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CANNES 2012: Michael Haneke's AMOUR (Glenn Heath Jr.'s Take)

Michael Haneke’s "Amour" dares to address the possibility that nightmares and hopeful dreams can co-exist in the same closed-off cinematic space.
  • By Glenn Heath Jr.
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  • May 20, 2012 3:48 PM
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  • 1 Comment

Welcome to the Cannes Film Festival 2012!

Editor's Note: Press Play has two critics covering the Cannes Film Festival this year. Simon Abrams and Glenn Heath Jr. are tag-teaming their way through the most anticipated collection of screenings in the film industry. This is your ticket to Cannes. Enjoy!
  • By Glenn Heath Jr. & Simon Abrams
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  • May 20, 2012 2:08 PM
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  • 1 Comment

CANNES 2012: Michael Haneke's AMOUR (Simon Abrams' Take)

Indifference kills quietly in Amour, the new psychodrama from Austrian provocateur Michael Haneke (The White Ribbon, Cache). In this devastating character study about the hell that is caring for an ailing loved one, writer and director Haneke explores grief as a slow, gnawing process. Coping with loss does not, however, begin with a catalyst as mundane as physical illness. Instead, it starts and ends with a debilitating kind of depression that’s facilitated by solitude. For Haneke, grief is just as frightening as death because it’s also a draining progression that we necessarily go through alone.
  • By Simon Abrams
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  • May 20, 2012 11:34 AM
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  • 0 Comments

CANNES 2012: ONCE UPON A TIME IN AMERICA (RESTORED)

If nothing else, the new 4K restoration of the late "Once Upon a Time in America" proves the necessity of film preservation. This essential new cut of Sergio Leone’s last film was re-assembled from newly rediscovered footage long thought lost.
  • By Simon Abrams
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  • May 19, 2012 10:43 AM
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  • 5 Comments

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: 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

SIMON SAYS: An Interview with Bobcat Goldthwait

When you talk to Bobcat Goldthwait, the American stand-up comic turned "Police Academy" sideshow attraction and now filmmaker, you see that his demeanor is very similar to the even-handed tone of his films. During our talk, Goldthwait casually referenced Preston Sturges and "Falling Down" as he addressed the tone of his controversial comedies.
  • By Simon Abrams
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  • May 10, 2012 9:14 AM
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  • 0 Comments

SIMON SAYS: On THE AVENGERS, Joss Whedon, Dan O'Bannon, and Zapped Toads

In the beginning of "The Avengers," when Hawkeye says, “Oh, I see better from a distance,” I feared the worst and I thought of Joss Whedon, Dan O’Bannon, "Lifeforce," and "X-Men." I thought, “Oh god, that poor toad in the X-Men movie got hit by lightning and a bad line of dialogue all over again.”
  • By Simon Abrams
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  • May 3, 2012 8:45 AM
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  • 8 Comments

The Androgyny of Artists: An Interview with Mary Harron

Is woman the future of man?
  • By Simon Abrams
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  • April 19, 2012 9:00 AM
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  • 0 Comments

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