Film
Why Sofia Coppola’s ‘Priscilla’ Can’t Be Another Sugar-Coated Fan Film
Coppola’s announcement comes in the wake of a massive movement to re-empower a more traditional brand of femininity.
‘The Woman King’ Review: Viola Davis Shines in Triumphant Historical Epic
Both thoughtful and undeniably entertaining, “The Woman King” breathes new life into the studio action film.
‘Pitch Perfect’ at 10: ‘Not Like Other Girls’
Once Beca gets over herself and respects her friends and the institution she wants to belong to, she’s able to positively contribute and help lead the Bellas into the future.
‘Don’t Worry Darling’ Review: A Drama That’s Accidentally a Comedy
The film is not as bad as the political pop culture aficionado wants to hear, but not without its major flaws.
‘Top Gun: Maverick’ Review: After 36 Years, a Cathartic Return
Beyond its stunning aerial sequences, punchy dialogue, and balanced sentimentality, the most interesting aspect of the film is its implicit meditations on change.
From Cannes: ‘Holy Spider' is a Grim Depiction of Patriarchal Violence
With Amir-Ebrahimi bold and arresting performance at the foreground, Abassi’s film is an unflinchingly grim depiction of the toll of patriarchal violence.
From Cannes: ‘Stars at Noon’ is a Well-Acted Yet Muddled Thriller-Romance
Denis’s latest effort is commendable for its exciting pace and distinctively sultry mood, but the romance at the core of the film is not strong enough to fully draw audiences into the muddled world of its underwritten protagonists.
From Cannes: 'Three Thousand Years of Longing' Is 108 Minutes of Rollicking Entertainment Without A Clear Point
“Three Thousand Years” is one of the most highly-watchable films of the festival, sure to be a crowd-pleaser in theaters. But its palatability comes at a cost.
From Cannes: ‘Don Juan’ Fails to Seduce With Its Reimagination of the Classic Tale
The film becomes alienatingly hard to watch as it devolves into a bizarre musical about an unlikeable man terrorizing women on the street.
From Cannes: 'Les Pires' Examines the Ethical and Personal Sides of Filmmaking
Writer-directors Lise Akoka and Romane Gueret craft a self-aware film that features sensitive performances, a touching emotional arc, and compelling commentary on the social responsibilities of filmmakers.
From Cannes: ‘Syk Pike’ is an Over-the-Top, Amusing Look at Narcissism
Though oftentimes over-the-top and surface level in its critique, “Syk Pike” is nevertheless a witty examination of narcissism, unabashedly holding up a mirror to humanity’s worst tendencies.
From Cannes: 'Decision To Leave'’s High-Stakes Mystery Romance Is A Lighting Strike of Longing
Does the blood spilled behind two people bind them together or doom them to unhappiness? Can two people conditioned by violent obsessions ever turn away from them, or have they been indelibly shaped?
From Cannes: 'Crimes of the Future' Falls Flat With Boring Visuals and Shallow Themes
On the cinematic screen, where audiences can experience only the visual echoes of pain, Cronenberg orchestrates grotesque injuries and shocking transformations in the service of art.
From Cannes: 'Frère et Sœur’ Takes Sibling Rivalry to the Extreme
Arnaud Desplechin’s latest film begins by thrusting viewers right in the middle of a hostile, tragic confrontation and maintains approximately the same level of melodrama for the entirety of its runtime.
From Cannes: ‘War Pony’ Offers Engrossing, Vital Coming of Age Stories
The affecting drama is a triumph of communal filmmaking that highlights the perspectives of Native creatives, offering a fluid coming-of-age story that resists the narrative urge to insert artificial endings.
