Review: ‘After the Wedding’ is a dull and predictable melodrama despite a radiant Michelle Williams
Funny how things have a tendency to endure when there’s a bit of money behind…
Film Festivals
Review: Jennifer Kent’s brutal but brilliant ‘The Nightingale’
The early career path of a breakthrough filmmaker can be a treacherous one. Respond to…
Review: Emma Thompson is excellent in Mindy Kaling’s ‘Late Night’
Everything old is new again! Five or ten years back, a gentle little comedy like Late…
Cannes Review: ‘Portrait of a Lady on Fire’ is passionate, unconventional queer cinema
Céline Sciamma’s Portrait of a Lady on Fire, the romance drama set in 18th-century French…
Cannes Review: Elia Suleiman’s ‘It Must Be Heaven,’ is a political and sometimes brilliant meta commentary on Palestine identity
Elia Suleiman’s latest is a dryly comedic essay film on the Palestinian identity In the…
Cannes Review: Marco Bellocchio’s Godfather-esque ‘The Traitor’ struggles with the duality of its style
Marco Bellocchio’s latest features a clash of cinematic styles with mixed results One of Italy’s…
Cannes Review: Michael Angelo Covino’s ‘The Climb’ is pitch-perfect buddy comedy
It’s not without its blemishes, but by combining breakthrough lead performances, accomplished cinematography, hilarious sight…
Cannes Review: ‘The Bears’ Famous Invasion’
Lorenzo Mattotti’s debut animated feature is an animated feast for the eyes In his first…
Cannes Review: ‘Atlantique’ Puts a Creative Spin On A Tragic Love Story
Atlantique, the first feature from director Mati Diop is a cinematic puzzle worth putting together….
Cannes Review: Xavier Dolan’s ‘Matthias and Maxime’ is an improvement over recent works but still lacks emotional urgency
Xavier Dolan’s latest is cluttered, uneven but well-intentioned film about repressed love In his follow-up…