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[Cannes Review] The Handmaiden

Park Chan-wook has often iterated his conviction that vengeance is a topic ripe for infinite cinematic treatments. Following the conclusion of his trilogy dedic...

[Cannes Review] The Dancer

Premiering in the Un Certain Regard section of this year’s Cannes Film Festival, The Dancer is an impassioned if formally conservative portrait of Loïe Fuller (...

[Cannes Review] Slack Bay

More than a few eyebrows were raised two years ago when it was announced that the next outing by Bruno Dumont, dour auteur extraordinaire, would be a comedy. Bu...

[Cannes Review] I, Daniel Blake

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...

[Cannes Review] Sweet Dreams

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...

[Cannes Review] Sieranevada

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...

[Review] Kill Zone 2

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...

[Montclair Review] Slash

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...