Movies

Something unusual happened at the Cannes premiere of “The Best Years of a Life,” Claude Lelouch’s syrupy second sequel to his trend-setting 1966 global smash “A Man and a Woman.” Not the endless, roaring standing ovation that happened when the lights came up: That’s expected, even required, of the tuxed-up crowd at Grand Théâtre Lumière,
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May 31, 2019 8:03AM PT Robert Pattinson is officially the new Batman. Warner Bros. has closed a deal for the “Twilight” actor to play the Caped Crusader in “The Batman.” Matt Reeves’ upcoming superhero tentpole hits theaters on June 25, 2021. Variety first reported on May 16 that Pattinson was in negotiations for the part.
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Warner Bros.’ “Godzilla: King of the Monsters” roared to $6.3 million during Thursday night previews in North America. Its earnings were lower than “Godzilla’s” previews of $9.3 million in 2014 and higher than 2017’s “Kong: Skull Island” ($3.7 million). The sequel to 2014’s “Godzilla” (and the 35th feature about the titular beast) is expected to
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Producer Ada Solomon, whose credits include Cãlin Peter Netzer’s Berlin Golden Bear winner “Child’s Pose,” Radu Jude’s Berlin Silver Bear winner “Aferim!” and Maren Ade’s Oscar-nominated “Toni Erdmann,” has announced new projects from Jude and Ivana Mladenovic, whose debut feature “Soldiers. Story from Ferentari” premiered in Toronto in 2017. Jude’s “Uppercase Print” (pictured) is an adaptation of a
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Watching a documentary about a famous and beloved artist, I’ll sometimes be suffused with a childlike desire to see his or her life flow forward in one long uninterrupted river of happiness and achievement, with no slumps or setbacks, no peccadilloes, no dark side. It never works out that way, of course. If it did,
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May 30, 2019 3:26PM PT Eight women directors from eight Pacific Island cultures contribute to this visually sunny yet poetically sorrowful portmanteau feature. Most portmanteau features are potluck. But “Vai” has a lovely consistency of style and content that heightens the accessibility of its unique value as a combined effort among eight native female directors
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The tongue-in-cheek apology with which mega-prolific Japanese mischief maker Takashi Miike introduced the premiere of his latest madcap mashup in Cannes — “I want to apologize for making such a sweet love story with no violence and no decapitations” — was proved almost instantly to be a joke, as within the first few minutes of
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Folk tales have always existed to give shape and meaning to the formless randomness of ordinary life, and to account for why certain occurrences — the death of a parent, the rejection of a lover, the rivalry between brothers — can have an impact on our psyches disproportionate to their un-mythic scale. This is a
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May 30, 2019 1:07PM PT A heartfelt though slight social-issue drama diluted by its formulaic structure and rudimentary screenplay. A forensic anthropologist recovering the bones of people killed during Guatemala’s dark civil war believes he may have found his father’s remains in “Our Mothers,” a heartfelt though slight drama whose surprise Camera d’Or win at
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Chinese actor Zu Feng makes a professional, polished but overly cautious directorial debut with “Summer of Changsha,” a dour police procedural wrapped around an even more dour romance that seems to exist to make the point that no good deed goes unpunished in our modern, alienated world. Trapped in a muddy, deterministic plot, hurting, guilt-ridden
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Sci-fi will be center stage at South Korea’s Bucheon International Fantastic Film Festival, Asia’s largest genre film event. The ten-day film festival will run from Jun. 27 through Jul. 7. Ridley Scott’s “Blade Runner” inspired the festival’s official artwork this year. The film will also play in special program ‘Robots: Future Beyond the Human Race’
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