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TORONTO – It’s September and the 2017 Toronto International Film Festival is in full swing. Elisabeth Moss is a weekend away from finally winning her first Emmy. Claes Bang still had hours of transatlantic air travel, publicity stops and in…
You don’t have to have had his face as your avatar since you joined Twitter, like a certain @jessicakiang we could mention, to believe that Cary Grant is possibly the greatest movie star that cinema has ever produced. But nor does choosing to have Roger O. Thornhill from “North By Northwest” grimace out from your every tweet mean that you’re unaware of the actor’s rumored checkered personal history or that you uncomplicatedly embrace his mythos. Continue reading Showtime’s ‘Becoming Cary Grant’ Is A Disappointingly Depthless Doc [Review] at The Playlist.
The mothering instinct gets a sociopathically melodramatic makeover in Michel Franco‘s “April’s Daughter,” an initially engrossing but increasingly lunatic film that nonetheless convinced the Cannes Un Certain Regard jury enough for them to give it the Jury Prize this year. Franco is a clearly talented young filmmaker, and Cannes does love his brand of performance-driven psychological drama: his debut, “Daniel & Ana” snagged a Directors’ Fortnight slot; his sophomore film “After Lucia,” which centered around a devastating instance of teen bullying, won the top Un Certain Regard prize; and his third, “Chronic,” picked up the Screenplay award in the main competition. Continue reading Malice Is A Mother In Michel Franco’s Overripe Melodrama ‘April’s Daughter’ [Cannes Review] at The Playlist.
120 Beats Per Minute/Awards/Awards Campaign/Cannes 2017/Cannes Film Festival/Cannes Film Festival 2017/Colin Farrell/Diane Kruger/In The Fade/Joaquin Phoenix/Killing of a Sacred Deer/Kirsten Dusnt/Loveless/Lynne Ramsey/News/Nicole Kidman/Oscars 2018/The Beguiled/The Florida Project/The Square/Willem Dafoe/Yorgis Lanthimos/You Were Never Really Here
The 70th Cannes Film Festival has come and gone, but its films will live on as the march toward awards season begins. 2017 has already delivered one true Oscar player in Luca Guadagnino‘s Sundance breakthrough “Call Me By Your Name” and now Cannes has a chance to add to the coffers of potential contenders. (And, yes, there is the question of Jordan Peele’s “Get Out” potentially earning a Best Picture nod, but at this point, I’m not sure it’s more than an Original Screenplay contender, although I reserve the right to change that opinion when we get to September.) Last year’s surprise awards season player from la Croisette turned out to be “Hell or High Water.” What film or films will keep Cannes’ Oscar streak going this time around? Continue reading Are Robert Pattinson, Diane Kruger And ‘The Florida Project’ Cannes’ Stealth Oscar Contenders? at The Playlist.
Pedro Almodovar Fights Back Tears When Asked Why ‘120 Beats Per Minute’ Didn’t Win Palme d’Or [Cannes]
CANNES – There was truly only one major shock when the winners of the 70th Festival de Cannes competition were announced Sunday evening and it was the fact Ruben Östlund’s “The Square” won the Palme d’Or over Robin Campillo’s “120 Beats per Minute.” The latter centers on the Paris chapter of ACT Up, a radical organization, originally founded in New York City, that fought drug companies and the French government to move faster with releasing drugs that could treat HIV infected patients. Continue reading Pedro Almodovar Fights Back Tears When Asked Why ‘120 Beats Per Minute’ Didn’t Win Palme d’Or [Cannes] at The Playlist.
CANNES – The jury of the 70th Cannes Film Festival made history — or maybe that should be “herstory.” They not only awarded the festival’s best director honor to “The Beguiled”‘s Sofia Coppola, the first time a woman has won in 50 years, but they bestowed the screenplay honor (in a tie) to “You Were Never Really Here“‘s Lynne Ramsay. Continue reading Jessica Chastain ‘Disturbed’ By Depiction Of Women At 2017 Cannes Film Festival at The Playlist.
CANNES – She’s coming off some of the most glowing (if not slightly overrated) reviews of her career, but Lynne Ramsay is keeping all her options open after the debut of “You Were Never Really Here” at the 70th Festival de Cannes this weekend. The film, starring Joaquin Phoenix at the peak of his acting powers, is a genre thriller through a cinematic auteur’s eyes, but halfway through watching it you realize it features some of the most “commercial” sequences of Ramsay’s career. Continue reading Hey Hollywood, Ask Lynne Ramsay If She Wants To Make A Super-Hero Movie [Cannes] at The Playlist.
An early shot in Lynne Ramsay‘s “You Were Never Really Here” shows a door handle in a dingy hotel on which hangs a battered sign: Do Not Disturb. It is advice Ramsay herself thrillingly fails to take with her astounding fourth feature, in which she disturbs, deconstructs and dumbfounds in equal measure. Widely anticipated as an arthouse take on Jim Thompson-esque hardboiled gritty genre fare, while it is that, it’s also very far removed from so laughably schematic a description. Continue reading Lynne Ramsay’s Extraordinary ‘You Were Never Really Here’ Starring Joaquin Phoenix [Cannes Review] at The Playlist.
Robert Pattinson ‘So Happy’ To Follow ‘Good Time’ With New Claire Denis & Antonio Campos Films [Cannes]
CANNES – A unique trend at this year’s 70th Cannes Film Festival is the number of well known, Hollywood “industry” actors who are being rewarded after years of taking one challenging indie film movie role after another. In particular, Nicole Kidman (numerous), Colin Farrell (“The Killing of a Sacred Deer”), Kirsten Dunst (“The Beguiled”), Willem Dafoe (“The Florida Project”) and Elisabeth Moss (“The Square”) have delivered impressive performances in films that are resonating with audiences and critics on la Croisette this year. Continue reading Robert Pattinson ‘So Happy’ To Follow ‘Good Time’ With New Claire Denis & Antonio Campos Films [Cannes] at The Playlist.
The botched bank robbery is a well-worn genre staple, but has ever a heist gone quite so wrong to quite such electric, propulsive effect as in Josh and Benny Safdie‘s “Good Time“? Bouncing wildly off the screen like “Crank” with an arthouse pulse and the soulful eyes of a particularly loyal puppy, it’s a feat of sonic, visual and narrative engineering that confirms the Safdies’ arrival, after “Heaven Knows What,” as the beat filmmakers of the millennial generation. Continue reading Josh & Benny Safdie’s Electrifying & Energetic ‘Good Time’ With Robert Pattinson [Cannes Review] at The Playlist.