Tag Archives: Cannes

Cotillard, Owen, Kunis, Schoenaerts, Saldana, Crudup, and Caan: “Blood Ties” Might Have the Year’s Coolest Cast

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I’m not entirely sure how it fell under my radar, but racing onto my list of most anticipated 2013 films is certainly Guillaume Canet’s “Blood Ties,” a crime saga co-written by James Gray. It just made its out-of-competition premiere at Cannes with a cast that is, quite simply, impeccable: Marion Cotillard, Clive Owen, Mila Kunis, Matthias Schoenaerts, Zoe Saldana, Billy Crudup, and James Caan.

Think about that group. Cotillard and Schoenaerts are fresh off the success of “Rust and Bone,” one of my 2012 favorites. Kunis and Saldana are two of the hottest young actresses in Hollywood. Owen and Crudup are two solid actors who are too often stuck in lackluster projects, and seem ready for something meaty. And who better to round out the cast of an epic cops-and-crooks tale than Jimmy Caan? Plus, there is Canet. The actor-director who helmed the international hit “Tell No One,” based “Blood Ties” on a remake of the 2008 French release Les Liens du Sang (Rivals), which he co-starred in.

But … the response at Cannes has not been strong. In fact, it has been pretty bad. There are a number of films that have drawn negative reactions in Cannes and garnered praise elsewhere — neither “Marie Antoinette” or “Enter the Void” could be labeled as hits, but both drew stronger responses in North American than they did following their Cannes debuts — and as The Playlist points out, the film is not set to open until the fall (and has no American distributor) yet, so reediting is possible.

The Hollywood Reporter called it “overstuffed” and “lethargic,” Variety said it is “sluggish” and “dramatically undernourished,” and The Playlist said the film is not a disaster, but “certainly a mess” that “never quite lives up to its epic scope.” Xan Brooks in The Guardian did come down quite so hard, describing it as something of a guilty pleasure: “‘Blood Ties’ is Cannes’ equivalent of a hamburger — pink in the middle with French dressing on the side. Inside the screening room, the delegates wolfed it down and then belched their approval.”

Still, the trailer is phenomenal (looking very James Gray-meets-“American Gangster”), and I recall the response to the similarly sprawling “Place Beyond the Pines” was a tad mixed coming out of TIFF, so who knows?

It’s exciting to see Clive Owen in a truly interesting project again. Last week, while driving home from downtown Buffalo, I noticed a cool-as-f*** Owen on a billboard hawking some kind of booze, and it got me to thinking about his career. He has not made a great feature since 2006, the year of “Children of Men” and “Inside Man,” and his recent output has been stunningly bland: “Killer Elite,” “The Boys Are Back,” “Duplicity.” Perhaps “Blood Ties” and the upcoming “Sin City” sequel will put the “Croupier” star back on track.

I’ll be keeping an eye out for more “Blood Ties” news; TIFF certainly seems a possibility.

(Speaking of James Gray and Marion Cotillard, Gray is the director and Cotillard is the star of another buzzed Cannes film, “The Immigrant,” co-starring Joaquin Phoenix.)

Poster from The Playlist

Cannes Round-Up No. 1: Boos, Rifts, and Violence

 

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As I’ve mentioned, Cannes 2013 is in full swing. Part of the fun for those of us following from across the pond is keeping up with the tidal wave of articles, reviews, and announcements unleashed by the festival. Here are just a few of my faves from the last few days:

A handy list of 10 critics to follow on Twitter during Cannes.

Eric Kohn wrote a strong review of “A Separation” director Asghar Fargadi’s new film, “The Past.”

Nicholas Winding Refn talks violence and Gosling.

Is there a rift between Steven Spielberg and Ang Lee? They say no way

The Playlist looks at some films that were infamously booed at Cannes, including “Twin Peaks: Fire Walk With Me.”

A party was held for Martin Scorsese’s finally-ready-to-shoot passion project, “Silence,” and Jeffrey Wells was there.

 

Photo from the Toronto Star/ANDREAS RENTZ / GETTY IMAGES

Weekend Preview: “Star Trek” Sold Out? Dive Into “Mud” With McConaugheyyyyyyy

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The big new release of the week is obviously “Star Trek: Into Darkness,” but one other major story, I think, is the continued success of a movie that has been showing in Buffalo now for several weeks, and has become something of an indie hit: “Mud.”

In fact, “Mud” — which I have not had a chance to see yet — is now showing at the Dipson Amherst and the Regal Quaker Crossing (it opened there last week) after an initial run at the Dipson Eastern Hills (where it is still showing). Directed by Jeff Nichols, who blew me away at TIFF 2011 with “Take Shelter,” “Mud” has drawn raves ever since showing at Cannes last year. I was surprised the fugitive drama did not make its way to TIFF 2012, and wondered if perhaps its exclusion would lead to poor buzz. Happily, that was not the case.

The film, which stars the on-fire Matthew McConaughey (I call him McConaugheyyyyyy), and co-stars the suddenly fiery Reese Witherspoon, has made almost $10 million, and for a small release, that’s a jackpot. It demonstrates once again that there can be room for smaller films to squeak into the top 10, even during the blockbuster-crazed early summer.

Congrats to Jeff Nichols, who just sold a script to Warner Bros. Oh, my friend Michael Shannon (Zod!) is in “Mud,” and will be in the next Nichols project.

A quick box office preview: “Star Trek” will be huge, of course; if it does not hit $100 million for the weekend, it should be close. It will be interesting to see how “Gatsby” fares. I think it will hold up strong as a nice bit of counter-programming.

Poster courtesy of Roadside Attractions

The Cannes Frenzy Has Begun

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Yes, Cannes is officially ON, and the news is already heating up. My favorite place for a quick update, so far, is The Hollywood Reporter; you can even download their daily festival newspaper as a PDF, and they also have a festival app.

This morning, they posted this, the first official still from Terrence Malick’s “Knight of Cups.” From what I can gather, the story involves two beautiful people frollicking on a beach. That sounds very Malick, actually …

Photo posted by The Hollywood Reporter

Gosling, Coens, and More Reasons I Should Really Be in Cannes This Week

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The Cannes Film Festival kicks off today in the south of France, and yes, I should be there. Not only is it probably sunny and warm, but there are the movies, and the boos, and crazy photographers.

But let’s stick with the movies. Cannes often sets the rest of the film-going year in motion. Last year’s Palme D’Or winner, Michael Haneke’s stunning “Amour,” went on to win an Oscar for Best Foreign Language Film, and even squeaked into the Best Picture, Director, Screenplay, and Actress categories. It probably should have won those four, too.

Sometimes, other awards stand out. In 2011, “The Artist” missed out on the Palme D’Or but received major praise, earning Best Actor honors for Jean Dujardin. (Remember him?)

On a personal level, I’ve been keeping track of Cannes for years now. I can recall watching the awards on some choppy, buffering website in the early 2000s, and seeing the late Roger Ebert host coverage on cable at some point. Some of my most beloved movies of recent years – “Drive,” “Rust and Bone,” “Holy Motors,” “Blue Valentine” – screened there, and waiting anxiously to hear what earned cheers and what earned jeers has become a May pastime.

The 2013 lineup has its share of highlights. Here are the top five reasons I wish I were sitting in a crowded movie theater in Cannes:

  • “Only God Forgives”: I don’t know what it is about “Drive,” exactly. I saw it shortly after its TIFF premiere in 2011, and my response was, roughly, “Meh.” Then, days later, I noticed I couldn’t get it out of my head. I began listening to the soundtrack like mad, and when I saw the film again, it had easily burrowed its way onto the (lengthy) list of my favorite films. The idea of Nicholas Winding Refn working together again, this time on a film about revenge and Thai boxing clubs? Yeah, I’m in. The trailer sealed the deal. This is my most eagerly awaited film of the summer.
  • New Polanski: “Carnage” was stagy and a bit dull, despite some strong performances and some piercing dialogue, but his new film, “Venus in Fur,” stars his wife, Emmanuelle Seigner, and the actor I would cast in a Polanski biopic, Mathieu Almarac. (I just enjoyed his great performance in “Chicken and Plums.”) Quite frankly, it’s always interesting to see what Roman is up to.
  • Capital-M MAJOR directors unveiling their latest creations: Alexander Payne, the Coen Bros., James Gray, Sofia Coppola, Jim Jarmusch. Wow. We will get to see Coppola’s “Bling Ring” soon, but the others might not show up until autumn, at the earliest.
  • The jury is fascinating: I love the idea of Steven Spielberg as jury president. What will he seize on? Wouldn’t it be awesome if it was “Only God Forgives”?! But the jurors are also fascinatingly diverse: Nicole Kidman, Lynne Ramsay (fresh off of her “Jane Got a Gun” controversy), Ang Lee (who just beat Spielberg for a Best Director Oscar!),Christoph Waltz, Daniel Auteuil, Cristian Mungiu, Indian actress Vidya Balan, and Japanese director Naomi Kawase. I’d love to be in on those jury meetings.
  • The premiere of Paolo Sorrentino’s “La Grande Bellezza”: I see a lot of movies. So when I say I was taken aback at a film’s utter strangeness, that means something. “Il Divo” director Sorrentino’s last film, the Sean Penn-is-Robert Smith-sorta “This Must Be the Place” is truly, truly odd. It is streaming now on Netflix, and note I did not say it is bad, exactly. I’m not quite sure how I’d rate it, honestly. But it’s certainly unique, and I can’t wait to see how Sorrentino follows it up. I know little about “La Grande Bellezza” (“The Great Beauty”), but this IMDB description intrigues me: “The story of an aging writer who bitterly recollects his passionate, lost youth. A portrait of today’s Rome.” Will “banga banga parties” be referenced?

The Cannes Film Festival runs through May 26. My Palme D’Or pick: I could see Spielberg and co. embracing Alexander Payne’s “Nebraska.” I don’t expect a Spielberg-led jury to go for Takashe Miike, so “Nebraska” seems a safe choice.

Poster art courtesy of Radius-TWC