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[Cannes Review] Holy Motors

In Leos Carax's (Pola X) delightfully surreal Holy Motors, the filmmaker seems to be channeling the absurd sensibilities of Luis Buñuel in his prime. Having not...

[Cannes Review] On the Road

The problem with On the Road, directed by Walter Salles (The Motorcycle Diaries), is that it wanders, and in no real direction. Of course, that's the whole poin...

[Cannes Review] Like Someone in Love

Iranian filmmaker Abbas Kiarostami made a major splash at the 2010 Cannes film festival with his first feature film shot outside of his home country of Iran, Ce...

[Cannes Review] For Love’s Sake

Takashi Miike (13 Assassins) is perhaps one of the most prolific filmmakers working in contemporary cinema today. He averages about 3 to 4 films a year and has ...

[Cannes Review] No

Pablo Larraín (Post Mortem) has achieved something spectacularly unique with No, his beta-max rendition of the 1988 referendum vote in Chile concerning dictator...

[Cannes Review] The Hunt

After making big waves with his Dogme classic The Celebration in 1998, Danish filmmaker Thomas Vinterberg has made a handful of flawed and underseen films, whet...

[Cannes Review] Killing Them Softly

Opening and ending with speeches about these United States and the sameness of our promised land, writer/director Andrew Dominik paints his America with blood a...

[Cannes Review] Antiviral

After watching Antiviral, the debut feature film from Brandon Cronenberg, there is a sense that the young filmmaker has been influenced by a myriad of different...

[Cannes Review] Laurence Anyways

Xavier Dolan last hit the scene with Heartbeats, his second feature and stylish pseudo-remake of from the 1960s. Writing, directing and also starring in the pr...

[Review] Crooked Arrows

Sports in films have been a cultural celebration, predating Leni Riefenstahl’s Olympia also owing its linage to Thomas Edison’s early experiments in motion. Cro...