The Hangover Part III
Better than “The Hangover Part II,” but equally as useless, “The Hangover Part III” plays more like a caper film than an outright comedy. The…
Am I Blue?: Cannes Report, May 22
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white men arguing about race, and "Blue is the Warmest Color" takes its time to follow the transition from uncertain teenager to knowing adult.
Cannes: Yacht parties, Faulkner, and cannibal families
If you go to a yacht party, don't expect to be living out your own version of "The Talented Mr. Ripley."
Love & Money with James Toback
James Toback discusses his new documentary, "Seduced and Abandoned," which traces the life of a failed movie project. He also discusses the ultimate fate of humanity. Seriously.
Glamour Boys: Cannes Report, May 21, 2013
Steven Soderbergh's "Behind the Candelabra" disappoints, Claire Denis's "Bastards" baffles, and Mahamat-Saleh Haroun's "Grisgris" is a mixed bag. So it goes sometimes at Cannes.
Cannes’ Sha Na Na at Woodstock Moment: A Castle in Italy
The competition film "A Castle in Italy," a lightweight comedy, seems strangely out of place.
Action, Laughs, Beauty: Cannes Report, May 20
Boos for Takashi Miike's "Shield of Straw," a muddled "Blind Detective" from Johnnie To and Paolo Sorrentino's "The Great Beauty" lives up to its name.
Cannes: The Coen brothers
At Cannes, the Coen brothers discuss their inspirations for "Inside Llewyn Davis."
Cannes Classics: Tip of “Fedora” to You
Billy Wilder's under-appreciated 1978 "Fedora" returns to Cannes to remind us that some things, like the fear of aging among celebrities, never change.
Cannes reviews: Politics and troubled family lives in "Ain't Them Bodies Saints," "Blue Ruin," and "Tip Top"
While Cannes's red-carpet crowd toasts the Coen brothers' tuneful "Inside Llewyn Davis," the parallel programs have also turned a spotlight on America.
Violence, War, Death: Cannes Report, May 19
A day of grim films in which "Borgman" attempts Haneke-like surreal grimness and falls short, "The Missing Picture" and "Death March" turn artifice to their advantage to explore the horrors of war and loss, and Claude Lanzmann returns with a film about controversial figure Benjamin Murmelstein, the last president of the Jewish Council of Elders in the Theresienstadt ghetto.