Catherine Breillat hitches her wagon to the hottest of European stars, Asia Argento, in a highly entertaining adaptation of French dandy Jules-Amédée Barbey d’Aurevilly’s mid-nineteenth-century novel Une vieille maîtresse — once notorious for its treatment of a young libertine’s erotic obsession with a homely 36-year-old woman. Set on the cusp…
Spare yet tactile, a mysterious mixture of lightness and gravity, Alexander Sokurov’s Alexandra is founded on contradiction. Musing on war in general and the Russian occupation of Chechnya in particular, this is a movie in which combat is never shown. The star, octogenarian Galina Vishnevskaya, is an opera diva who…
Some say the world will end in fire, some — like Werner Herzog — say ice. Flying in the face of global warming, this profoundly idiosyncratic filmmaker leads an expedition, alternately comic and visionary, to the heart of coldness. Herzog’s Encounters at the End of the World chronicles his trip…
The Red Balloon was the art-house E.T. of 1956. Flight of the Red Balloon is something far more baffling — a literal-minded movie with an amiably free-floating metaphor. Chinese grandmaster Hou Hsiao-hsien, who only screened The Red Balloon after he was commissioned to remake it by the Musée d’Orsay, has…
CANNES, France—Wading through 20-odd movies in half as many languages, each Cannes jury supplies its own dramatic narrative, to be interpreted according to its president’s presumed taste. Days before the 61st Cannes Film Festival ended, rumors were rife that the jury was having difficulties reaching consensus. As the award ceremony…
CANNES, France—No need for dreaming here. Each Cannes Film Festival generates its own metaphors for a 10-day regimen of visions in the dark. It’s impossible to forget, let alone transcend, one’s unnatural situation here. The opening film of Cannes’s 2008 edition clobbered participants with a cautionary allegory. Regardez: The civilized…
It’s been twenty years since Errol Morris made The Thin Blue Line — a found “noir” that served to free an innocent man convicted of murder. Gathering evidence and dramatizing testimony, Morris’s movie circled around a single, unrepresentable event: the death of a cop on a lonely stretch of Texas…
CANNES, France—The competition for the Palme d’Or is ongoing as I write, but the story of the 61st Cannes Film Festival is Steven Soderbergh’s two-part, four-and-a-half-hour Che—an epic non-biopic that might well have been approved by Roberto Rossellini, envied by Francis Coppola, and even appreciated by its subject. (And the…
David Mamet’s Redbelt is a tricky bar brawl: Call it the Roundhouse of Games. The writer-director has scarcely abandoned his sense of the movies as an innately duplicitous medium, one best suited to stories that play out as conspiratorial chess matches. But with his tenth feature — an entertaining tale…
Converting a fondly remembered cartoon series — one of the first Japanese animes syndicated on American TV — into a prospective franchise, the Matrix masters, Larry and Andy Wachowski, have taken another step toward the total cyborganization of the cinema. Even more than most summer-season f/x fests, Speed Racer is…
Morgan Spurlock, the daredevil documentarian who lived on Big Macs for a month and turned this exercise in “body art” into the 2004 hit Super Size Me, returns — this time expanding his horizons rather than his girth. Paraphrasing the title of a venerable computer game, Where in the World…
The Democratic insurgent is the most charismatic candidate since RFK, and the party’s convention could be the most convulsive since the debacle in Chicago. The Vietnam War has returned in the personae of Johns McCain and Rambo. George Romero, whose Night of the Living Dead remains the definitive celluloid expression…
The pleasing circularity of Gus Van Sant’s masterful Paranoid Park is not only a function of the film’s narrative structure, but a reflection of the arc of its maker’s career. Few directors have revisited their earliest concerns with such vigor. Van Sant’s debut, 1985’s Mala Noche, was a moody drizzle…
Youth Without Youth
Youth Without Youth, Francis Ford Coppola’s self-financed return to the fray, is a curious project — well-crafted, personal and movie-movie old-fashioned even in its vanguard aspirations. Simply put, it’s a Faustian romance about the reversal of time and transmigration of souls that, shot mainly in Romania, adds a soupçon of…
Richard Kelly shoots the moon with his rich, strange, and very funny sci-fi social satire, Southland Tales. The political phantasmagoria unfolds in an alternately pre- and post-apocalyptic universe in which Abilene, Texas, was nuked on July 5, 2005. Since then, oil prices have spiked and an absurd German multinational has…
A great brooding thundercloud of a movie, Paul Thomas Anderson’s There Will Be Blood arrives as if from nowhere on a gust of critical acclaim, lowering over a landscape of barren mesas and hot, scrubby hills. Anderson’s epic, no less than his career, is both fearfully grandiose and wonderfully eccentric…
It’s that time of year again. Our six critics (Scott Foundas, J. Hoberman, Nathan Lee, Jim Ridley, Ella Taylor and Robert Wilonsky) don’t always — or often — agree, but we’ve combined their top ten lists, allowing for ties, to pretend like they do! So without further ado, the ten…
I’m Not There is the movie of the year — but to whom does Todd Haynes’s Bob Dylan biopic actually belong, and when was it really made? The great attention-grabber of last month’s New York Film Festival, I’m Not There is as notable for its stunt casting as its elusive…
Acid flashback or déjà vu? Who, having lived through the late ’60s, would have anticipated re-experiencing the spectacle of an arrogantly mendacious U.S. administration bogged down in an ill-conceived, undeclared, bungled, costly and apparently endless counterinsurgency? (Although who familiar with American history could doubt its recurrence?) Iraq isn’t Vietnam. Yet,…
Before the Devil Knows You’re Dead is less Sidney Lumet’s comeback than his resurrection. Three years after being presented a Lifetime Achievement Oscar, the 83-year-old director comes forth with a violent family melodrama that is his strongest movie in at least two decades. Robustly directed from Kelly Masterson’s bear-trap screenplay…
A doom-ridden pulp cabalist with a dark sense of purpose as well as humor, Richard Kelly shoots the moon with his rich, strange and very funny sci-fi social satire, Southland Tales. Kelly’s debut, Donnie Darko, was the first post-millennial cult hit; his second feature, Southland Tales, achieved film maudit status…
Wristcutters: A Love Story, a well-wrought indie written and directed by Goran Dukic, has to be the kewpie doll of current zombie flicks: Its walking dead are a bunch of attractive slackers whose wounds are largely internal. They’ve got attitude. Before the opening credits end, the movie’s glum protagonist has…
