Dheepan Jacques Audiard's Cannes Film Festival winner follows a pretend family - a man, woman, and child, refugees of the Sri Lankan civil war - as they try to make a new life in a grim, graffitied housing complex on the outskirts of Paris. Tough, sobering stuff, with a heartbreaking performance by Antonythasan Jesuthasan, himself a veteran of the Sri Lanka conflict, in the title role. R
Dheepan, from director Jacques Audiard, opens in a Sri Lankan refugee camp, where a woman trolls the tents in search of a child - any child that she can claim as hers - and where a man, a stranger, waits in the camp office, posing as her husband. The makeshift couple hope to gain political asylum in Europe, far from the trauma of civil war and its aftermath.
The Lobster is what would happen if Wes Anderson set about doing Franz Kafka, with a hefty dash of George Orwell thrown into the mix: surreal, comic, sad, strange, beautiful, sublime. (Charlie Kaufman comes to mind, too, but let's not complicate matters.)
Ancient gods of Egypt: not fun. At least not En Sabah Nur, the mad despot who ruled the throne in 3600 BC and who is busy making plans to rule the world for all eternity at the beginning of the too serious, too long X-Men: Apocalypse.
There's a scene in a film class in Scream 2 where the college kids (Sarah Michelle Gellar, Joshua Jackson, practically AARP members now!) start arguing over sequels. As in, name one that's better than the original. Aliens, T-2, just about every title gets shot down. Finally, a student says he's got one: The Godfather: Part II.
The Nice Guys opens with a shot of the Hollywood sign, from the back, in the dark, the giant letters dilapidated. Pretty soon, a car goes crashing off a hillside road. The local news warns of a Stage 2 smog alert.
Shane Black's The Nice Guys, set in a smog-cloaked '70s Los Angeles and starring Ryan Gosling and Russell Crowe as a mismatched duo of stumblebum sleuths, can't help but evoke other, classic, movies.
You may want to give British filmmaker Ben Wheatley some props for his bold attempt to bring J.G. Ballard's 1975 parable of societal implosion, the novel High-Rise, to the screen.
Just a guy with boxes making a delivery to a New York office tower. Just a guy who walks past the security guards onto the set of a live TV show. Just a guy who pulls out a gun and forces the host to strap on a suicide vest.
Francofonia Alexander Sokurov's quasi-documentary is a brilliant meditation on art, on war - and what happens to art when nations go to war. In a bold mashup of archival footage, reenactments, and reimaginings, the filmmaker examines how France's famed museum, the Louvre, came into being. And how its palatial galleries - and the masterpieces in its collection - survived World War II. No MPAA rating
Alexander Sokurov's quasi-documentary Francofonia is a brilliant meditation on art, on war - and what happens to art when nations go to war.
The Meddler, just in time for Mother's Day, gives Susan Sarandon the chance to go deep into the character of a parent, a widow, who can't stop herself from interfering in everybody else's life.
So what else is, like, new-new?