Reviews

[Cannes Review] Bastards

There is a constant discussion and debate about the lack of female directors working today, one mostly connected with how this disturbing trend of inequality ne...

[Cannes Review] Blue is the Warmest Color

One of the most talked about entries at this year's Cannes Film Festival had exploded as somewhat of a surprise after its initial screening -- and for fine reas...

[Cannes Review] Zulu

The closing titles at the Cannes Film Festival have a certain notoriety for being clunkers, ones a studio will try to push out in the hopes of getting some fina...

[Review] Brooklyn Girls Fight Club

Although it's called Brooklyn Girls Fight Club and depicts more than a couple violent examples of those bare-knuckled brawls happening in undisclosed locales, p...

[Review] Fill the Void

Rama Burshtein’s Fill the Void is an intricate and intimate portrait of a world insulated against the modern and secular; it could well be a previous century fo...

[Cannes Review] The Immigrant

Set in 1921 New York, The Immigrant is writer-director James Gray's sprawling tale of an American dream gone awry. Immaculate production design and stunning cin...

[Cannes Review] Only Lovers Left Alive

Hipster vampires inhabit Jim Jarmusch's Only Lovers Left Alive, an unconventional love story set between the desolate locations of Detroit and Tangier. Utilizin...

[Cannes Review] Nebraska

In following up his most commercially successful film to date, The Descendants helmer Alexander Payne has returned to the Midwest roots that, through Election, ...

[Review] A Band Called Death

It took thirty-five years before proto-punk outfit Death’s guitarist, spiritualist, and uncompromising leader’s prophetic words came true, but the world finally...

[Cannes Review] The Great Beauty

Having directed Il Divo, Paolo Sorrentino is no stranger to extravagant Italian filmmaking that packs a punch of bravado and boldness. With La Grande Bellezza (...