CANNES - Speaking to a colleague this evening, we felt it was clear "Grace of Monaco" is on its way to being one of those highly anticipated festival films that critics viciously pounce on when it's not good. Both myself and Guy Lodge are not fans of it, but we can admit it's entertaining in a bad movie way. The general word is so negative you'd think it was "Diana" or "God's Pocket" (it's bad, but it's not unwatchable in a campy way).
It's almost that time of year: August, when something aims for the heartstrings at the end of a blockbuster summer and just before the prestige movie season of the fall. We've seen films like "Eat, Pray, Love," "The Help," "Hope Springs" and "Lee Daniels' The Butler" succeed in that frame in recent years, and this year, it will be "The Hundred-Foot Journey" looking to cash in. Whether it can translate that potential success into an awards trajectory a la "The Help" (the only one of those three to find Oscar traction) is anyone's guess.
"Godzilla" rampages into the multiplex this weekend, and as I've already detailed, I'm pretty well in the tank for it. It's an exciting, suspenseful, and above all, artful piece of work that really sits on a higher tier than most movies of its ilk.
Max Borenstein was the man given the impossible task of re-imagining this iconic story for a new era (working from a story by Dave Callaham), and I think he and director Gareth Edwards have delivered. And not only that, but Borenstein had a chance to expand the universe a bit with his work in the graphic novel prequel "Godzilla: Awakening," which we've already grilled him about.
CANNES - Nicole Kidman is back in Cannes for the third year in a row, but this visit may be her least memorable. The Oscar winner stars as cinema icon Grace Kelly in the festival's opening night film, "Grace of Monaco," and the early reviews have not been good. Throw in the fact that Kelly's family has announced they are boycotting the picture and, well, you have to give her credit for being willing to appear before a throng of global journalists at the festival's kick-off press conference.
CANNES - The arrival of the Cannes Film Market means the first buzz and first looks at a number of upcoming films. Many have US distribution, many do not. One film that has displayed its first imagery is StudioCanal's new adaptation of William Shakespeare's "Macbeth."
With apologies to Three Six Mafia, it's hard out here for a princess. In the past year, first-world problem films – the plush brand of non-issue cinema exemplified by last year's Cannes entry “A Castle in Italy,” in which linen-clad lunchers fretted prettily about what to do with their priceless original Brueghels – have been threatened by the Princess Problem Picture, a currently thriving subgenre that sets out to measure the true weight of a tiara. Whether the wearer is a closeted Scandi ice maiden who just wants, Garbo-style, to be left alone (“Frozen”) or a hounded British divorcee who just wants, Lauper-style, to have fun (“Diana”), female royalty hasn't seemed such a drag since the age of Henry VIII.
Welcome to the final entry in Cannes Check, In Contention's annual preview of the films in Competition at this year's Cannes Film Festival, which kicks off tomorrow. Taking on different selections every day, we've examined what they're about, who's involved and what their chances are of snagging an award from Jane Campion's jury. We close thing out, neatly enough, with what will also be the last Competition film to be unveiled on the Croisette: Andrei Zvyagintsev's "Leviathan."
The 67th Festival du Cannes is only a day away and as the last rain shower sweeps through the small French seaside town, the sun is ready to shine on the global film community's annual pow wow.
Welcome back to Cannes Check, In Contention's annual preview of the films in Competition at this year's Cannes Film Festival, which kicks off on May 14. Taking on different selections every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Jane Campion's jury. Next up, perhaps the most unexpected selection of the lot: Damián Szifrón's "Wild Tales."
Welcome back to Cannes Check, In Contention's annual preview of the films in Competition at this year's Cannes Film Festival, which kicks off on May 14. Taking on different selections every day, we'll be examining what they're about, who's involved and what their chances are of snagging an award from Jane Campion's jury. Next up, the Competition's only African entry: Abderrahmane Sissako's "Timbuktu."