Critic's Notebook
Cannes Keeps Its Traditions, Including Its Boos
Though on alert, the film festival has maintained form in jeering some films, like Sean Penn’s “The Last Face,” and lauding others, like Jim Jarmusch’s “Paterson.”
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Though on alert, the film festival has maintained form in jeering some films, like Sean Penn’s “The Last Face,” and lauding others, like Jim Jarmusch’s “Paterson.”
By MANOHLA DARGIS
Shane Black’s convoluted caper blends pop-culture riffs from the ’70s with a zany mix of mistaken identity, nudity and grisly murders.
By A. O. SCOTT
This film, the fifth from Rebecca Miller, stars Ms. Gerwig as a millennial who, on the way to finding a sperm donor, falls for a part-time professor.
By A. O. SCOTT
This ESPN documentary extends the narrative beyond the O.J. Simpson murder trial, as a biography and a history of race, fame, sports and Los Angeles.
By A. O. SCOTT
This portrait examines the troubled career of a New York politician and the sexting scandals that brought him down.
By STEPHEN HOLDEN
Once, we liked Hollywood actors who owned their myth. Now a franchise owns it.
By WESLEY MORRIS
The movie uses McDonald’s well-guarded iconography for a bold visual tour of the chain’s early days, but treads lightly in its promotional material.
By MICHAEL CIEPLY
The filmmaker reflects on the creation of “Dont Look Back,” filmed during Bob Dylan’s 1965 tour of England, which is the subject of a new exhibition.
By DAVE ITZKOFF
Nicholas Stoller’s sequel to the 2014 original stars a returning Seth Rogen and Rose Byrne as a couple taking on new raucous collegians next door.
By JEANNETTE CATSOULIS
Fashion and film stars attended amfAR’s 23rd annual Cinema Against AIDS gala at the Hôtel du Cap-Eden-Roc during the film festival.
The director says his offshore company was created not to avoid taxes but to make international deals in the years before the euro made that easier.
By RACHEL DONADIO
The Chilean filmmaker Pablo Larraín says that even after copious research, he still doesn’t know who Pablo Neruda was: “He’s ungrabbable.”
By MANOHLA DARGIS
The Vanity Fair party in celebration of the 69th Cannes Film Festival.
The director, in Cannes with “The BFG,” discusses the original author’s anti-Semitism and explains why “Jaws” remains a painful memory.
By MANOHLA DARGIS