The Zero Theorem
Terry Gilliam's first science fiction film since "12 Monkeys" is an inventively designed but oddly inert satire on technology, God and the future of humankind.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
by Barbara Scharres
Cannes has become hot and uncomfortably muggy in a way that has me thinking longingly of the blankets and socks of earlier in the week. As the festival closes in on the final days, I'm hoping for some big excitement on the screen.
When the stiff, futuristic Brandon Cronenberg film "Antiviral" played a few days ago, it gave me cause to look forward even more to today's premiere of "Cosmopolis" by his father David Cronenberg, anticipating that the contrast between generations would also point up the difference between a wannabe and a seasoned master. Boy, was I wrong. I'm sorry to say that they're both among the worst films I've seen here this year. I've never been this disappointed in a David Cronenberg film.
"Cosmopolis" opens with a shot of a row of white stretch limos parked on a city street. The interior of one of them will become a primary location in this film, functioning as the office away from the office for mega-millionaire money manager Eric Packer (Robert Pattinson), an arrogant and powerful 28-year-old. Seemingly inspired by the Occupy movement in the U. S., the story is set in New York in the near future (although what we see of the urban landscape never looks like anything but Toronto; even the CN Tower is seen in the background). The president of the United States is due at any moment, a situation tying up the streets with blockades and large-scale protests.
The volcano gods were in a snit on Monday, and I arrived in Cannes on Tuesday six hours later than planned, following some frustrating encounters with ticket agents in Frankfurt Airport. Chicago Tribune critic Michael Phillips was on my flight from Chicago, having had his entire original reservation canceled due to drifting volcano ash. I heard delay stories everywhere, and figured I got off easy.
After fast dash to the Palais des Festivals five minutes before the office that issues accreditation badges closed, I picked up my press badge and film market badge. The Cannes skies were dark and threatening, with fog hanging over the distant mountains. I hoped that this wasn't a sign of weather gloom to come.
CANNES, France -- Can there be a Cannes Film Festival without a winner? Is the jury obligated to award the Palme d'Or? Could they send a message by refusing to award the top prize? These and other murmurings and mutterings are growing louder, and they add up to a depressing consensus: Going into the closing weekend, there is no film that seems great enough to deserve the Palme.
CANNES, France -- Lolitafest, they could call it, on the basis of three controversial films about child sexual abuse that are playing at this year's Cannes Film Festival. Two of them are apparently more extreme than the much-debated "Lolita."