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[Cannes Review] The Neon Demon

The problem in trying to critically assess Nicolas Winding Refn’s putrid atrocity of a film The Neon Demon is that regardless how much outrage is thrown at it, ...

[Cannes Review] Gimme Danger

If there is one blemish in Jim Jarmusch’s exceptional filmography, it’s his first foray into documentary: 1997’s little-seen Year of the Horse, a surprisingly i...

[Review] Weiner

It's often said that no writer can craft a character as complex and compelling as the subjects in some of our best documentaries. Enter the consummate example: ...

[Cannes Review] The Red Turtle

Motion, love for the Gaia, and lush orchestral music provide the backbone of Michaël Dudok de Wit’s The Red Turtle, a dialogue-free, feature-length animation ab...

[Review] Neighbors 2: Sorority Rising

Originally released during a wave of enjoyable-but-disposable raunchy comedies, the first Neighbors was a trojan horse. Underneath a gleeful prank war arms rac...

[Cannes Review] Two Lovers and a Bear

Kim Nguyen’s Two Lovers and a Bear is a film that suffers from a bit of an identity crisis. Like an indie playlist stuck on constant shuffle, unapologetically r...

[Cannes Review] Ma’ Rosa

Not a huge amount happens in Ma’ Rosa, the relentless new film from Filipino director Brillante Mendoza, which premieres this week in competition at Cannes. In ...

[Cannes Review] The Unknown Girl

In the 20 years since their breakthrough, The Promise, Jean-Pierre and Luc Dardenne have made seven features, all of which ranged from great to sublime, won two...