‘Asteroid City’ review: Wes Anderson’s homage to Steven Spielberg is among his most meta and most melancholic | Cannes
With an explosion of pastel colours, precise camera moves and a whimsical script, Asteroid City is Wes Anderson operating at his best, still doing his... Read More
Reviews
‘Firebrand’ review: Karim Aïnouz doesn’t give much room for Alicia Vikander’s rebellious queen and Jude Law’s corpulent king to subvert expectation | Cannes
King Henry VIII’s last wife steps into the forefront in Firebrand, Karim Aïnouz’s English-language debut. Alicia Vikander stars as the quietly rebellious Catherine Parr, Queen... Read More
‘Club Zero’ review: Jessica Hausner nails the absurdist comedy but fails to go deeper | Cannes
Jessica Hausner’s career launched in Cannes when her film school project Inter-View, figured among the palmares of the Cinefondation competition in 1999. Over the years,... Read More
‘Fallen Leaves’ review: Love wins in Aki Kaurismäki’s tender tragicomedy of the working class that finds him at his romantic best | Cannes
A title as poetic as Fallen Leaves entirely suits the fourth installment of Finnish filmmaker Aki Kaurismäki’s working-class series, which began with Shadows in Paradise,... Read More
‘How to Have Sex’ review: Molly Manning Walker’s sensational, high-energy debut an equally urgent cautionary tale of consent | Cannes
If asked to describe How to Have Sex in one word, the answer, however strange, comes easily in the form of a place: an airport.... Read More
‘The Little Mermaid’ review: Halle Bailey’s star-making performance saves the latest Disney live-action remake from floundering
In his 1836 fairy tale, The Little Mermaid, Hans Christian Andersen states that “mermaids do not have tears, and therefore, they suffer more.” Rob Marshall... Read More
‘May December’ review: Natalie Portman and Julianne Moore make a meal out of Todd Haynes’ delicious story of infamy and obsession | Cannes
In 2015, Todd Haynes came to Cannes to premiere Carol that received rave reviews and an instant cult classic treatment. He came back to the... Read More
‘Killers of the Flower Moon’ review: Martin Scorsese’s true American crime story of greed, murder and love may be his most empathetic | Cannes
The biggest event of Cannes this year is the return of Martin Scorsese, 38 years after After Hours. The expectations for Killers of the Flower... Read More
‘The Sweet East’ review: Talia Ryder is exceptional in this satirically nihilistic look at American anarchy | Cannes
The Safdie Brothers’ Good Time cinematographer Sean Price Williams returns to the Cannes Film Festival after last year’s Funny Pages premiere but this time as... Read More
‘The Zone of Interest’ review: Jonathan Glazer’s Auschwitz-set drama is monumental in its representation of the seen and unseen horror of the Holocaust | Cannes
Exactly ten years after the singular sci-fi achievement that was Under the Skin, writer-director Jonathan Glazer is back in Cannes’ Main Competition with a new,... Read More
‘Jury Duty Presents: Company Retreat’ Review: The Emmy-Nominated Hit Returns as an Hilarious Workplace Comedy [B+] 
‘The Comeback’ Season 3 Review: Cherish is the Word I Use to Describe Lisa Kudrow [A-] 
‘Tow’ Review: Rose Has Plenty to Byrne But In Woefully Uninspired Vehicle [C+] 
‘They Will Kill You’ Review: Zazie Beetz’s Final Girl Slays in Gonzo Satanic Slasher [B+] SXSW