In Tuscany, author James Miller (Shimell) finds that his latest book, Certified Copy, is more acclaimed in Italy than back home in England. A fan, Elle (Binoche), buys the book to her friends while her son (Moore) teases her that she's in love with the author. In her shop full of antiques (and copies), she meets James and the two head off for a day of visiting museums and roaming through an Italian village. And as they talk, they invent their own history as a couple.
Continue reading: Certified Copy [copie Conforme] Review
The silver-haired matriarch of this subdued clan -- the antithesis of the tribe of lunatics in A Christmas Tale -- is Hélène (Edith Scob), a one-time art-world staple. Her three children are just about as different as three siblings can be: There's flighty Adrienne (Juliette Binoche), a designer of sorts living in New York; young and ambitious Jérémie (Jérémie Renier), who works for Puma Sneakers in Peking; and nostalgic Frédéric (Charles Berling), the eldest, an economist who doesn't believe in economics. Sentimentalist and stubborn nationalist that he is, Frédéric laughs his mother off when she tells him he will have to sell the house when she dies, insisting the house will stay in the family.
Continue reading: Summer Hours Review
Munho and Hunjoon are old buddies just reuniting after a long time apart when the film opens. Munho is an art professor who inexpertly hides a misanthropic bitterness behind a facade of facile arrogance. His onetime friend Hunjoon has just returned from studying film at an American university; he's a quieter, less sure type, constantly checking his own behavior and capable of stupendous self-loathing. Munho chews and drinks loudly without regard for anybody else while Hunjoon smokes nervously, his legs bouncing under the table. Needless to say, the women all seem to go for Munho.
Continue reading: Woman Is The Future Of Man Review
Continue reading: The Color Of Lies Review
Judging by the title and the con-game setup, we're on alert for twists from the very beginning: Betty (Isabelle Huppert) is seen with an obvious mark at a casino. Soon she's got him back in his hotel room, drugged, and lets in an older man who's been watching the pair. He turns out to be her partner Victor (Michel Serrault), and they take 1/3 of the mark's money (not so much that he'd miss it) and vanish back to their RV. These guys are small time and they know it. Nothing wrong with that, but while planning their next move, Betty decides to take a vacation. She and Victor reconnect a few weeks later at a mountain resort, and she's apparently got another swindle going with a wealthy man carrying 5 million Swiss francs in an attache case. Obviously Betty's going to make a play for it, but is Victor going to be in on the deal too? Or is he going to try to nab it all for himself?
Continue reading: The Swindle Review
Continue reading: L'Enfer Review
With Sunday, the camera watches the characters with a sympathetic eye to the influence of their environment. The characters seem shot without the effects of makeup, and the camera gets so close up that one can almost imagine having a conversation with them instead of merely watching a screen. Lies are acceptable because the person receiving them doesn't mind. The two protagonists are happier for having shared that day and this evokes an infectious warmth.
Continue reading: Signs & Wonders Review
Many times violence is linked with politics, war, famine, natural disaster but sometimes it comes from nowhere and for no reason at all. This violence, the unexpected, the absurd, is most shocking. In her critical book Eichmann in Jerusalem, Hannah Arendt outlined her thesis of the "banality of evil" to explain how the Nazis could murder 6 million Jews. Arndt believed that the evil of the Nazis was a banality to suffering and death - the failure of humanity to buck the system, to challenge immorality. The excuse, "everyone else was doing it," made the crimes all the more hideous.
Continue reading: Deep Crimson Review
But The Flower of Evil remains pleasing to watch, mostly because of an attractive cast. Francois (Benoît Magimel) returns home to father Gérard (Bernard Le Coq) and stepmother Anne (Nathalie Baye). It's not long before he's set his eyes on stepsister Michèle (Mélanie Doutey), and they try to keep a lid on their boiling-over passions. They don't want skeletons coming out of the closet during Anne's mayoral campaign. But not everyone sees it that way: A telegram arrives with insidious content, and the family worries that more secrets will come out that will make their children's tête-à-tête seem minor in comparison. Enlisting their clever Aunt Line (a delightful Suzanne Flon), the children attempt to protect themselves and, if possible, cause trouble for the hateful, lustful, blandly disgusting Gérard.
Continue reading: The Flower Of Evil Review
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