Read More

[Cannes Review] Clouds of Sils Maria

There are so many self-interpretations and meta moments in Clouds of Sils Maria, a puzzler that shows director Olivier Assayas evolving into a director of refin...

[Cannes Review] Hard to Be a God

“The artist is a canary in a mine shaft. If Brezhnev had read Rudyard Kipling, he would never have gone into Afghanistan.” Director Aleksei German said this to ...

[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...