Has time been kind to waning publicity powerhouse Edina Monsoon and age-defying fashion editor Patsy Stone, after more than 20 years of imbibing every variety of chemical substance under the sun and fervently following every fashion trend?
Family friction plus quirky culture clashes plus road trip nearly equals Little Miss Sunshine.
In his graceful and disarming documentary, filmmaker Roger Ross Williams gets inside the head of Owen Suskind, an autistic young man who learned how to communicate by taking his social and language cues from classic Disney cartoons.
Urgency. That was the main ingredient propelling many of the best films at this year’s Cannes Film Festival, including the winner of the Palme d’Or, I, Daniel Blake.
An observational, 160-minute-long family drama-cum-screwball comedy took critics by surprise at this year’s Cannes Film Festival.
Though rife with sexual violence and graphic dialogue, the last film to premiere at the Cannes Film Festival was also the most elegantly made in the competition: Paul Verhoeven’s blunt, button-pushing, stinging comedy.
This year, the two best films made by first-time feature filmmakers at Cannes were animated. Both movies are told with precision but without rigidity. In both cases, you won’t know where the free-flowing story is headed.
Emmanuelle Bercot’s empathetic and clear-eyed film presents a pungent portrait of a young adult. Its lead actor won the César Award, the French equivalent of the Oscar, for most promising actor.
Meryl Streep has recently undertaken to play Florence Foster Jenkins in a film by Stephen Frears that will come out later this year. French writer/director Xavier Giannoli, though, has beaten that production to the punch with his deluxe variation of Jenkins's biography.
