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    Big Screen | "Holy," "Man" Offer Jesse Eisenberg Double Feature

    American indie staple Jesse Eisenberg is the main opening attraction at art houses this weekend - starring in not one but two debuting films: Kevin Asch's Sundance premiere "Holy Rollers" and Brian Koppelman and David Levien's Toronto alum "Solitary Man." Both receiv...

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    CANNES REVIEW | The Drama of Ambiguity: Kiarostami's "Certified Copy"

    If the couple featured in Richard Linklater's "Before Sunrise" and "Before Sunset" got married, grew old, divorced and reunited, the resulting confrontation would probably look a lot like Abbas Kiarostami's "Certified Copy." Possibly the Iranian director's most accessible work, this elegant, stream-...

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    CANNES REVIEW | Misguided Melodrama: Alejandro Gonzalez Iñárritu's "Biutiful"

    There's a difference between understanding the tools of melodrama and successfully putting them together. Over the course of his career, Alejandro Gonzalez Inarritu has repeatedly demonstrated ignorance of this distinction. With "21 Grams" and "Babel," Inarritu enforced sentimental hooks by drawing ...

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    CANNES REVIEW | A Non-Linear Labyrinth: Cam Archer's "Shit Year"

    Ellen Barkin puts on a bold, candid performance in Cam Archer's "Shit Year," but the enigmatic movie is composed of too many fragments to sustain her efforts. An experimental account of fictional actress Colleen West, this obsessively non-linear character snapshot never settles down and consequently...

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    CANNES REVIEW | Bad Ideas In Close Up: Quentin Dupieux's "Rubber"

    The selling point of "Rubber" sounds like the whole story: A tire comes to life and goes on a murderous rampage. But Quentin Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in qu...

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    CANNES REVIEW | The New Doom Generation: Gregg Araki's "Kaboom"

    Within minutes of Gregg Araki's "Kaboom," a familiar world comes together. The man responsible for subversive American indie delights like "The Living End" and "The Doom Generation" now introduces Smith (Thomas Dekker), a shy college student majoring in film studies and toying around with bisexualit...

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    CANNES REVIEW | No Country for Old Men: Mike Leigh's "Another Year"

    Stories of aging, loneliness and despair typically don't translate into crowdpleasers, but there's nothing typical about a Mike Leigh movie. With "Another Year," a skillfully understated character study from the master of subtext, Leigh magnifies the existential reflections of his middle-aged subjec...

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    CANNES REVIEW | Purposeless but Sweet: Xavier Dolan's "Heartbeats"

    A hyperstylized "Jules and Jim" update, Canadian actor-turned-filmmaker prodigy Xavier Dolan's French language romance "Heartbeats" ("Les Amour Imaginaires") is as hip as he intends it. At the same time, this chic look at a bisexual love triangle occasionally feels too entangled in its own cool mane...

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    CANNES REVIEW | A Black Comedy with Patience: Cristi Puiu's "Aurora"

    A slow burn thriller taken to the extreme, Cristi Puiu's "Aurora" continues the Romanian writer-director's obsession with time as his main narrative device. Whereas Puiu previously applied a patient, naturalistic approach to the final day of a dying man in 2005's "The Death of Mr. Lazarescu," his ne...

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    Robin Hood Review Double Feature

    Leonard Maltin's Robin Hood ReviewI went into this film with a “show me” attitude, but I freely admit it won me over. In spite of a few quibbles, I came away entertained. Perhaps the best compliment I can pay to director Ridley Scott, screenwriter Brian Helgeland, and their cast is that I didn’t fin...

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