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[Cannes Review] Foxcatcher

There is an unspoken emptiness that hangs boldly over Foxcatcher, which is sure to be one of the subtly darkest films made by a major Hollywood studio this year...

[Cannes Review] Saint Laurent

The one thing a biopic should make no business of is that the character at its center is important. Great films have been made from the least-important people i...

[Cannes Review] National Gallery

Every Frederick Wiseman film begins with a parable that defines, as a whole, the institution on which it will focus, and one practical that defines its tension....

[Cannes Review] Welcome to New York

While there are plenty of drinks, drugs, and women in Welcome to New York, there is no pop soundtrack, no swerving camera movements, no dazzling cross edits, no...

[Cannes Review] The Homesman

There is something odd about the way Hilary Swank moves in The Homesman, the second film directed by Tommy Lee Jones after The Three Burials of Melquiades Estra...

[Cannes Review] Winter Sleep

The hotel at the center of the drama in Winter Sleep -- both the newest film from Turkish director Nuri Bilge Ceylan and sure to be one of the most-beloved titl...

[Cannes Review] The Captive

Aggressively stupid when it’s not downright illogical, it is hard to imagine a film less deserving for a competition slot at this year’s Cannes Film Festival th...

[Review] Million Dollar Arm

It’s likely that you’ll know well ahead of entering the theater whether or not Disney’s Million Dollar Arm is your kind of entertainment. The final product—a we...

[Review] Cyber-Seniors

Cyber-Seniors, a personal documentary directed, narrated and edited by Saffron Cassaday (who remains mostly off camera), opens with the explanation that the ins...