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[Review] X-Men: Days of Future Past

The world that opens X-Men: Days of Future Past is a dismal, barren wasteland, stacked tall with the bones and corpses of extinguished super-beings while chamel...

[Review] Blended

When an overused gag showed up for the third of about five times during Blended's runtime, the twenty-something college dude chowing down on his mall food court...

[Cannes Review] Goodbye to Language

Goodbye to Language, an essay work by Jean-Luc Godard, is not the kind of thing one can simply write about without weeks or months of contemplation. The head is...

[Cannes Review] The Search

Let’s get one thing straight: The Artist was not an atrocity worthy of being labeled a war crime, no matter how much some made it out to be during Harvey’s ...

[Review] Locke

In Steven Knight’s Locke the whole wide world is reduced to the nighttime interiors of Tom Hardy’s car. For most films, this kind of gimmicky paring-down would ...

[Cannes Review] Lost River

A lot of fires burn in Ryan Gosling’s Lost River, consuming the wreckage of houses left standing in America After The Recession. Those images can certainly be s...

[Cannes Review] Two Days, One Night

“I can’t stop crying,” Sandra tells herself as she walks through her home. Her phone is ringing, and she needs her pills to calm down. Her fault is not that she...

[Cannes Review] Amour Fou

A woman sings a light melody about a little violet flower, a beautiful little object that receives an untimely end from an old woman who fails to notice it and ...

[Cannes Review] Jauja

Whenever a director from the outskirts of world or avant-garde cinema decides to work in anything remotely resembling Hollywood, you can count on tremors of fea...

[Cannes Review] Maps to the Stars

After making one of the most authentically emotional films of his career with A Dangerous Method, David Cronenberg has begun exploring the world of artificialit...