Inside Llewyn Davis
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
It's time once again fro Barbara Scharres' annual award for Best Feline Performance of the Cannes Film Festival.
James Gray's "The Immigrant" maintains a tight focus on the Ellis Island experience, and Mohammad Rasoulof's "Manuscripts Don’t Burn" dramatizes the inside of the cruel Iranian secret service.
Will Michael Douglas take home a Best Actor prize from Cannes for his turn as Liberace in "Behind the Candelabra"?
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne's "Nebraska."
Jerry Lewis returns to Cannes in a starring role in Daniel Noah's "Max Rose," which proves once again — as "The King of Comedy" did — that Lewis can deliver a nuanced serious performance.
Alexander Payne's "Nebraska" brings black and white, to the competition, while "Omar" delivers moral shades of gray to the Palestinian/Israeli conflict and "Michael Koolhaas" looks good in the long shots, but needs more emotional subtlety.
Today the American Pavilion remembered Roger Ebert with a panel and beachfront thumbs-up salute.
Robert Redford braves the high seas alone in the shipwreck drama "All Is Lost."
"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.
If you go to a yacht party, don't expect to be living out your own version of "The Talented Mr. Ripley."