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A great many shows and movies are coming to Hulu next month, some more notable than others. To skip the chaff and go straight to the wheat, allow us to collate and curate a selection of the most notable titles available to stream in July:
“48 Hours” and “Another 48 Hours”
“‘Don’t Look Now”
“In the Loop”
Read More: ‘Transparent’ Ratings Lag Behind Rivals on Netflix & Hulu
“Simon Killer »
- Michael Nordine
Winning the Jury Prize just last month at Cannes, Andrea Arnold's first stateside film, American Honey, starring newcomer Sasha Lane, Shia Labeouf and Riley Keough, is coming later this year courtesy of A24. Our own Ryland Aldrich declared the film "so touching, optimistic, and just plain beautiful [...] a feat sure to be appreciated and revisited by filmmakers and film viewers of this generation and for generations to come." High praise to be sure, but then again this is Andrea Arnold, arguably one of modern cinema's greatest voices, from the creeping trauma drama Red Road to the exuberant Fish Tank and a feverishly poetic Wuthering Heights adaptation. Charting the journey of a young woman named Star (Lane) as she travels across America making money, the...
[Read the whole post on screenanarchy.com...]
“It’s a business opportunity,” his character explains to Star. “We sell magazines, we explore America, we party. Come with us.”
Andrea Arnold’s road drama premiered at last month’s Cannes Film Festival, where it won the jury prize. The trailer from A24 shows Lane and Labeouf’s characters falling for each other amid a lifestyle of constant partying and occasional law-breaking.
“Even viewers who find this traveling circus of cheap thrills and cheaper booze wearying would be hard pressed to deny the iridescent vitality with which it has been put on screen,” Variety film critic Guy Lodge wrote in his review of “American Honey.”
Parts & Labor, Pulse Films and ManDown Pictures are the producers. The project was »
- Dave McNary
Following acclaimed efforts like "Red Road," "Fish Tank" and "Wuthering Heights," filmmaker Andrew Arnold used this year's Cannes Film Festival as the launching pad for her fourth effort and her first film in five years.
"American Honey" is a coming-of-age tale and her first U.S. film. Sasha Lane leads a group of teens who work selling magazines on the road for the shifty Jake (Shia Labeouf) while Riley Keough, Arielle Holmes and Will Patton also star. A24 will release the film later in the Fall.
- Garth Franklin
Following up Wuthering Heights early this decade, Fish Tank director Andrea Arnold is finally back with American Honey, which picked up the Jury Prize at this year’s Cannes Film Festival (and we also named it one of the best of the festival). Starring newcomer Sasha Lane, as well as Shia Labeouf and Riley Keough, it follows teenager who gets caught up with a traveling magazine sales crew as she ventures through the Midwest. Shot once again by Robbie Ryan, it looks like a vibrant drama judging by the first trailer, which A24 has released today.
We said in our review, “European directors have often faltered when crossing the Atlantic. Billy Wilder and Wim Wenders found things to say where Paolo Sorrentino could not. American Honey is certainly the former. Based on a 2007 article from the New York Times, it’s a backwater American road movie directed by an Englishwoman, »
- Jordan Raup
Arnold’s road trip odyssey was among the most eagerly anticipated films to premiere at Cannes – and made good on its promise by earning strong reviews
British director Andrea Arnold explores American terrain for the first time in her fourth feature, American Honey, which opens this autumn, having premiered at Cannes in May. Although it lost out to Ken Loach’s I, Daniel Blake for the festival’s top honour, the Palme d’Or, American Honey made Arnold a three-times winner of the event’s jury award – having previously won for her feature debut Red Road, as well as Fish Tank.
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- Nigel M Smith
Andrea Arnold’s “American Honey” was one of the most acclaimed selections of the Cannes Film Festival this year, winning critical plaudits in addition to the Jury Prize — Arnold’s second after 2006’s “Red Road.” (Many considered it a Palme d’Or contender, but Ken Loach’s “I, Daniel Blake” took the top prize instead.) Ahead of the film’s release later this year, A24 has released its first trailer.
“American Honey” marks the film debut of Sasha Lane, who stars as a young runaway whose path intersects with that of Shia Labeouf and Riley Keough’s characters: young adults whose waywardness is considerably more dangerous than her own. She joins their itinerant tribe, which whiles away the day selling magazine subscriptions before partying once the sun goes down.
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- Michael Nordine
It seemed to us, going into 2016, that one of the surefire cinematic highlights of the year would be the return of Andrea Arnold. Her first film “Red Road” was one of the most striking directorial debuts of the century so far, and follow-up “Fish Tank” was even better. Not everyone loved follow-up “Wuthering Heights,” […]
- Oliver Lyttelton
Forget the Cannes jury awards. This year, the most famous film festival in the world showcased something much bigger than a couple of prize-winners: Women filmmakers and actors at the top of their game.
It was hard to miss how much the women before and behind the camera were front and center, dominating the conversation in Cannes. More of the Official Selection films were focused on women than ever before. And a new kind of protagonist emerged at Cannes 2016. She’s independent, strong, often androgynous, and not defined by her relationships with men.
Hollywood producers, executives and filmmakers, take note. This is how it can be done.
Check out the fabulous women of Cannes 2016.
In Paul Verhoeven’s provocative thriller “Elle,” Isabelle Huppert plays a videogame entrepreneur who refuses to allow her violent rape in her own home to ruin her life. She doesn’t miss a beat. She doesn’t call the cops. She changes the locks, gets an Std test, buys pepper spray and learns how to use a gun. She’s a sophisticated, elegant, powerful, modern woman who lives alone, runs her own company, manipulates her family, has sex with whomever she fancies, and is free to do as she pleases.
At 63, Huppert believably plays a younger woman in her sexual prime, bringing all her experience to bear on the role, which was adapted from a French novel by an American screenwriter (David Birke) and then translated back into French when Huppert came aboard. She elevates the character into almost making sense. Typically, Verhoeven refuses to supply psychological underpinnings for what she does. But Huppert makes us believe. With critics and awards-savvy Sony Pictures Classics behind “Elle,” this commercial movie could wind up a North American hit this fall, a French Oscar nominee (if France submits it), and a Best Actress Oscar contender.
Another independent woman is at the center of Olivier Assayas’ “Personal Shopper,” his second English-language film starring Stewart (Cesar-winner for “Clouds of Sils Maria”). She plays Maureen, who acquires fashionable clothes for a rich client, flits around Paris on a scooter, and reaches the people in her life via Skype and mobile. She’s trying to use her skills as a medium to communicate with her twin brother, who has recently died, when mysterious texts suddenly appear on her iPhone. “Who is this?” she asks. “Personal Shopper” tracks a lost and lonely soul who is disconnected from herself. As she tries on her client’s sexy costumes and figures out who is tracking her, she eventually finds her identity again.
Stewart had a good Cannes, showing her stripes not only in her roles in “Personal Shopper” and opener Woody Allen’s “Cafe Society,” but by deftly fielding, with finesse and poise, the many questions thrown at her during press conferences and interviews. She refused to be drawn into the Allen controversy (unlike co-star Blake Lively), wore flats when she could have worn heels, and explained why she likes working with intellectual directors like Assayas. She’s a smart career shaper with a rosy future who rather than conform to Hollywood demands, prefers to make her own choices on the world stage.
Father-daughter tension forms the backbone of two of the best films in Competition, Screen International’s critics’ poll winner “Toni Erdmann” and directing prize co-winner Cristian Mungiu’s “Graduation.”
German filmmaker Maren Ade‘s third feature is a generational comedy that pits a goofy father (Peter Simonischek) against his workaholic corporate strategist daughter Ines (Sandra Hüller). She’s a woman in a man’s world who thinks she doesn’t need feminism, who Ade sees as almost “a gender-neutral character.” After anxiously trying to prove herself to her male bosses, Ines eventually gets what her father is trying to tell her via his crazy antics and humor. She sees things more clearly, reconnects with him, and takes control of her own life.
The young Romanian star of Michael Haneke’s “The White Ribbon” shines in Mungiu’s “Graduation,” which sends a controlling father (Adrian Titieni) into a tailspin when his long-held post-graduation plans for his daughter (Dragus) go terribly awry. At the start of “Graduation,” the daughter’s rape sets in motion a series of revelations, compromises and ethical dilemmas as the father tries desperately to keep things on track. To her credit, his daughter refuses to go along with his schemes, stands up to him with strength and moral fortitude, and finally sets free her two protective parents from all their secrets and lies.
Andrea Arnold, Sasha Lane and Riley Keough British director Arnold took home the Cannes jury prize for the third time for her daring American road movie “American Honey” (A24), an empowering coming of age story starring unknown Sasha Lane, making Arnold three for three at the fest after 2006’s “Red Road” and 2009’s “Fish Tank.”
Critics adored the film, which was shaped by the American midwestern landscape as well as the editing room. Arnold’s final film was vastly different from its original script, turning toward the young woman finding her identity as its through-line—Shia Labeouf and Elvis Presley granddaughter Riley Keough (“Mad Max: Fury Road”) offered stalwart support— and was unlike anything else at Cannes this year.
Jodie Foster and Julia Roberts Foster likes bringing smart movies like “Money Monster” and “The Beaver” to Cannes—it’s a film festival for smart people, after all —and she introduced “Money Monster” star Julia Roberts to the Croisette, who walked up the red carpet with bare feet, reminding us all that she has nothing to prove. “We were thrilled for Julia,” Foster told me in our video interview. “George is so excited to show her Cannes, and wanted her to have that moment seeing that sea of photographers.”
“Money Monster” was the perfect Cannes out-of-competition studio entry, an entertaining populist Wall Street/media critique for festival gala audiences, with major movie stars for the tapis rouge, press conference and junket for a European market launch. Not surprisingly, the actors are terrific: Clooney plays a glib financial TV guru held hostage by an angry victim of his bad advice (a surprisingly sympathetic Jack O’Connell), who fits him with a bomb vest as punishment. Roberts as Clooney’s producer beams the story live as everyone scrambles to come out of the crisis intact.
As a Hollywood movie star who pushed past conventional women’s roles, scoring four Oscar nominations and two wins (“The Accused,” “The Silence of the Lambs”) and has carried many commercial movies on her own (“Contact,” “Panic Room,” “Flight Plan”), Foster beefed up Roberts’ character to give her more purpose and dimension. In the original script she was more of a technician, but Foster turned her into a competent, strong, active producer who helps Clooney’s character find his strength and unravel the mystery.
In Cannes regulars Jean-Pierre and Luc Dardenne’s “The Unknown Girl” (Sundance Selects), Haenel plays another gender-neutral character, an excellent, empathetic doctor who is not defined by her relationships or friends; she lives a solitary, monastic life devoted to the well-being of her patients. When she ignores a late-hour doorbell at her private practice and finds out from the police that the young woman was murdered nearby, the doctor embarks on a mission, against the wishes of many including the police, to identify the girl and inform her family of her death.
Kim Min-hee and Kim Tae-ri
With erotic mystery “The Handmaiden” (Amazon) great Korean auteur Park Chan-wook moved the Victorian setting of the novel “Fingersmith” to the 30s period when Japan occupied Korea. Told in two parts from two distinct points-of-view, the lushly mounted movie follows a rich Korean gentlewoman (star Kim Min-hee) and her maidservant (newcomer Kim Tae-ri) who not only fall lustily in love, but plot against their oppressive masters. Park has fashioned a luscious tale of sexual expression and female empowerment.
Nicolas Winding Refn’s “Neon Demon” also puts women front and center, led by Elle Fanning, who was 16 when she was cast, 17 when she shot the film, and is now 18. She plays a newcomer to the La fashion scene who discovers that starving models literally eat each other alive. In one memorable scene, when one x-ray known as the bionic woman (because she has altered so much of her body) throws up an eyeball, her best friend pops it into her own mouth. Refn said he wanted to make the women characters primary and the men secondary. While the movie was not a critical hit in Cannes and did not win any prizes, the stylishly transgressive genre exercise could become a smart-horror hit stateside when Amazon Studios releases it in June.
Adriana Ugarte and Emma Suárez These two superb Spanish actresses star as the young and older incarnations of Pedro Almodóvar’s latest female creation, “Julieta” (Sony Pictures Classics). The Spanish auteur’s adaptation of three Alice Munro stories was originally going to star Meryl Streep in an English-language version, in which she would have used makeup to play both roles. This way the movie takes on a decidedly Hitchcockian tone, as the very blonde young Julieta (Ugarte) enjoys mad sex with a stranger on a train, while the older and soberer Julieta (Suárez) is less open, prey to feelings of loss and regret. Why is she estranged from her daughter? What went wrong the day her husband went fishing in the face of an impending storm? This twisted family saga unfolds in cinematic ways that could only come from Almodóvar. Related storiesTop Women Cinematographers Reveal 7 Best Tips for Career SuccessCannes Film Festival Awards 2016Cannes Today: New Talent Emerges »
- Anne Thompson
It's hard to believe that Michael Fassbender only broke onto the scene six short years ago.
We first noticed the Irish/German actor when he had a small but memorable role in Quentin Tarantino'sInglorious Basterds, and he's quickly become not only one of our favourites, but easily one of the best actors of his generation.
Besides working on small, art-house films like Fish Tank, Frank and Shame, Fassbender took over the role of one of our most famous comic book characters, Magneto in X-Men. This Friday we're going to see him turn to the dark side, to work with Oscar Isaac's villain Apocalypse in X-Men: Apocalypse. While we anticipate the new film, test your knowledge on Michael Fassbender with this week's quiz!
Take the quiz below and see X-Men: Apocalypse in theatres on May 27th! Click here for tickets and showtimes. »
- Adriana Floridia
As juror László Nemes (“Son of Saul”) said at the start of the Cannes Film Festival, juries are by their nature random. One thing you can count on is that the actors on the jury will shift the conversation. From the start, this year’s actors said they were looking for emotion. And that’s what the two top winners boast in abundance. “It was a collective decision,” said Miller of his “nine-headed beast,” describing the awards process as like creating a painting. “We looked at every variable, it’s not like ticking off a vote for the Oscars…we were looking at the awards like a totality. It took so much time, so much rigor, it was exhausting, emotionally, as everyone was talking so passionately.”
Thanks to jury chief Miller, it was Mel Gibson (whose “Blood Father” played well as a Cannes midnight movie) who presented the Palme d’Or to 79-year-old British director Ken Loach, winning for the second time (2006’s “The Wind that Shakes the Barley”); he’s won many other prizes over 18 films selected for Cannes. By far the most emotional movie of the festival, “I, Daniel Blake” (Sundance Selects) brought audiences to wrenching tears, including this writer. Based on research into England’s public welfare crisis, the film is a fictionalized story set in Newcastle about a joiner (Dave Johns) who can’t seem to convince the state to give him the disability he needs after a heart condition makes it impossible for him to work.
“The festival is very important for the future of cinema,” said Loach. “When there is despair, the people from the far right take advantage. We must say that another world is possible and necessary.”
Read More: The 2016 Indiewire Cannes Bible: Every Review, Interview and News Item Posted During the Festival
Many critics did not respond to Loach’s overtly political film because they didn’t think he was doing anything different from what he had done before. But they really didn’t like Xavier Dolan’s very theatrical “It’s Only the End of the World,” which won the consolation prize, the Grand Prix, which means that the jury responded very differently to this heartfelt adaptation of a play about a dysfunctional family, who scream in French in extreme closeup. (Dolan won the jury prize in 2014 for “Mommy.”)
“Thank you for feeling the emotions of the film,” said Dolan (who attacked the critical reaction to his film) in a speech during which he cried, lips trembling, and chewed on his hands. Maybe it will now be picked up for the U.S., although it won’t be a crowdpleaser.
Co-winner of the director prize, Romanian Cristian Mungiu (“Graduation”), had also won the Palme d’Or, for 2007’s “4 Months, 3 Weeks, 2 Days,” and his actresses shared the Actress prize for “Beyond the Hills.” Mungiu’s “Graduation” (Sundance Selects) sends a controlling father (Adrian Titieni) into a tailspin when his long-held post-graduation plans for his daughter (Maria Dragus) go terribly awry. Mungiu points out each individual’s role in doing the right thing when corruption and compromise often rule the day.
Co-winner Olivier Assayas, on the other hand, accepted his first Cannes award for “Personal Shopper” (IFC Films), his second English-language film starring Kristen Stewart (Cesar winner for “Clouds of Sils Maria”), whose character acquires fashionable clothes for a rich client. She tries to use her skills as a medium to communicate with her twin brother, who has recently died, when mysterious texts suddenly appear on her iPhone. It was a great Cannes for Stewart, who was well-received in Woody Allen’s “Cafe Society” (Amazon) as well, and for IFC/Sundance Selects, which is releasing “I, Daniel Blake,” “Graduation” and “Personal Shopper.”
Those who thought that the women who dominated the Cannes would come home with multiple awards were sorely disappointed. British director Andrea Arnold took home the jury prize for the third time for her daring American road movie “American Honey” (A24), a coming of age story starring Shia Labeouf and unknown Sasha Lane, making Arnold three for three at the fest after 2006’s “Red Road” and 2009’s “Fish Tank.”
Critics adored the film, which was shaped by the American midwestern landscape as well as the editing room. The film was vastly different from its original script and unlike anything else at Cannes this year. “Five hours ago I was sitting in my neighbor’s garden drinking tea,” Arnold said in her acceptance speech, thanking her cast and crew for the “team effort” on their “great adventure.”
Meanwhile, critics’ fave and the winner by a mile of the Screen International Critics Poll (see below), German director Maren Ade’s exquisite father-daughter comedy “Toni Erdmann” (Sony Pictures Classics), came home empty-handed. At the jury press conference jury chief Miller cited a “passionate” and long jury deliberation (which Mikkelsen described as “difficult”) on 21 films, directors, writers and many more actors as well as arcane jury rules that demand that the top three winners cannot win a second prize. Miller and Mads Mikkelsen both stated that they judged the films on their excellence, not on the sex of who directed them. “Each film was judged on its merits,” said Miller. “Filmmaking is filmmaking. It did not come up, we were looking at other issues.”
The jury defended the choice of Best Actress Jaclyn Jose for “Ma’ Rosa,” from Philippine director Brillante Mendoza, which some critics had suggested was a supporting role in a sprawling ensemble. “The critics were wrong,” said Donald Sutherland. “It’s a big-time leading role.”
“She’s the film,” said Arnaud Desplechin. “She broke my heart.”
The jury admitted that there were many strong actress contenders including “I, Daniel Blake”‘s Hayley Squires and Romanian actress Maria Dragus (“Graduation”), but they couldn’t award more than one prize for winners of the top three awards.
Asghar Farhadi’s “The Salesman” (Amazon/Cohen Media) was another surprise winner, taking home two prizes, for Best Actor and Best Screenplay. Shahab Hosseini plays an actor who is in the midst of moving apartments and starring in Arthur Miller’s “Death of a Salesman” when his wife (Taraneh Alidoosti) is assaulted in the shower of their new domicile by a man who assumes that she is the former tenant, a prostitute. When the door buzzes, the wife thinks she is letting in her husband, but winds up in the hospital with more than wounds to her head and psyche — her husband is hellbent on revenge.
The Honorary Palme d’Or went to Jean-Pierre Leaud, who came to the festival with his first film “The 400 Blows” in 1959 when he was 14 years old, and was hugged by Jean Cocteau. Juror Arnaud Desplechin presented the award. Leaud said this was the most joy he had felt since Francois Truffaut told him to take the script for “The 400 Blows.”
Among those who did not need to attend the closing ceremony were Isabelle Huppert, who earned raves for Paul Verhoeven’s provocative thriller “Elle” (Sony Pictures Classics), in which she plays a videogame entrepreneur who refuses to allow her violent rape in her own home to ruin her life. Verhoeven’s first French-language film is likely to play better in North America.
Read More: Cannes 2016: Complete List of This Year’s Winners
Also left out of the awards were “Paterson” (Amazon), American auteur Jim Jarmusch’s spare and austere portrait of a bus driver poet (Adam Driver) and his wife and muse (Golshifteh Farahani), as well as Jean-Pierre and Luc Dardennes’ “The Unknown Girl” (Sundance Selects), starring Adèle Haenel as an empathetic doctor who ignores a late-hour doorbell at her private practice and finds out that the young woman was murdered nearby. She embarks on a mission to identify the girl and inform her family of her death. Park Chan-Wook’s gorgeously wrought erotic drama “The Handmaiden” (Amazon) starring Kim Min-hee and newcomer Kim Tae-ri as secret lesbian lovers was also overlooked.
Among the anticipated films that disappointed the critics at Cannes (not to mention the jury) were Sean Penn’s aid worker romance “The Last Face,” starring Javier Bardem and Charlize Theron, which was seeking a North American buyer, and Nicolas Winding Refn’s “Neon Demon” (Amazon), starring Elle Fanning, who discovers that starving models in the Los Angeles fashion world literally eat each other alive. In one memorable scene, when one x-ray model known as the bionic woman (because she has altered so much of her body) throws up an eyeball, her best friend pops it into her own mouth. (With five films at the festival, Amazon won no awards.)
At the “Neon Demon” party, when I asked Cannes director Thierry Fremaux why so many movies wound up in Competition that the critics did not like, he said that the festival was not set up for the critics, although they clearly play an important role. He said that how movies played for audiences was important too. Clearly that included the Cannes jury.
Stay on top of the all the latest headlines! Sign up for our Daily Headlines email newsletter here. Related storiesCannes Film Festival Awards 2016Cannes Today: New Talent EmergesHow Will the Cannes Film Festival Impact the Rest of the Year in Film? (Podcast) »
- Anne Thompson
Ken Loach’s I, Daniel Blake has won the Palme d’Or at the 69th Cannes Film Festival (May 11-22), marking the second time the British filmmaker has won the top prize after The Wind That Shakes The Barley in 2006.
The 79-year-old filmmaker returned for a record 13th Competition entry with the tale of an injured carpenter and single mother caught in a bureaucracy nightmare within the UK welfare system.
Accepting the Palme d’Or from actor Mel Gibson, Loach used his acceptance speech to spotlight the “dangerous project of austerity”.
“We must give a message of hope, we must say another world is possible,” he said. “The world we live in is at a dangerous point right now. We are in the grip of a dangerous project of austerity driven by ideas that we »
- firstname.lastname@example.org (Michael Rosser)
The final awards ceremony of the 69th Cannes Film Festival has concluded, with veteran British filmmaker Ken Loach winning the second Palme d’Or of his career for the impassioned protest drama “I, Daniel Blake.”
The film, chronicling the social-welfare battle fought by a struggling Newcastle carpenter, scored a strong emotional reaction from Cannes audiences when it unspooled early in the festival — though many critics were more reserved in their praise. This year’s jury, led by “Mad Max” director George Miller, evidently voted with their hearts, handing the 79-year-old Loach the festival’s top honor exactly 10 years after his Irish historical drama “The Wind That That Shakes the Barley” landed the prize.
Loach now joins an elite group of two-time Palme champs, including Michael Haneke, Francis Ford Coppola, Emir Kusturica, Bille August, Shohei Imamura, Alf Sjoberg and Belgian brothers Jean-Pierre and Luc Dardenne — the latter duo among the »
- Guy Lodge and Owen Gleiberman
With a booming, singalong soundtrack of last year’s most infectious club rap, Instagram photography of glistening saturation, and a vanload of hip low class white youths driving round the country selling magazines to fuel their party-on-the-go lifestyle, British director Andrea Arnold (Fish Tank) shoots for the stars in her attempt at a lyrical road trip epic, American Honey. Instead, it veers well past the impressionistic portrait of a desperate teenage girl’s impulsive grasp at both at adulthood (a job, a serious romance) and girlhood (a posse of party-hungry peers, a crush) it's aiming for and hits squarely in the category of kitsch.American Honey tries to approach its American subculture—wild flung, dispossessed quasi-poor whites who pull heavily from both African-American culture and college frat priorities and style—with a naïveté flush with a sensual, free-flowing and empathetic appreciation of American vivacity. In debut lead actress Sasha Lane »
Three-hour or so films are all the rage this year!
Andrea Arnold joined this club today with the premiere of her fourth feature and first-us set drama “American Honey”. Arnold is one of my favourite directors and I had loved “Red Road” and “Fish Tank” (“Wuthering Heights” slightly less so). “American Honey” is closest to “Fish Tank” narratively and stylistically but unfortunately lacks the intensity and naturalness that made “Fish Tank” great. What it does have is a similar entanglement between underprivileged teenager Star (Sasha Lane) and Jake (Shia Labeouf), an older man with a certain authority over her. That, and a lot of hip-hop.
Newcomer Sasha Lane stars as Star, an 18-year from an underprivileged family (the film opens with her dumpster diving for dinner along with her younger half-siblings) in rural Oklahoma who decides to escape her miserable existence by joining a vanful of similarly underprivileged (white-trash) teenagers »
- Zornitsa Staneva
Andrea Arnold is the only Brit in contention for the Palme d’Or, so hopes were high for her first Us-set feature. After focusing on marginalised youth in Fish Tank and Wuthering Heights, Arnold gets down with the kids once again with American Honey. Star (Sasha Lane) is a teen in an unhappy relationship, bringing
The post Cannes 2016: American Honey Review appeared first on HeyUGuys. »
- Jo-Ann Titmarsh
What a film. It's not often that a film running a lengthy 2 hours and 42 minutes is easy to sit through, but in this case I'm happy to report I was caught up in this story all the way to the end. American Honey is the latest feature from British filmmaker Andrea Arnold (of Fish Tank, Red Road previously). This time she heads to America to profile a group of wild, carefree youngsters selling magazines while driving around the mid-west in a van. As boring as that might sound, it's actually an incredible look at the life of these kids and it exquisitely captures a side of Americana that we rarely see shown in this way. This way meaning - shown in a positive light, shown in a way where even though their lifestyle is pretty shitty (they often steal and live together in motel rooms), they seem to be living »
- Alex Billington
With every new Shia Labeouf movie, I wonder whether it would be more entertaining to see the film or watch Labeouf as he watches it. American Honey wasn’t on the bill when the former Transformers actor did a masochistic marathon of his filmography, but if he were to do another, this punishing and monotonous 165 minute-movie might be the one to make him snap.
Labeouf plays a James Franco-lite in the film, and director Andrea Arnold (Fish Tank) also seems to be emulating Spring Breakers’ Harmony Korine. In many ways, American Honey is like Gummo without the absurdist humor and Spring Breakers without the hallucinatory lyricism. It’s Kids for the post-subprime mortgage crisis generation.
- Josh Cabrita
The first breakout movie of this year’s Cannes Film Festival is Andrea Arnold’s “American Honey,” which premiered to rave reviews. On Sunday, the cast—including Shia Labeouf and newcomer Sasha Lane–appeared at a press conference for the indie, which follows a group of young kids that travel across the country hustling money by selling magazine subscriptions.
Arnold (who put Michael Fassbender on the map in “Fish Tank”) discovered her latest star on the beach during spring break. “She just came up to me,” says Lane, who grew up in Texas. “She just seemed really nice and was smiling. I didn’t know what she was talking about.” But Lane found herself immediately trusting the director. “I knew she was someone important and would take care of me. I knew it wasn’t going to be a porn scam.”
“Did you get porn directors?” Arnold asked back. “There »
- Ramin Setoodeh
Mere minutes into “American Honey,” her scrappy, sprawling astonishment of a fourth feature, Andrea Arnold hits the audience with a song choice almost too perfect to work. As a girl’s gaze meets a boy’s across the packed aisles of a Midwestern Walmart, the euphoric Edm throb of Calvin Harris and Rihanna’s 2011 smash “We Found Love” hijacks the busy soundscape, setting a love story emphatically in motion by the time he hops up to dance on the checkout counter. “We found love in a hopeless place,” the song’s chorus ecstatically declares, over and over, as well it might — does it get more hopeless than Walmart, after all? It’s a gesture so brazenly big and romantically literal that it can’t help but have your heart, and it’s such an early, ebullient cinematic climax that Arnold dares repeat it two hours later, cranking up the song again in a more fraught, »
- Guy Lodge
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