Growing up in the Midwest at the time I did, it was impossible not to be aware of Black Sabbath and Ozzy Osbourne. I can't pretend Ozzy's work with his iconic band or as a solo artist was foundational for me. (Wasn't the whole point of Nirvana that it was an antidote to that sort of theatricality in hard rock?) But the orchestral bombast, killer riffs and suite-like sweep of "No More Tears" remains as cheesy/silly good as ever. Rest in peace to an artist who impacted so many lives. Also, this is worth remembering:
If you’re looking for hope in the world, just remember that Jimmy Swaggart died a disgrace while Ozzy Osbourne died universally beloved.
— Ponsonby Britt (@hockeenight.bsky.social) Jul 23, 2025 at 6:35 PM
You can hear our reviews of Eddington, Smurfs and I Know What You Did Last Summer down below. (We also discuss an upcoming 70mm screening of 1984's Streets of Fire.)
After not loving Kristen Stewart's directorial debut or Love Lies Bleeding, it's very nice to report that she absolutely slays in this Lord Huron song. Video's cool, too.
George Mitchell has had a long life in public service, but the documentary The Negotiator mostly focuses on his work bringing peace to Northern Ireland. I reviewed this admiring (if a bit shallow) film for Screen International.
There are several versions of this 1977 disco track floating around. But I chose the one used in Gaspar Noe's Climax. (Thanks to Christine and the Queens for reminding me of it.)
She invited me into her home to talk about her film, Don't Let's Go to the Dogs Tonight, which opens Friday. Hope you enjoy.
(Photo by Matt Seidel.)
When I first heard the Tubs, I thought, "Wait, is this Bob Mould's new solo album?" Owen Williams does sound a little like the former Husker Du frontman, but the more I listened to Cotton Crown, the more this Welsh band started to establish its own personality. Any similarities to the college rock you loved in your younger years is, I'm sure, purely coincidental.
Rolling Stone asked a bunch of its contributors to work on a massive list of the best films of the 21st century. Remarkably, we're already 25 years into this new century, which means a lot of good movies. As always, I didn't have any say in the final rankings, but I did some of the write-ups, including Y Tu Mama Tambien, Inside Llewyn Davis, Dogville, Burning, Uncut Gems, I Am Not Your Negro, The Souvenir and others. Dive in.
This song has been out for months, but it sounds so much better now that it's summer.
I hadn't heard this in a while. Brought a smile to my face.
We Are Pat is a new documentary that examines the character's legacy, and how Pat has impacted the LGBTQ+ community. For Cracked, I had a long conversation with We Are Pat director Rowan Haber (as well as Sweeney) as we discussed "problematic" comedy, trans humor, and Sweeney's SNL memories. We got into a lot of topics: Hope you enjoy.
When Susan was a kid, she fell in love with "In My Room." She still loves it. In honor of Brian Wilson's passing, let's give it a listen.
In retrospect, this is the song Queens should have titled "Feel Good Hit of the Summer."
Will's new book, Lloyd McNeil's Last Ride, came out last week while I was in Cannes. Before I left for the festival, we had a long talk about the novel, which included conversations about death, optimism, cops and parenthood. You can hear the entire exchange down below.
I should not have been surprised. After all, movies tackle dramatic subjects, and few are more dramatic than mortality. I pride myself on being able to block out the world's distractions when I go to review a film. (I consider that a crucial part of my job.) But I felt the occasional jolt of recognition when death came creeping into a film's plot: "Oh, right, that. There it is again." Repeatedly, I was reminded that I existed in a new world, one without that person I just lost.
At the same time, it was extraordinarily surreal to be here at Cannes while processing my friend's passing. The place is just so damn beautiful, and the movies are so rich and rewarding. All festivals are a bubble from the real world -- that's one reason why people love attending them -- but a big part of me was able to shut out my sorrow simply because of my stimulating environment. Death may have followed me from screen to screen, but Cannes is so alive that you can trick yourself into forgetting. Still, I'm smart enough to recognize that my sorrow will be waiting for me when I return to Los Angeles. Bubbles have a nasty habit of bursting.
* * * * *
With that acknowledged, let me now add that I found this to be a deeply great edition of the festival. Some of the movies I was most anticipating let me down -- the Spike Lee, the Wes Anderson, most certainly the Ari Aster -- but there was ample compensation from the expected heavy-hitters who did deliver the goods. And, of course, there were the revelatory discoveries, like Oliver Laxe's Sirat and Mascha Schilinski's Sound of Falling, easily the best movie I saw in Cannes. God bless Mubi, who took a chance on her ambitious, kaleidoscopic drama that spans roughly 100 years and four generations of different families living in the same home. The esteemed distributor is actually behind my Top Two from the festival, which also includes Kelly Reichardt's The Mastermind, one of the finest films this very fine filmmaker has ever produced. From the dazzling execution of Bi Gan's Resurrection to the formal rigor of Sergei Loznitsa's merciless Two Prosecutors, the major auteurs came out swinging. And that's not even mentioning two movies beloved by many here and merely really, really liked by me: Jafar Panahi's It Was Just an Accident and Kleber Mendonca Filho's The Secret Agent.
Before I reveal my rankings, let's now take a moment to mention the films I wasn't able to get to, like Adam's Interest, The Love That Remains, Mirrors No. 3, My Father's Shadow, Urchin, A Useful Ghost and Yes!, to name just a few. (Some may notice that I didn't review Mission: Impossible – The Final Reckoning. I was set to do so, but my L.A. screening got canceled midway through because of a fire. It's a long story, but everyone's fine, so don't worry.)
From worst to best, here's a list of everything I saw, with links leading to individual reviews:
37. Eddington
36. Eleanor the Great
35. The Wave
34. Fuori
33. The Richest Woman in the World
32. Leave One Day
31. Splitsville
30. The Chronology of Water
29. Alpha
28. The Phoenician Scheme
27. Romeria
26. Highest 2 Lowest
25. Honey Don't!
24. The Little Sister
23. The History of Sound
22. The Six Billion Dollar Man
21. The Plague
20. Woman and Child
19. Case 137
18. Pillion
17. Eagles of the Republic
16. Arco
15. Young Mothers
14. Enzo
13. Nouvelle Vague
12. The Secret Agent
11. It Was Just an Accident
10. Renoir
9. Die, My Love
8. Orwell: 2+2=5
7. Sentimental Value
6. Resurrection
5. Sirat
4. Sorry, Baby
3. Two Prosecutors
2. The Mastermind
1. Sound of Falling
For the first time since I started going to Cannes in 2013, I saw every film in Competition, all 22 of them. What that means is that when the jury, headed by Juliette Binoche, announces its awards, I won't have the usual FOMO feeling of "Oh shoot, I didn't see the Best Screenplay winner" or whatever.
However, that doesn't mean I'm any more confident about what will take home the Palme d'Or than I was in previous years. Remember: I have never correctly guessed the winner, and I'm just as uncertain this year. Part of the problem is that the jury is made up of new people every year, and unless you're hanging out with them, you're just speculating on where their head is at. That said, here's my thinking. I could see It Was Just an Accident, Resurrection, The Secret Agent, Sentimental Value or Sound of Falling winning. Forced to narrow down the field further, I'll go with the movies that are perceived as the front-runners: It Was Just an Accident, The Secret Agent and Sentimental Value. (Why are they "perceived" to be the front-runners? Oh, because the people who like to make predictions about this stuff have said they are.)
My gut tells me it's either going to be It Was Just an Accident or Sentimental Value. In one corner, you have Jafar Panahi, one of cinema's giants, who has recently been freed from prison, enjoying a hero's welcome here at the festival when his film premiered. In the other, you have Joachim Trier, whose last Cannes film, The Worst Person in the World, took home Best Actress for Renate Reinsve. Sentimental Value seems to be the most beloved film, but while it's dangerous to make predictions based on the temperament of the jury president, I just feel like Binoche would be more inclined to go with a more challenging, politically incisive film for the Palme. So I'm picking It Was Just an Accident. If Sound of Falling or The Mastermind win, I would be ecstatic.
Regardless how the awards shape up, readers should be excited about a bunch of great movies coming their way soon. Now, off to sleep for me, and an exit from the bubble into whatever awaits me on the other side.
