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[Review] Almost Holy

The most fascinating part of Steve Hoover's latest documentary Almost Holy is how its subject Gennadiy Mokhnenko parallels the life of well-known Russian cartoo...

[Cannes Review] Julieta

A woman recalls the pivotal moments of her adult life in Julieta, the latest film from Pedro Almodóvar and his fifth to screen in competition here in Cannes. It...

[Review] Search Party

Scot Armstrong’s Search Party, which is packed to the gils with comedic talent -- most of whom, thankfully, have found work that’s more tailored to their abili...

[Cannes Review] Hell or High Water

David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from...

[Cannes Review] Paterson

In his Village Voice review of Jim Jarmusch’s criminally under-appreciated The Limits of Control, J. Hoberman described the director as “a full-blown talent er...

[Cannes Review] Neruda

Pablo Larraín is not finished wrestling with his nation’s psyche. His first three films, Tony Manero, Post Mortem, and No, formed a loose triptych that confront...

[Cannes Review] Loving

Ruth Negga and Joel Edgerton deliver remarkably nuanced performances in Loving, a late-'50s- / early-‘60s-set true life story of a mixed-race couple whose illeg...

[Cannes Review] After Love

In the past, the Belgian director Joachim Lafosse made a film about a mother seeking escape from domestic hell by killing her four young children (Our Children)...

[Cannes Review] Toni Erdmann

Maren Ade has kept us waiting. It’s been seven years since her superb second feature Everyone Else premiered at the Berlinale, taking home the Jury Prize, and s...