At Cannes, the iconic director's latest proves to be as experimental as ever. Meanwhile, Michel Hazanavicius's much-awaited follow-up to The Artist disappoints.
Neither Gareth Edwards's new blockbuster nor the iconic 1956 American edit match the somber power of Ishiro’s Honda’s 1954 Gojira.
The Dardenne brothers' Two Days, One Night, starring Marion Cotillard in a tale of blue-collar struggle, wowed. Gosling's directorial debut, Lost River, did not.
Should Gareth Edwards have shown more of his titular monster? Not necessarily. But he shouldn’t have made him a narrative afterthought in his own reboot.
As Hollywood stars flood Cannes, splashy new works from David Cronenberg, Tommy Lee Jones, and Bennett Miller critique U.S.-born ambition and excess.
Premiering at Cannes, Welcome to New York is a satisfying fictionalized portrait, while an Italian coming-of-age story and an Yves Saint Laurent biopic are also worthwhile viewing.
Million Dollar Arm is the latest in a crop of films about guys who work in athletics, but whose fates have nothing to do with what happens on the field.
The second day of the Cannes Film Festival saw filmmakers from around the world telling weighty stories of war, death, and forbidden love.
The treacly Grace Kelly biopic opened Cannes to a less-than-thrilled response.
History's greatest on-screen creatures embodied specific human fears. With luck, Gareth Edwards's Godzilla will save us from today's glut of bland, interchangeable CGI beasts.
The artistic director of the prestigious film festival responds to accusations that the event is insular, sexist, and stodgy.
Yes, the genre has produced few true classics and many duds. But it's young. Give it time.
Jon Favreau's indie comedy Chef is pitched at foodies—but it has a lot of smart, refreshingly positive things to say about Twitter, too.
The Zac Efron/Seth Rogen vehicle is a premise in search of a plot.
A horror in Bruce Wayne's childhood created the Dark Knight. Did a real-life childhood horror create Bruce Wayne?
Haters have a point: Lucas's movies are shoddily made. But that's part of why they're great.
The overstuffed sequel to Marc Webb's 2012 reboot collapses under its own weight.
Unlike superheroes, do-gooder reporters aren't supposed to lie all the time.
At the dawn of social media, Tina Fey created a (very funny) tale that could be remixed and shared endlessly.
Little is known about newcomer Daisy Ridley, but today's news hints that Episode VII may not do much to improve the old films' famous gender gap.