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The Criterion Collection has announced its new line-up for August, with some more classic films being added to the collection. On August 4th Jules Dassin’s Night and the City is released, followed on August 11th by Karel Reisz’s The French Lieutenant’s Woman starring Meryl Streep, and on August 18th Brian De Palma’s Dressed to Kill starring Michael Caine and François Truffaut’s Day for Night. Finally on August 25th the Dardenne Brothers superb Two Days, One Night starring Oscar Winner Marion Cotillard.
You can check out the full press release details below, as well as the artwork for each release.
Two-bit hustler Harry Fabian (Richard Widmark) longs for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he tries to hatch a lucrative plan with a famous wrestler. But there is no easy money in this underworld of shifting alliances, »
- Scott J. Davis
The Official Competition at Cannes closed out on Saturday with “Macbeth,” Australian director Justin Kurzel’s new interpretation of William Shakespeare’s classic tale of murder and tragedy, starring Michael Fassbender and Marion Cotillard. It’s been a long time since we had a truly great Shakespearean movie (Baz Luhrmann’s “Romeo + Juliet” is probably the last, nearly twenty years ago, depending on your feelings on Michael Almereyda’s 2000 modern-day “Hamlet”), and even longer since there was a great version of this particular play: despite being one of the author’s best-known, it’s generally proven resistant to translation. But as our review revealed, Kurzel’s film manages both feats: it’s a bold take that, while it doesn’t reinvent the wheel, certainly tricks the wheel out with intelligence and visual bravado, and has an engine driven by some furious performances. It’s a very, very different version than »
- Oliver Lyttelton
Read More: Gaspar Noé on Shooting Sex in 'Love' and Why He Loves His Bad Reviews Four years after debuting his first feature film, "The Snowtown Murders," at the Cannes Film Festival, Australian director Justin Kurzel returned over the weekend to the event to premiere his follow-up, "Macbeth," in the main competition. His brutal and robustly acted Shakespeare adaptation marks a huge leap for the filmmaker, whose "Snowtown Murders" was a similarly violent but much smaller film starring a mostly unknown cast. "Macbeth," shot on location in Scotland, comes from mega-producer Harvey Weinstein and stars two of the biggest actors working in film today, Michael Fassbender and Marion Cotillard. Before its premiere on the Croisette, Indiewire sat down with Kurzel to find out why "Macbeth" appealed to him and what it was like to direct his incredible cast. From Cannes Critics' Week to the competing for the Palme d'Or is quite the. »
- Nigel M Smith
Variety critics Scott Foundas, Justin Chang, Peter Debruge, Guy Lodge, Jay Weissberg and Maggie Lee weighed in with their choices for the 21 best films at this year’s Cannes Film Festival (listed in alphabetical order):
1. “Amy.” British director Asif Kapadia followed up his 2010 “Senna” with this even more daring and revealing portrait of the brilliant but tragic jazz diva Amy Winehouse. Drawing on a wealth of professional and user-generated video, Kapadia again eschews the usual talking-heads interview format to keep WInehouse front and center for two harrowing hours, during which we come to understand how thoroughly the troubled singer lived her life under the camera’s relentless and unforgiving gaze. The result is an unforgettable portrait of the cult of celebrity in the iPhone era. (Scott Foundas)
- Variety Staff
Cannes — Awards season is no stranger to Cannes. From "Amour" to "The Tree of Life" to "No Country For Old Men" to "The Pianist" to "The Piano," every year there seems to be a player or two that pokes its head out from the crowded Croisette and into Oscar's waiting arms. This year's potential players may not include a true Best Picture contender, but they are evidence enough that the festival's presence will be felt throughout the upcoming campaign. Before you start second guessing which films have a shot and which don't, remember the actions of this year's Hollywood-influenced competition jury. The Coen brothers, Jake Gyllenhaal, Sienna Miller and the Guillermo Del Toro, among others, awarded some interesting prizes that will absolutely affect the race. The critical kudos are important, too (as are those of us who cover the beat on a regular basis and took in this year's slate »
- Gregory Ellwood
Having signed on to appear alongside Tom Hanks in The Circle eariler this month, Deadline is reporting that Alicia Vikander (Ex_Machina) may leave the project, but is instead lining up another two high profile pics.
According to the site, the Swedish actress is in talks to appear alongside Matt Damon in the upcoming fifth Bourne movie, while she’s also in negotiations for a role in Assassin’s Creed, which is set to star Michael Fassbender and Marion Cotillard.
- Gary Collinson
Transmission will launch the film shot in England and Scotland in Pctober Australia and The Weinstein Co will distribute in the Us.
.Although tradition is upheld with a Dark Ages-Early Christian period setting, actually shot in Scotland for once, in most other respects Australian director Justin Kurzel filters Shakespeare's tragic story of murderous ambition through a resolutely modern sensibility,. declared The Hollywood Reporter.s Leslie Felperin. .Comparisons with Game of Thrones will be inevitable, and not always flatteringly intended, »
- Don Groves
The French drama won the prize earlier today (May 24) in a shock decision as the 68th annual festival drew to a close.
Meanwhile, Vincent London won Best Actor for his role in The Measure of Man and Best »
If you did not pack high heels or the correct type of tuxedo (bowties only, no regular ties), then 2015 film festival was “No Cannes Do For You.” From secret screenings to jam-packed appearances by Hollywood royalty and British royalty, Here’s The Party Report’s tour through the best parties at the Cannes Film Festival. Also Read: Cannes: Cate Blanchett, Rooney Mara Drama 'Carol' Wins Queer Palm Award Georgina Chapman squates for a chat with Duchess Fergie at amfAR on Thursday night, as Zoe Kravitz, Marion Cotillard, and Michael Fassbender wrangle some paperwork. (Sarah Ferguson) What’s the »
- Mikey Glazer
★★★★☆ By the pricking of my thumbs, something wicked this way comes - namely Snowtown director Justin Kurzel's visually inventive take on the Scottish play Macbeth (2015), starring Michael Fassbender as the murderous Thane and Marion Cotillard as his Lady. Scotland is in the grip of civil war and the survival of King Duncan's (David Thewlis) reign depends on a final battle with the loyal Macbeth commanding his troops. The battle is bloody and brutal but with a stylised 300-like aesthetic of slow motion interlaced with bloody detail. Banquo (the ever excellent Paddy Considine) and Macbeth meet up with the weird sisters - four rather than three here - and are gifted/cursed with their fatal prophecies.
- CineVue UK
Cannes 2015 has closed its celluloid curtain and the awards have been bestowed (proper dress attire still required). Check out the winners below. The films that had been getting a lot of the top-prize buzz have been very diverse: there's the slow-burning 9th century martial arts film from Taiwan (The Assassin), the newest (most brutal) version of William Shakespeare's Macbeth (starring Michael Fassbender as the power-hungry warrior, and Marion Cotillard as his Lady), the 1950s-set lesbian melodrama, Carol (starring Cate Blanchett and Rooney Mara), and a devastating Auschwitz drama, Son of Saul, about a man trying to save a corpse from the prison camp flames, because he believes its his son. Our own Croisette-critic-on-the-grounds, Talia Soghomonian, chose Youth as her personal Palme pick from the competition litter. Youth is the follow-up to the Oscar-winning The Great Beauty, starring Michael Caine and Harvey Keitel as old friends on a European retreat. »
- Brian Formo
12:25 The jury arrives and out pours their little soundbytes. Anticipation. Who will win the Palme D'Or?
We're proud of our choices."
It was so congenial. One of the best experiences of my life. It was a great group."
Beautiful. Every time we deliberated we went very deep. We argued back and forth in a good way. The Coens made it very clear we should be very passionate. It was one of the best experiences "
It feels like a little family. And the movies were so wonderful. It's odd artists judging artists but I guess it has to be done."
The reporter reminds us that Xavier Dolan leaves With Marion Cotillard tomorrow to start filming his next movie. He never stops. No rest for the Francophones. All the Jury prizes and quick thoughts after the jump »
- NATHANIEL R
Normally adaptations of the Bard’s works live in an immense shadow, confined by the rigid structure of his plays and thus consisting mostly of lengthy dialogue exchanges across a handful of sets. This approach has admittedly led to some great films (just take a trip down Kenneth Branagh’s filmography), but can also make it feel like we haven’t moved on that much from drunken revellers watching then-contemporary productions in a pre-fire Globe.
From the opening of Macbeth, Justin Kurzel makes clear that this is something different. There’s a text crawl providing contextual information that moves up to reveal wide landscape shots of a barren, unforgiving Scotland bathed in mist as three figures drolly prophesie the future, followed by an action sequence epic in scale and breath-taking in its majesty. Slow-motion shots punctuate the visceral battle, highlighting blood spurts, sword swings and character screams. It »
- Alex Leadbeater
Warner Bros. Pictures/Paramount Pictures
It’s impossible to not compare The Little Prince to Inside Out. Both premiered Out of Competition at Cannes and, in something that’s become a festival theme, both are about memories, with direct focus on the transition from childhood to adulthood. And so while The Little Prince is a well-intentioned, sometimes touching, always beautiful animated treat, it can’t help but be the weaker film in comparison to Pixar’s festival appearance.
Based on the French children’s book about love and life, told through the abstract meeting of a small boy and a crashed pilot in the desert, Mark Osborne has made one of the most out-there animated films to get a wider release in years. It’s a better, more measured film than his previous Kung Fu Panda (which you have to hope he only did to get to make this »
- Alex Leadbeater
Screen’s jury of international critics finished the festival tied in their appreciation of Carol and The Assassin, ahead of the award of the Palme d’Or.
Reviews: Cannes Competition titles
Trailing them were the much fancied Hungary’s Son of Saul (which won the Fipresci prize) and China’s Mountains May Depart, with 2.8 each.
Paulo Sorrentino’s Youth clearly divided the critics, with some opting for four-palme scores, and others »
- firstname.lastname@example.org (Fionnuala Halligan)
Directed by Justin Kurzel
The final film in competition, Justin Kurzel’s adaptation of Shakespeare’s Macbeth delivers a spectacle of dripping blood, slow-motion battle scenes, sprawling Scottish highlands and Michael Fassbender. Fassbender stars as the Scottish warrior turned regicide and paranoid monarch, who after a particularly bloody battle has a vision of three witches predicting he will be King of Scotland. Macbeth starts out as an honorable soldier loyal to King Duncan (David Thewlis) and decides to only become king the “natural way”. However, after imprudently sharing the witches’ prophecy with his wife, played by Marion Cotillard, Macbeth finds himself constrained by her ambitious power lust.
Finding the right balance between words and images is essential when adapting a Shakespearean play for the screen and Kurzel’s weapon of choice is the emphasis on the rugged, indomitable beauty of the Scottish landscape, »
- Zornitsa Staneva
It was last year’s most snap worthy Cannes Market one sheet image and it pretty much secured an In Comp entry the moment Marion Cotillard signed on. The actresses’ fourth consecutive year in the Palme d’Or hopefuls (Rust and Bone, The Immigrant, Two Days, One Night), actually make that five if it is followed by It’s Only the End of the World in 2016, this latest version of Macbeth comes from an Aussie director who made the most noise in the Critics’ Week section when his Snowtown (later known as The Snowtown Murders) launched Justin Kurzel into a nice sophomore gig. While some of our critics jetted out early, here is a sampling of grades to feast on.
- Eric Lavallee
Given the number of films in competition (19), the correspondingly infinite number of possible award/talent configurations, and the sheer impossibility of guessing at the individual and collective tastes of nine jurors, predicting the major award winners at the Cannes Film Festival is obviously a fool’s errand — and one that our critics on the Croisette have gladly undertaken.
Palme d’Or: “The Assassin.” Word on the street — and among British bookies — is that my own favorite film of the fest, Yorgos Lanthimos’ high-wire relationship fantasy “The Lobster,” is the one to beat, though whether that’s based on honest hearsay or a projection of the Coen brothers’ taste for dryer-than-dust comedy, I can’t say. As much as it would thrill me to see such a singular combination of concept-y formalism and perverse heart-tugging take the prize, I have a hard time seeing it as the unifying consensus »
- Guy Lodge and Justin Chang
Once Bitten: Cailley’s Unique Exploration of Summer Lovin’
Since premiering at the 2014 Cannes Film Festival, where it picked up the Fipresci Prize in the Directors’ Fortnight sidebar, Thomas Cailley’s directorial debut, Love at First Fight has been treated to generous critical acclaim. Nabbing three César Awards in February, including for Best First Film, Most Promising Actor, and a Best Actress award for Adele Haenel (trumping competition that included Juliette Binoche and Marion Cotillard). Basically a romantically inclined drama that subverts its conventions by playing around a bit with gender norms, its winning protagonists make this strangely and unpredictably funny film quite charming. Its original title, Les Combattants literally means The Fighters, which would have been much preferred to the horrid English language surrogate.
With their father recently deceased, brothers Manu (Antoine Laurent) and Arnaud Labrede (Kevin Azais) are forced to take over the family woodcutting factory, which »
- Nicholas Bell
Tonight’s screening of Macbeth winds up the presentation of movies in competition for Cannes‘ top prize, the Palme d’Or, which will be announced Sunday. Directed by Justin Kurzel and starring Michael Fassbender in the title role and Marion Cotillard as Lady Macbeth, the film has been rapturously received by many critics, although that’s not necessarily a barometer for traditionally finicky (or quirky, take your pick) juries at the festival. Screenwriters Jacob Koskoff… »
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