The Tomorrow Man
Lithgow and Danner show us characters who may qualify for Medicare but are every bit as vulnerable and as eager to matter to someone as…
Ben Kenigsberg is a frequent contributor to The New York Times. He edited the film section of Time Out Chicago from 2011 to 2013 and served as a staff critic for the magazine beginning in 2006. Prior to that, he was a mainstay in the film pages of The Village Voice. He has also written for Variety, Slate, The A.V. Club, and Vulture, among other publications.
Werner Herzog, newcomer Michael Angelo Covino, and Brazilian director Karim Aïnouz offer very different, very peculiar meditations on family.
The Witch director Robert Eggers' The Lighthouse is the first movie at Cannes 2019 that actually looks like a classic. Plus: Gaspar Noé's mystery midnight movie, Lux Aeterna.
In their new horror-tinged efforts, festival regulars Nicolas Winding Refn and Bertrand Bonello go down baffling roads.
Taron Egerton plays Elton John in a biopic that turns into a full camp extravaganza.
For Sama is a stunning first-person documentary about the siege of Aleppo. Beanpole confirms Kantemir Balagov as a major talent.
Quentin Dupieux's absurdist comedy Deerskin opened Directors' Fortnight. Chloë Sevigny adds balance to the deadpan humor of Jim Jarmusch's The Dead Don't Die.
At Cannes, the "Wonderstruck" and "Carol" cinematographer Edward Lachman looked back on more than four decades of film work.
Hirokazu Kore-eda's "Shoplifters" took the Palme d'Or and Asia Argento reiterated her allegations against Harvey Weinstein at the awards ceremony.
Ben Kenigsberg reviews Nuri Bilge Ceylan's "The Wild Pear Tree" and makes predictions for the 2018 Cannes awards.
At Cannes, John David Washington, a son of Denzel, discusses his breakthrough performance as an African-American cop who infiltrated the Klan.