Reviews > Film
You Don’t Need ‘The Man With X-Ray Eyes’ to See That Roger Corman’s Film Is Dated

The Roger Corman B-movie classic is still something to see.

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Cannes 2015: ‘Saul Fia’, ‘Mon Roi’, and the Politics of Award-Giving

Whereas Son of Saul represents the advancement of cinematic language, Mon Roi encapsulates the politics of selection and award-giving at Cannes.

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‘Leviathan’ Is a Kafkaesque Nightmare in Russia

Combine Orson Welles’ The Trial with Stanley Kubrick’s Dr. Strangelove, throw in some nods to Job and Thomas Hobbes, and you get Leviathan.

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Cannes 2015: ‘The Lobster’ and ‘Louder Than Bombs’ Are Distinctive English-Language Debuts

Yorgos Lanthimos and Joachim Trier made distinct impressions with their English-language film debuts at Cannes 2015; the former with savage satire, the latter with absorbing family drama.

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The Viewers Are the Only Ones in Pain in ‘Fifty Shades of Grey’

Christian Grey refers to his playroom as "the Red Room of Pain". If he really wanted to inflict torture on people, he'd show them Fifty Shades of Grey.

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Cannes 2015: ‘Love’ and ‘Youth’ Amp Up the Sex at the Festival

Both Gaspar Noé's Love and Paulo Sorrentino's Youth explore sexual desire, but they take very different approaches.

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The Ghosts of ‘Poltergeist’ Can’t Spook Technology

There's lots of tech on display in this remake of 1982's Poltergeist, but the script sure doesn't know how to grapple with it.

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Cannes 2015: ‘Dheepan’ and ‘The Lobster’ Depict Different Kinds of War

Two movies screening in competition at Cannes, Dheepan and The Lobster, consider very different sorts of war, between hardcore gangs and between life aspirations.

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Cannes 2015: Women Resist Their Masters in ‘Sicario’ and ‘The Assassin’

Both Sicario and The Assassin tell the stories of women embroiled in conflict: in the former, the drug war; in the latter, the courts of ninth-century China.

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‘Tomorrowland’ Is a Future That’s Past

In loving a future that used to be "better", Tomorrowland is predictably incoherent. It wants an old future, one that's long gone.

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Cannes 2015: ‘Mediterranea’ Explores African Migration to Italy

Evoking De Sica, Denis, and the Dardennes, Jonas Carpignano’s film Mediterranea is a humane and visceral portrait of African migration to Italy.

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“Kiss Me, Stupid” Is a Sex Comedy That Follows Up on Its Tease

Kiss Me, Stupid dares to suggest that middle-class Americans, just like the ticket buyers, might not be as sexually upright as they're cracked up to be.

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21 May 2015 // 9:20 AM

Cannes 2015: ‘La Loi de Marche’ and ‘An’

Two films at the Cannes Film Festival consider work; work as a means to an end, and work as a need for social connection.

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Altman Turns to Crime in ‘The Long Goodbye’ and ‘Thieves Like Us’

These two crime pictures provide insight into the ways Robert Altman operated within and without Hollywood conventions.

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Cannes 2015: ‘Youth’ Is a Memorable Meditation on Ageing and Art

Paolo Sorrentino’s arresting new film brilliantly pairs Michael Caine and Harvey Keitel as two elderly creators assessing their lives, loves and attitudes toward art.

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Agatha Christie Plus Alfred Hitchcock Equals Mario Bava’s ‘Evil Eye’

This dual language (Italian and English) Blu-ray release is a disorienting, elliptical, and dreamlike horror experience.

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Cannes 2015: ‘Carol’ and ‘Nahid’ Reveal the Costs of Repression

Two dramas at Cannes 2015, one by Todd Haynes and the other by Ida Panahandeh, depict the costs of repression and loss of privacy for women under patriarchal codes.

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Cannes 2015: ‘Mia Madre’ and ‘Tale of Tales’ Are Two Contrasting Italian Films

Nanni Moretti’s Mia Madre is a minor-key ode to family and film-making, while Matteo Garrone’s Tale of Tales is a wild fairytale ride.

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‘The Babadook’ Isn’t a Horror Movie About a Monster, But a Mother

The Babadook doesn't twist all that many conventions, but its crystal-clear execution as to what makes people truly terrified puts it a cut above the rest.

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Cannes 2015: ‘La Tête Haute’ Is a Rosy View of France’s Juvenile Courts

Long takes of Malony gazing at harvested wheat fields and planted trees surrounding his rural rehab center -- a traditional, idyllic, cultivated French countryside -- suggest order and peace.

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Double Take: 'The French Connection' (1971)

// Short Ends and Leader

"You pick your feet in Poughkeepsie, and we pick The French Connection for Double Take #18.

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