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[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...

[Cannes Review] Mr. Turner

On their surfaces, Mike Leigh and J.M.W. Turner — the artist at the center of his latest film, Mr. Turner — couldn’t seem more like polar opposites. The 19th-ce...

[Cannes Review] Timbuktu

Abderrahmane Sissako can no longer be called one of the greatest African directors of our time; he has become, simply, one of the greatest directors of our time...

[Review] Don Peyote

No one can say I didn't do my due diligence, but I simply can't wrap my head around Dan Fogler and Michael Canzoniero's stoner-tinted, loose modernization of Do...

[Cannes Review] Grace of Monaco

A tracking shot slowly moves around a blonde princess on a Hollywood set. We follow the applause as she leaves for the final time and into her dressing room, le...