On Becoming a Guinea Fowl Movie Review

‘On Becoming a Guinea Fowl’ Review: An Important and Necessary Movie by Rungano Nyoni (Cannes)

With On Becoming a Guinea Fowl, director and writer Rungano Nyoni returns to Cannes with an exciting sophomore feature after her successful feature film debut with I Am Not a Witch. Nyoni’s latest film competed in the Un Certain Regard section of the festival, where the Zambia-born director won the …

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Horizon - An American Saga Chapter One Movie Review

‘Horizon: An American Saga – Chapter 1’ Review: Costner’s Riveting Epic (Cannes)

There was one movie at this year’s Cannes Film Festival which was a passion project for the director that got all the attention: Megalopolis. But there was another movie, a passion project for the director, that also played Cannes, albeit not in competition: Horizon: An American Saga – Chapter 1. This …

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The Count of Monte Cristo Film Review

‘The Count of Monte-Cristo’ Review: An Expert Movie Adaptation of the Dumas Novel

Alexandre Dumas’ novel The Count of Monte Cristo is kind of the ur-text for the modern adventure story. Published in 1844, it has it all: treachery, sword-fighting, injustice, long cons, false identities requiring elaborate disguises, secret children, hidden treasure, beautiful ladies, villains becoming heroes, heroes becoming villains, and revenge served …

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The Shameless Movie Review - Cannes

‘The Shameless’ Review: When Love May Not Be Enough (Cannes)

Any description of The Shameless could make it sound like the most exploitative trash, so it’s stunning to realize that despite the grim setting, the exceptionally troubled characters, and the hopelessness of their situation, that it isn’t. This is a testament to the skill of writer-director (and Bulgarian-American) Konstantin Bojanov, …

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Grand Tour Movie Review

‘Grand Tour’ Review: A Compulsively Strange Must-See Movie (Cannes)

Miguel Gomes won the Best Director prize at this year’s Cannes Film Festival for Grand Tour, which he co-wrote with Telmo Churro, Maureen Fazendeiro, and Mariana Ricardo, because it is an impossible film. It’s an epic pan-Asian journey best described as a mash-up of Wisconsin Death Trip and Apocalypse Now, …

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Emilia Perez Movie Review banner

‘Emilia Pérez’ Review: Four Performances of Note (Cannes)

In an unprecedented move, the Cannes Film Festival jury awarded the Best Actress prize this year to the four actresses of Emilia Pérez – Zoe Saldaña, Selena Gomez, Karla Sofía Gascón and Adriana Paz. This is almost as startling as French writer-director Jacques Audiard making a primarily Spanish-language musical about …

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Kinds of Kindness Movie Review

‘Kinds of Kindness’ Review: A Remarkably Sour Film from Yorgos Lanthimos (Cannes)

Emma Stone and Yorgos Lanthimos need each other. Through Ms. Stone, Mr. Lanthimos has an entry into Hollywood and the chance for his work to go mainstream worldwide, and through Mr. Lanthimos, Ms. Stone gets the art-house credibility usually denied to actresses whose careers began in teenage sex comedies. But just because they make quite a pair, that doesn’t mean the work …

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Anora Movie Review - Cannes

‘Anora’ Review: The Best American Movie So Far This Decade (Cannes)

Other reviews compare Anora to Pretty Woman, but this is a bad mistake. The world has moved on considerably since 1990, and these days, capitalism is now second to oligarchy. Oligarchs are people for whom life is to be lived without consequences because their incredible wealth means anything, or anyone, can be bought. …

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Furiosa A Mad Max Saga Movie Review

‘Furiosa: A Mad Max Saga’ Movie Review (Cannes)

In the horrible post-apocalyptic future depicted in the Mad Max movies, where people have names like The Octoboss and Toast the Knowing, it was downright revolutionary of Mad Max’s mother to name him Max. In Furiosa: A Mad Max Saga, two of the evil sidekicks are named Rictus Erectus (Nathan Jones) and, what …

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The Second Act Movie Review

‘The Second Act’ Movie Review: A Meta Movie with Hidden Heart (Cannes)

Quentin Dupieux, the director of The Second Act (Le deuxième acte), who was also the writer, cinematographer, and editor of The Second Act, thanks his own brain in the credits. This is entirely what should be expected from Mr. Dupieux, whose works are – and this is meant as an extreme compliment – completely insane. He tends to work …

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