halfway point, great movies are distressingly scarce. Can Bennett Miller’s true-crime story Foxcatcher and David Cronenberg’s Hollywood satire Maps To The Stars change the fest’s trajectory?
The director of the fine coming-of-age movie The Myth Of The American Sleepover more than confirms the promise of that debut with an unexpected turn into horror. And Tommy Lee Jones tries his hand at an offbeat Western buddy picture.
A pair of overstuffed films wear out their welcome, while a collection of punchy, light shorts fares better.
The Cannes competition slate is full of auteurs who get invited back year after year after year, but the latest from Atom Egoyan, a director who’s slumped since his 1990s peak, suggests it’s time to put some out to pasture.
The opening night of the Cannes Film Festival is often given to a glossy, pandering mediocrity, and the Grace Kelly bio Grace Of Monaco was no exception. Fortunately, the new Mike Leigh was there to pick up the slack.