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CANNES 2012: Michel Gondry's THE WE AND THE I

Gondry's latest movie buzzes with hormones and posturing and All That Angst.
  • By Simon Abrams
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  • May 18, 2012 10:20 AM
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  • 0 Comments

CANNES 2012: Apichatpong Weerasethakul's MEKONG HOTEL

"Mekong Hotel" is another quiet but deeply impressive drama set in Weerasethakul-Land, where time and narrative logic as we know them don't apply.
  • By Simon Abrams
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  • May 17, 2012 12:08 PM
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  • 0 Comments

CANNES 2012: Jacques Audiard's RUST AND BONE

Jacques Audiard only knows how to pummel us. The French director of "The Beat That My Heart Skipped" and "A Prophet" wouldn’t know a subtle musical cue or composition if it were staring him in the face.
  • By Glenn Heath Jr.
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  • May 17, 2012 9:37 AM
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  • 0 Comments

CANNES 2012: Yousry Nasrallah's AFTER THE BATTLE

Governments are inherently evil. Commoners are redeemable imbeciles. Academics are clueless do-gooders. These cookie-cutter generalizations about character motivation and social institutions define Yousry Nasrallah’s "After the Battle."
  • By Glenn Heath Jr.
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  • May 16, 2012 5:39 PM
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  • 0 Comments

CANNES 2012: Wes Anderson's MOONRISE KINGDOM

"Moonrise Kingdom" is a great success, both within the context of Wes Anderson's body of work and as a work unto itself. Initially, however, its Wes- Anderson-y-ness is almost off-putting.
  • By Simon Abrams
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  • May 16, 2012 9:18 AM
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  • 0 Comments

VIDEO ESSAY: DIAL K FOR KUROSAWA

The perfect crime, the wrong man, the speeding train, and the surprising MacGuffin. "High and Low" has all the best elements of a great Alfred Hitchcock film. But it isn’t Hitchcock—it’s Akira Kurosawa, the Japanese director better known for his samurai flicks and complex moral tales.
  • By Peter Labuza
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  • May 15, 2012 1:44 PM
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  • 1 Comment

TRAILER MIX: GANGSTER SQUAD

The trailer for "Gangster Squad" isn't selling nostalgia so much as retrograde, standard-issue images of masculinity.
  • By R. Kurt Osenlund
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  • May 15, 2012 8:55 AM
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  • 0 Comments

CRUEL SUMMER: THE BLUES BROTHERS (1980)

According to John Landis, "The Blues Brothers" was the last movie made under the old studio factory system. "The Blues Brothers" feels, indeed, like a transitional movie. It takes the form of a big studio musical, but its execution is all 1980s bigger-is-better filmmaking.
  • By Aaron Aradillas
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  • May 14, 2012 8:55 AM
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  • 3 Comments

GAME OF THRONES RECAP 7: A MAN WITHOUT HONOR

What makes for a great "Game Of Thrones" episode? What stories can it tell that could put it on the rarefied level of, say, HBO’s holy trinity of "The Sopranos," "Deadwood," and "The Wire"? I’m not sure how I would have answered this question before seeing “A Man Without Honor.”
  • By Rowan Kaiser
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  • May 14, 2012 8:53 AM
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  • 7 Comments

MAD MEN RECAP 8: DARK SHADOWS

"I’m thankful that I have everything I want, and that no one else has anything better."
  • By Deborah Lipp
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  • May 14, 2012 1:12 AM
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  • 17 Comments

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