Hollywood’s your star support group: The “Divergent” panel at Comic-Con 2013
Nell Minow reports from the “Divergent ” panel at Comic-Con 2013 in San Diego.
Nell Minow reports from the “Divergent ” panel at Comic-Con 2013 in San Diego.
At Comic-Con 2013, Jana Monji reports in on the Godzilla Encounter.
Leonard Maltin talks B-movies on a panel at Comic-Con.
Jana Monji, reporting from Comic-Con 2013 in San Diego, recounts the wonders of waiting (and waiting, and waiting) in line for “Psych: The Musical.”
Harrison Ford and the rest of the cast of “Ender’s Game” just want to talk about their movie, but at the Comic-Con press conference, other topics inevitably came up.
Now that the Cannes Film Festival is over, critics Ben Kenigsberg and Michał Oleszczyk take a look back over the festival.
Ben Kenigsberg recaps Cannes’s post-awards press conferences and closing-night party.
Barbara Scharres reports on the winners at the Cannes Film Festival.
Michał Oleszczyk talks with director James Gray about “The Immigrant.”
Ben Kenigsberg makes his predictions for Sunday night’s Cannes awards.
Roman Polanski’s “Venus in Furs” served as a perfect closing movie of this year’s Main Competition at Cannes.
It’s time once again fro Barbara Scharres’ annual award for Best Feline Performance of the Cannes Film Festival.
Will Michael Douglas take home a Best Actor prize from Cannes for his turn as Liberace in “Behind the Candelabra”?
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.
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne’s “Nebraska.”
When Chaz has gone to Cannes without Roger in the past, she has written
about the festival in the form of letters and postcards to Roger. This is her second post of the 2013 Cannes Film Festival.
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.