Cannes day 5.
American Honey got very bad reviews. A too long white trash On The Road with no substance.
Mal de Pierre got trashed. A sunday afternoon tv movie.
The Handmaiden got very good reviews.
Raw in the Critics week is the new It Follows.
The Nice Guys is funny as hell as the critics say.
Toni Erdmann still the critics favourite.
Today Paterson by Jarmusch
Other urls found in this thread:
fandor.com
cannes-rurban.rhcloud.com
todaslascriticas.com.ar
youtube.com
rottentomatoes.com
todaslascriticas.com.ar
screendaily.com
ioncinema.com
icsfilm.org
fandor.com
twitter.com
lefilmfrancais.com
youtube.com
youtube.com
hollywood-elsewhere.com
twitter.com
I don't really frequent here, but fuck it, I'm already here.
If you want to follow the fest, honestly, the twitter of your favourite or whatever critics covering it seems to be the most vital way to keep up. If you live in a cave, then I suggest the Fandor roundups (fandor.com
The aggregate poll (cannes-rurban.rhcloud.com
And for you Refn bros, if you think The Neon Demon is going to do well, I think either you don't know how shit works or I'm way off base. But the fact that the Handmaiden and American Honey got eviscerated for empty stylistic gestures doesn't bode well. The only ratings for The Neon Demon so far are all letterboxd users, and checking most of their accounts it seems like some of them aren't even part of industry...
And yes, the Handmaiden got eviscerated, not "very good reviews", which isn't much of a surprise. The only film that did worse on all the polls so far is Mal de pierres.
A Maren Ade film being the highlight of the fest so far is amazing.
thanks
thanks famalam
nice guys moty
Anyone seen The Measure of a Man from last year? Is it worth it? Just realized it is out on the torrents.
I think it's super shit but my gay friend waxes poetic about Vincent Lindon's ass.
My recommendations from last year's fest would be Arabian Nights, Cemetery of Splendour, The Assassin, The Treasure, In the Shadow of Women, My Golden Days, One Floor Below, The Other Side and even Mountains May Depart. All of which but one are torrentable.
>Today Paterson by Jarmusch
God I hope it`s good, I want Driver to have a succesful career.
>Terry Gilliam
Qujote will succeed this time?
No Tale of Tales? It was one of my favorites from last year ;_;
>The Nice Guys is funny as hell as the critics say.
Crowe being funny? Probably goosemagic desu
It got some of the worst reviews of the fest and I hate Matteo Garrone. Not going to go out of my way to see it. Glad you enjoyed it, though.
rofl he wears long hair just hide his ENORMOUS ears
The handmaiden got good reviews from french critics
Well, it`s not like he doesn`t know that people are making fun of it..
youtube.com
2:07
Shame about Honey, I thought Fish Tank was a masterpiece.
Well, of course there's positive reviews for everything out there. I've read a few, the Playlist jumping to its defense coming to mind. But the overwhelming majority called it trashy and, as of yesterday, was the unanimous lowest scorer on like 4-7 different polls. The fact that it can barely stay around a 6/10 in the aggregate, which is filled with letterboxd 9s and 10s, seems telling.
I will say that the trailer at least features some of the most modern experimental music I've seen in film.
>also called "the Apichats" or "the Godards".
Jesus, it even sounds pretentious.
He's so humble and awkward fám, i thought he was alpha
>Cemetery of Splendour
>literally every review: clearly no one understands what's going on
>best film of the year!
kek
give him a few years and some millions from star wars royalties and he might get there
They`re going to abuse Kinematographer Supreme, Mr. ''Autismo'' Refn, right?!
Everyone hates him, even the Memenigger Armond White.
>the Handmaiden got eviscerated
Meh, it's just a mediocre film.
19. "THE SEA OF TREES" (Gus VAN SANT) [2.62/81 1.5]
This shit got eviscerated.
To be honest, this festival is pretty boring. No boos, a shitty comedy is the best movie, no slow cinema.
>mfw they renamed it and deleted Cannes mention on the poster in France
I do not know if the movie got a new cut since Cannes tho.
Cannes brings out the worst in critics, they live in a small bubble, the context feeds their ego for a week to delirious levels of vulgarity. It also reveals that most of them are simply awful at their job, they behave like children, any critic's tweeter is usually filled with narcissistic bullshit and objective shit taste. Time is always the best judge of a film's merits. And most of the films shown at Cannes get forgotten a week later. The typical contempt for pop cinema or empty stylists mean nothing. PCW and NWR are the obvious outsiders this year, they're the punks, and they're also the most talented visually. Of fucking course a horror film about cannibalism and lolitas or a throwback to 70's Jap pinku BDSM/lesbian films aren't going to generate a consensus from middle-aged out-of-touch morons trying to impress each other with a false aura of "grown man taste" respectability and gimmicky spiteful reviews for whatever doesn't fit their narrow world views.
The element of surprise is always the jury. Miller is a visual punk as well. You can be certain where his sensibilities belong. But even when you get a guy like him in the jury, the rest of them are usually retarded French actresses or clueless Iranian directors who are only there for political reasons.
People like PWC and NWR get pity "best director" awards but they'll never get it for best films, even though everybody agrees their skills and visions are far ahead of others. Cannes is fucking trash, it's filled with enemies of cinema.
rottentomatoes.com
Jesus. Was it even released?
P-pasta?
It's fresh
Yeah, that's true. But again, this year contains a bunch of dumb letterboxd ratings, and it's no surprise that Refn or Park would have a lot of traction there. The score would probably be a lot lower if filtered to critics only, but I don't care enough to do something like that.
The various polls:
todaslascriticas.com.ar
screendaily.com
ioncinema.com
icsfilm.org
I can't find an overview for Le Film Francais other than people tracking numbers, but who cares really, along with the other lesser-known polls.
The sentiment going in was that this was the most exciting Cannes in a while because of its inclusion of directors like Maren Ade and Kleber Mendonça Filho. The overall lineup is filled with "Cannes regulars", like Almodovar, the Dardennes and Assayas, which is sure to appease others. You're right that there's no major Joe or Alonso or Gomes film this year, but I'm still looking forward to two films from critic's week in particular: Alessandro Comodin's Happy Times Will Come Soon and Oliver Laxe's Mimosas. The latter had its filming featured in Ben Rivers' avant-garde feature The Sky Trembles...
>Time is always the best judge of a film's merits
Well, Cannes has a pretty good track record if you ask me.
Uncle Boonmee, The Tree of Life, Holy Motors, and some other films almost always appear in top 10 or top 20 of this decade.
I forgot to mention Albert Serra's The Death of Louis XIV, which is probably my most anticipated for the year. If it sucks ass, I'm done.
Berlinale had a good year, though. Especially with a new Lav Diaz film.
Shame Scorsese couldn`t get Silence done in time for Cannes.
stop posting this
Maybe, but i think it won't be worse than only god forgives, that was huge
Only a couple of movies every year leave a mark.
I sincerely doubt Holy Motors will be remembered.
Not him, but Tale of Tales was easily in my top 5 for last year
Average what?
>tfw trashy B movies from the 70s feel more authentic than le quirky French comedies or shitty Romanian dramas.
I bet Razorback is better than the new Dumont and Puiu.
Who voted for that shit? Looks like imdb but I think Pulp Fiction is even higher there.
If those aren't imdb ratings, then it's something awfully similar.
What about Blue Is the Warmest Colour?
List compiled with twitter "cinephiles" who live in a bubble, with a typical bias for "contemplative cinema" and festival bait like Carax.
In 1980, the same people would have told you The Tree of Wooden Clogs is more memorable than Taxi Driver. It's not representative of the film's merits but how these people's use of cinephilia as a social symbol to differentiate themselves from the filthy plebs.
French critics seem to be posting their group ratings directly on twitter this year.
twitter.com
>19. "THE SEA OF TREES" (Gus VAN SANT) [2.62/81 1.5]
>This shit got eviscerated.
Good, Gus Van Sant fucking sucks.
Did anyone see Arabian Nights from last year? I liked Tabu but I don't know if investing 6 hours of my life into a film is worth it, especially because I'm never going to watch Satantango.
I think it's older than that. Speaking of, Blue was one of the highest rated films in the history of Internet Cannes polls.
Are these panelist or critics? The last graph I saw like this had The Assassin at 100% chance to win but it lost to something I haven't seen but looks like absolute ass.
>Mademoiselle
>Palme from a woman
Why females are such perverts?
Maybe you're right. I wasn't around in 1978. But it's not like what the the critics adore and what the Palme goes to are equivalent either. Look at Dheepan last year. From my experience, Holy Motors had appeal to all different types of critics, from mainstream ones to guys who focus exclusively on experimental cinema. It even had a lot of crossover with the average movie-goer.
Also, that's the TF1 poll, and I don't know who a single one of those critics is. LFF can be found here: lefilmfrancais.com
You don't even need to watch the full thing. Each part is meant to serve as its own film. If you liked Tabu and Gomes' aesthetic, then this is definitely more of that. It's very playful, and I'd especially recommend part 1 or 2.
Meh, apparently Handmaiden have some sexual scenes with men. They always insert dicks into my pure lesbian stories.
I prefer live action over anime but there is not a single good yuri story in this medium.
Neon Demon also has some hetshit scenes.
This list is fucking retarded. The author even praises DAVID O. RUSSELL. Like, FUCK, I fucking HATE that cunt.
Look at this shitty list:
1. The Tree of Life (103 votes)
2. Certified Copy (91 votes)
3. The Master (76 votes)
4. Margaret (68 votes)
5. Holy Motors (66 votes)
6. A Separation (64 votes)
7. Under the Skin (61 votes)
8. Inside Llewyn Davis (59 votes)
9. Uncle Boonmee Who Can Recall His Past Lives (45 votes)
10. Boyhood (44 votes)
11. Goodbye to Language (41 votes)
12. The Social Network (40 votes)
13. Moonrise Kingdom (36 votes)
14. Her (33 votes)
(tie) Leviathan (2012)
That's laughable. I have no idea why Certified Copy is rated so highly, either, and I really like Kiarostami.
Arabian Nights was my first experience with Gomes. went in expecting nothing and watched all three parts back-to-back-to-back over the course of 24 hours. not that they need to be experienced like that -- I went in thinking I'd probably spread them out over a week or so -- but I just wanted more of it. absolutely adored the film(s).
oh, and Sátántangó is a masterpiece. not as demanding as one would expect it to be, though I was lucky enough to see it in cinema.
>American Honey got very bad reviews. A too long white trash On The Road with no substance.
i'd say it's divided
I would've been fine with Certified Copy as the #1. I think it's close to being flawless. I wouldn't have included Moonrise Kingdom or Her (they're good but not *that* good), and I hated both Holy Motors and Goodbye to Language (though I'm admittedly in the minority on those films). overall, I think there's a lot of great films on the list.
It's not like I agree with the list. The only ones I particularly feel strongly for out of those are Goodbye to Language and Leviathan, maybe Holy Motors. I agree that Certified Copy is probably Kiarostami's worst feature. But it's, to my knowledge, the only wide-reaching poll for the decade. Yes, there's an obvious "contemporary world cinema"-critic type of slant, but I doubt that poll looks too far off from what Film Comment/IndieWire/Village Voice would compile. In that sense, it serves as an accurate landscape of what critics admire most of the decade.
>tfw Sup Forums's coverage of the last Cannes season felt like it was only yesterday
this place kills lives
thank you m8
>The Wolf of Wall Street
>Scott Pilgrim
>Hugo
>Zero Dark Thirty
>Inception
all higher than
>Blue Is the Warmest Colour
>Only Lovers Left Alive
>The Hunt
>Also, that's the TF1 poll, and I don't know who a single one of those critics is. LFF can be found here:
Thanks for the link. PR is Philippe Rouyer, he's on both grids and works for Positif. Rouyer and Michel Ciment (also with Positif and on the screendaily grid) are the only French critics I can take seriously.
patrician list desu
Not familiar with Rouyer, but I can echo Ciment being one of the better French critics. French press seems to have gone down the shitter.
Holy Motors was ambitious to an extent, but almost cutesy at moments, and when you make a film in that way inevitably there are segments which are worse than others. The CGI dragon fucking scene, for example, was retarded.
I struggle to understand The Master being there, I'm surprised foreign critics rate PTA as highly as Americans do.
A Separation felt like one of those films they make you watch and analyze in high school English. The last shot for instance is just begging to be wrapped up in some kids essay.
And then the last few... The Social Network, Moonrise Kingdom, Her... I mean, really? That's the best of world cinema thus far?
Is Pierre Murat a troll?
Un Certain Regard looks really poor this year.
>someone talking about my nigga rouyer on teevee
Made my day
The most passionate film critic in France.
>That's the best of world cinema thus far?
America dominates world cinema currently. TSN should be higher.
Murat and Kaganski are good indicators of a film's quality, they're literally always wrong.
>telerama
Nah, just a retard.
Yeah he is pretty famous in France for not liking anything.
In other news the Weinstein cancelled the press screening for hand of stone lol.
I wonder how much they paid to be invited with that shit
I've heard decent things about La larga noche de Francisco Sanctis, and the trailer looked interesting. youtube.com
Harmonium also seemed to get decent blurbs, recalling a mixture of Kore-eda and Kurosawa.
The Apprentice looks beyond terrible, like a shitty B-grade Singaporean soap attempt at Oscar-bait. youtube.com
So yeah, UCR seems to be getting a bad rap this year, but that's what happens when Frémaux doesn't fuck up and relegate all the good films to UCR/DF.
American Honey is shi... "divisive" and Mal de Pierres is a piece of shit.
>America dominates world cinema currently
kek
>Malick
>Coens
>Gray
>Mann
Name another country with 4 masters who have topped them all in the last 10 years, with impressive filmographies and consensus from both critics and audiences.
>Mann
Come on.
>and consensus from both critics and audiences
>any of these
Mal de Pierres was wrong to premiere at cannes, there were rumors it was too 'classical' for the festival
Most of the American Honey hatred comes from plebby critics so I expect it to be good
That said, either Refn the cuck or Sean Penn will bomb hard. I really hope dolan does so people can shut the fuck up about him for once
...
Shit, is Margaret really that good? It seems like nobody really talks about it at all compared to the rest of that list
>plebby critics
Such as?
Some mainstream critics like American Honey.
I was talking about shitty hfpa tier critics like that fag from rolling stone
American Honey seems to have its share of admirers, just like Dolan's film no doubt will, so we can call it "divisive". The guys from the Telegraph seem to be raving about it.
In circles I follow, it's pretty reviled. I've seen her films, I get her aesthetic and I'm probably not going to like it even if I thought Wuthering Heights was tolerable.
There's more "basic plebby" critics that adore it than not though. Prime example is shittiest writer on film alive, (yes, worse than AW) Jeffrey Wells' endorsement: hollywood-elsewhere.com
13. "MAL DE PIERRES (From the Land of the Moon)" (Nicole Garcia) [2.92/12 1.3]
Damn, seems like it's the first big flop.
I heard it was only included to appease people after the other selected French films were Dumont, Guiraudie and Assayas, which are comparatively more "daring". Mal de pierres sounds like a typical stuffy costume drama and it obviously wasn't suited for Cannes.
it really is outstanding. probably #1 for me from that list.
Good to know. Yeah, I knew that old /r9k/ shitstain loved it. Well, at least bolds well for its award chances, especially if it premieres at TIFF
Would laugh my ass off if Cotillard finally wins for this flop
Which cut? The Extended one?
i've only seen the full extended cut
I wanted to be released in my country, i'm surprised with that reception, was that bad?
Holy shit, I wasn't expecting it to be an extra 30 minutes. That seems kind of insane for an already 2 and a half hour long movie. Not that I have a problem with a 3 hour movie, just a lot more extra than I was expecting
>no boos
Are you 12 years old?
Berlinale was bad this year.
I think Berlinae has more boos than Cannes
bears make more based trophies than palm leaves tho, this is undisputed
Dolan fucking blows. Just another rich kid living the dream because of connections and not because of talent. Fuck him.
No shit. All the pretentious douche bags like to ride on his manlet cock for whatever reason
They hate him because he isn't trying to be something he's not. The whole culture around film festivals like these is the most artificial artsy fartsy pretentious thing ever.
bait too obvious
Has Almodovar's 'Julieta' showed yet? If so, what's the word on if it's good or not?
Why are you even here? Shouldn't you be spending your whole day talking shit about DC or Marvel or which ever one you're "not a fan of"? Get out.
I saw it on cinemas, was a good movie and was well recieved by the critics, but flopped at the box office
To be fair, the movies looked more like a serious cold artsy drama with a beautiful scenery and good photography than a real almodovar movie, was like almodovar becoming mature but too late for him, his style is present in the film but more dosed and calculated, still a enjoyable movie if you like the director, maybe it's not his great comeback to his particular style but i found it better than Los abrazos rotos
The audiences dind't gave a shit about the film or they were angry with Pedro beacuse he appeared at Panama's papers and that affected the box office very hard, was the worst Almodovar opening weekend in 20 years
