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[Review] Alice Through the Looking Glass

The central plot mechanism of Alice Through the Looking Glass is an actual mechanism, a doodad of whirling steampunk metal and glowy CGI called the Chronosphere...

[Review] Presenting Princess Shaw

Even though Presenting Princess Shaw isn't a film about filmmaking, you can't help wondering about the logistics of its creation considering director Ido Haar i...

[Cannes Review] The Wailing

Since the early aughts, South Korea has been one of the most prolific and exciting exporters of genre cinema, giving us such indelible gems as Oldboy, The Host,...

[Cannes Review] Mimosas

A "religious western" is how Moroccan-based Spanish director Oliver Laxe describes his second film, Mimosas, winner of the top prize at Cannes' Critics’ Week. I...

[Cannes Review] Dog Eat Dog

Paul Schrader might want to consider expanding his thematic scope a little. Decade after decade, film after film, regardless of whether he’s been writing script...

[Review] Back in the Day

There’s a certain kind of charm that comes from the kind of potentially mob-affiliated working class that you find in pockets of neighborhoods at the heart of t...

[Cannes Review] Graduation

Considering the heights he’s reached in the past, Graduation constitutes a disappointing step backwards for erstwhile Romanian New Wave front-runner Cristian Mu...

[Cannes Review] The Salesman

Excessively schematic plotting is a recurring weakness of writer-director Asghar Farhadi’s work. Films like About Elly and The Past suffered from contrived narr...

[Cannes Review] Elle

It takes all of zero seconds for the first rape to occur in Paul Verhoeven’s Elle. The film opens on a black screen and to the sounds of breaking glass and stif...