Jason Bateman has been making some pretty interesting moves out of the comic relief periphery of comedies and into his own as a leading man as of late, and he has a pretty stellar 2014 on the way. There's the sequel to "Horrible Bosses" in November and heading up the Peter Glanz dramedy "The Longest Week" as well. Then there's Shawn Levy's "This is Where I Leave You," which debuted a new trailer today.
I imagine that, like many moviegoers this summer, you might be excited to see Bryan Singer's "X-Men: Days of Future Past." And you should be. It's a pretty great installment of a franchise that has seen its ups and downs, and at its center, actors Hugh Jackman, Michael Fassbender and James McAvoy make for a brilliant combination. But, uh — pssst! — McAvoy has another movie coming out this summer, and it features his most electrifying, committed and passionate work as an actor to date.
CANNES - After last year supplied Best Picture nominee "Nebraska," vaulted Bruce Dern into the Best Actor race, made "Inside Llewyn Davis" a pseudo contender and found many wondering if "Blue is the Warmest Color" could create some heat, awards season has some new players on the board as the 2014 Cannes Film Festival comes to a close.
The 2014 Cannes Film Festival was a festival of few highs and few disastrous lows. Which, to be quite honest, isn't a bad thing. Instead, the festival projected a steady diet of good or mediocre movies from the global film community. In fact, at times the press corps and critics seemed to be dying to find a movie to boo at (more on that from Guy Lodge later).
CANNES — Sometimes, the pre-festival buzz has it right. Nuri Bilge Ceylan's 196-minute conversational epic "Winter Sleep" entered the 2014 Cannes Film Festival as the sight-unseen frontrunner for the Palme d'Or, thanks to its heftiness of form and the Turkish auteur's perceived overdue status — any director with two Grand Prix wins and a Best Director prize behind him is bound to win the Palme at some point.
CANNES - The sun is out, the films have screened, the rosé has almost run dry, and every conversation on the Croisette seems to begin with, "So, what's winning the Palme d'Or?" And the answer that almost inevitably follows is, "Oh, I don't know." Opinion varies this year as to whether it's been a very high-level Competition or a respectably disappointing one -- but either way, the upshot is that it's the most seemingly competitive one in several years, with a handful of well-received films on the awards shuffle-board.
CANNES - Tomorrow evening -- a day earlier than usual -- Jane Campion's jury will present their awards for the best of this year's Competition, culminating in this year's Palme d'Or winner. We'll be handicapping those awards later, but first, the festival is already fully in the prizegiving mood, as the Un Certain Regard, Critics' Week, Directors' Fortnight, FIPRESCI and Ecumenical juries have all presented their own awards.
CANNES - She missed the photo call. She missed the press conference. Nothing, however, could keep Kristen Stewart from the 2014 Cannes Film Festival premiere of "Clouds of Sils Maria."
CANNES - Quentin Tarantino held court at the 2014 Cannes Film Festival today with a press conference that was supposed to reflect on the 20th anniversary of "Pulp Fiction" winning the Palme d'Or in 1994. Instead, he mostly discussed his opinions on everything from digital projection (which he considers the "death of cinema"), finding himself watching "Kill Bill: Vol. 1" on Showtime, that the Palme d'Or means more to him than his Oscars (ouch) and what his next picture may or may not be. The most intriguing bit of news, however, was when he waxed over revisiting his Academy Award winning blockbuster "Django Unchained."
CANNES - In a festival that has been unusually generous to actresses -- permitted to carry any number of high-profile entries, from Tommy Lee Jones' "The Homesman" to the Dardennes' "Two Days, One Night" to Xavier Dolan's "Mommy" -- it seems fitting that the final Competition film screened to press should be an explicit examination of their craft. The graceful ghosts of "All About Eve" and Cassavetes' "Opening Night" haunt Olivier Assayas' arch-but-airy "Clouds of Sils Maria" -- a melancholic comedy seemingly only fine degrees of fictional separation from taking the title "Being Juliette Binoche."