It’s been two years since Ken Loach took Jimmy’s Hall -- a rather muted film by his standards, rumored at the time to be his swansong -- to the Competition here...
Italians certainly do worship their Mammas, or so goes the narrative of Marco Bellocchio’s Sweet Dreams, which opened the Cannes Director’s Fortnight sidebar to...
For this critic’s money, of the several excellent filmmakers to emerge from the Romanian New Wave, Cristi Puiu ranks as the most formidable. After kicking off h...
Containing a number in its title, yet blissfully not chained to franchise requirements -- a decade-long gap between installments perhaps being the first clue as...
Breathing life into a tired genre (coming of age and/or coming out in the American suburbs), Clay Liford’s Slash is an authentic portrait of a young man explori...
Those only familiar with Alain Guiraudie’s sublime Stranger By the Lake, which finally brought the gifted French director to a (relatively) wider audience follo...
Albert Lamorisse, the talented maker of fantasy short films and the board game Risk (here the game is rebranded as The Arbalest) influences a young Foster Kalt,...
Employing an outsider to disarm subjects deep in Bubba Texas, Booger Red turns to writer/director/actor/provocateur Onur Tukel as its conduit into this world, a...
Café Society is a quintessential later-period Woody Allen film. That is to say, it’s thoroughly mediocre. It’s by now a sad truism that the octogenarian auteur ...
The tragedy of the X-Men films is that, despite being responsible for the current boom-industry of comic-book films, they have almost uniformly felt like second...
