Cannes 2022: 'Elvis' Review

Whoops! Amidst all the Cannes runaround, I completely forgot to mention that I reviewed Elvis, which is very Baz Luhrmann-y, unfortunately. My review is up at Screen International. 

Cannes 2022: The Wrap-Up and the Rankings

An informal poll I conducted of colleagues who, like me, attended last year's pandemic-affected Cannes confirmed my suspicion: The 2021 installment was better than this one. Partly, it was the fact that there were fewer people around, making navigating the festival easier, and partly it was because the films were stronger. To be fair, the 2021 edition had, essentially, two years worth of movies to work from, which allowed for an extra helping of greatness. (Also, there were simply more films programmed in 2021 than this year.) But even so, 2022 yielded fewer terrific movies, although I am cognizant of having missed out on several pictures that were well-reviewed, including Aftersun, Corsage, Godland and The Blue Caftan. You spend 11 days watching movies, but there are still some you can't get to.

But if the highs of this year's slate weren't as high -- or as frequent -- then at least the lows weren't so low. Looking at my rankings, even the films at the very bottom of my list offered a few pleasures or some interesting ideas. There were no outright stinkers, and the truth is, I generally liked most of what I saw, even if my enthusiasm was often measured. That said, I know plenty of folks who strongly support Three Thousand Years of Longing, Elvis, Stars at Noon and Top Gun: Maverick, so my festival experience is no guarantee to have been anyone else's. That's part of the fun of being at Cannes.

So, without further ado, here are my rankings, including movies I'd seen prior to the festival. Links lead to individual reviews.

39. Three Thousand Years of Longing
38. Elvis
37. Stars at Noon
36. Father and Soldier
35. Remains of the Wind
34. Brother and Sister
33. The Innocent
32. Top Gun: Maverick
31. War Pony
30. Final Cut
29. Rebel
28. Mediterranean Fever
27. Our Brothers
26. Imagine
25. Funny Pages
24. Crimes of the Future
23. God's Creatures
22. Holy Spider
21. Smoking Causes Coughing
20. Jerry Lee Lewis: Trouble in Mind
19. Tchaikovsky's Wife
18. The Silent Twins
17. Hunt
16. Plan 75
15. The Eight Mountains
14. Moonage Daydream
13. Armageddon Time
12. Decision to Leave
11. Leila's Brothers
10. Triangle of Sadness
9. Men
8. All That Breathes
7. Close
6. Broker
5. Tori and Lokita
4. EO
3. R.M.N.
2. Showing Up
1. One Fine Morning

(If you'd like to be additionally annoyed that I didn't care for Top Gun: Maverick, let me point you to this essay I wrote for MEL about my misgivings about Maverick as a character.)

For me, there were two true standouts, one I saw at the beginning of the festival and one I saw at the very end. One of the unfortunate themes of this year's Cannes was world-class directors bringing less-than-world-class films to the Croisette, with everyone from Claire Denis to David Cronenberg being accused of not living up to their previous high-water marks. (Of course, this take was subjective as well: I was quite taken with Broker, generally considered a letdown from former Palme d'Or-winner Hirokazu Kore-eda, and I deeply dug Tori and Lokita and R.M.N., which proved that, respectively, the Dardenne brothers and Cristian Mungiu still have plenty to say.) But One Fine Morning, Mia Hansen-Love's just plain lovely look at a widowed mother (Lea Seydoux, wonderful), and Kelly Reichardt's deceptively simple Showing Up were clear outliers, finding their makers doing some of the best work of their illustrious careers. The only reason I think Showing Up should win the Palme is because One Fine Morning was in Director's Fortnight, which keeps it out of the running. (Why it wasn't in the official competition, which slotted Hansen-Love's slightly-less-great Bergman Island last year, is a mystery to me.)

The other prevailing theme of the 2022 edition was the glut of good-enough films. Not bad, not amazing, just ... good. I suspect a second viewing will add dimension to Park Chan-wook's densely plotted Decision to Leave or may make me appreciate James Gray's Armageddon Time more. That's the hope, anyway: If this Cannes wasn't filled with stunners, the movies certainly didn't lack for ambition, and sometimes a fresh perspective away from the rush-around of a festival can help. Maybe just maybe I'll even come around on Stars at Noon. 

And now, here's where I indulge my annual tradition of incorrectly guessing what's going to win the Palme d'Or. It's impossible to know, of course, because the nine people who make up the competition jury will be giving out the prizes, and it's not like they're talking to anyone. But in terms of possible victors, Lukas Dhont's late-arriving Close, which just got picked up by A24, could be a consensus choice, emotional and heartfelt. If the jury wants to go in a more career-achievement direction, Cronenberg could walk away with the prize for his audacious (I'm not sure entirely successful) "return to form" Crimes of the Future. Nostalgia has been the best-reviewed of the competition films I haven't seen, and Armageddon Time got such a warm reception at its premiere, which featured Grey getting choked up about what the movie means to him, that I think it has a shot as well. 

But ultimately I see the Palme going to either Close or Decision to Leave, with my pick being the former. Park is a revered filmmaker, and Decision to Leave is a Hitchcockian thriller that's inspired plenty of comparisons to Vertigo. It's a work of consummate craftsmanship that deals in obsession, both familiar and challenging at the same time. But Close makes people cry. I'm gonna go with tears.

And if Showing Up should somehow win? Well, that loud noise you'll hear on Saturday is me turning on my phone when my plane lands and letting out a cheer when I see the news.

Cannes 2022: 'Showing Up' Review

What a quiet beauty Kelly Reichardt's latest is. For Screen International, I reviewed Showing Up.

Cannes 2022: 'Mediterranean Fever' Review

Filmmaker Maha Haj has made a drama about two very different men: a struggling, depressed author and his neighbor, a criminal. But this odd couple will find common ground in Mediterranean Fever, which I reviewed for Screen International.

Tindersticks - "Put Your Love in Me"

I'm bummed Claire Denis' movie here wasn't better, but I'm just gonna groove to some Tindersticks to get my mind off that fact.

Cannes 2022: 'Rebel' Review

The filmmaking duo Adil & Bilall came to Americans' attention as the directors of Bad Boys for Life. But here at Cannes, they unveiled a far more personal character study about a young Belgian who goes off to fight Bashar al-Assad, with unintended consequences. I reviewed Rebel for Screen International.

Cannes 2022: 'Our Brothers' Review

As if anyone needed a reminder that police brutality is hardly a new phenomenon, director Rachid Bouchareb has returned to Cannes with a true-life drama set against the backdrop of student protests in Paris in December 1986. For Screen International, I reviewed the sobering Our Brothers.

Cannes 2022: 'The Innocent' Review

Actor Louis Garrel has made his fourth film as a director: It's a very frothy, very French crime-comedy-romance called The Innocent, costarring Noemie Merlant, who I don't believe I've seen in anything since Portrait of a Lady on Fire. My review is live here.

Cannes 2022: 'Broker' Review

Hirokazu Kore-eda is back at Cannes for the first time since Shoplifters. For Screen International, I reviewed Broker.

Cannes 2022: 'Imagine' Review

Leila Hatami plays a woman who takes a series of taxi rides. Mehrdad Sedighian plays her driver. The characters have no names, and each segment is like a restart between them. What's going on? For Screen International, I reviewed the pleasingly enigmatic Imagine.

'Fire Island' Review

Amidst all the Cannes stuff, here's a review for something I saw before I headed off to France. Fire Island is a modern-day Pride and Prejudice, focusing on a group of gay best friends on vacation looking for fun and romance. It's directed by Andrew Ahn, who made the terrific Driveways a few years ago. This new movie isn't as great, but definitely worth your time. My review is up at Screen International.

My Interview With Neil LaBute, Writer-Director of 'In the Company of Men'

When my MEL editor and I were putting together ideas for this year's "25 Years of 1997" series, we agreed that we had to do something about In the Company of Men. Truly, there's no 1997 film that more speaks to the core themes that the publication examines. As luck would have it, Neil LaBute had the time to talk at length about the movie. Here's my deep dive with him on a film that, shockingly, hasn't aged at all.

Cannes 2022: 'Funny Pages' Review

Owen Kline, Kevin Kline's son, has just directed his first feature. For Screen International, I reviewed Funny Pages, which is about a surly young man who decides to drop out of school and devote his life to becoming an artist. (Things don't go smoothly.) You can read my thoughts here.

Cannes 2022: 'The Silent Twins' Review

The Silent Twins, from the director of The Lure, is a combative picture, difficult to love but, for me anyway, also quite moving. My review is up at Screen International.

Cannes 2022: 'Remains of the Wind' Review

A colleague noted that Remains of the Wind is as arthouse-y a title as you could possibly imagine. That's true, but the film isn't some sweeping romantic period drama. Instead, it's the story of a village in Portugal that conducts a strange annual ritual, and how those who were part of the ceremony 25 years ago are coping in the present day. My review is up at Screen International. 

How 'Only Murders in the Building' Pulled Off That Silent Episode

This was fun: For the Los Angeles Times, I talked to several of the cast and crew of Only Murders in the Building, finding out how they conceived and executed "The Boy From 6B," which features almost no spoken dialogue. You can read the piece here.

My Interview With Christina Ricci, Star of 'Yellowjackets'

About a month ago, I sat down with Christina Ricci to talk about graduating from being a child actor, not being afraid of playing characters who aren't normal, and her work in Yellowjackets. Really enjoyed hanging out with her. My profile is up at the Los Angeles Times. (Photo by Elizabeth Weinberg.)

Cannes 2022: 'Smoking Causes Coughing' Review

How to describe Quentin Dupieux's truly daffy comedy Smoking Causes Coughing? It's an homage to cheesy old live-action kids' shows like Mighty Morphin Power Rangers, but it's also about gross-out gags and weird segues into utter silliness. I dug it, as I explain in my Screen International review.

Cannes 2022: 'Jerry Lee Lewis: Trouble in Mind' Review

Joel Coen made his own film last year with The Tragedy of Macbeth. Now his brother Ethan has a documentary about one of the architects of rock 'n' roll. I had some things to say about Jerry Lee Lewis: Trouble in Mind.

Cannes 2022: 'Plan 75' Review

Plan 75 depicts a Japan of the near future in which the elderly can volunteer to be euthanized. What would that policy do to a society? For Screen International, I reviewed this thoughtful, gentle sci-fi drama.

Cannes 2022: 'Three Thousand Years of Longing' Review

George Miller has made his first film since Mad Max: Fury Road, and like that movie, he's premiered it at Cannes. Here's my review of Three Thousand Years of Longing, which I thought was underwhelming.

"Weird Al" Yankovic - "Dog Eat Dog"

"Weird Al" is so well-known for his parodies, you might not realize he also does originals. Although, obviously, this just sounds like a Talking Heads song.

Cannes 2022: 'Hunt' Review

Squid Game star Lee Jung-jae's feature directorial debut just premiered at Cannes. For Screen International, here's my review of the violent, twisty Hunt.

Cannes 2022: 'Armageddon Time' Review

James Gray returns to Cannes for the first time since The Immigrant. Here's my review of Armageddon Time.

Cannes 2022: 'Father and Soldier' Review

Here at Cannes, I reviewed the Un Certain Regard opener Father and Soldier, which stars Omar Sy as a Senegalese man who joins the French army during World War I to protect his son, who's been forced to fight against the Germans. An important true-life story, to be sure, but I found the execution a little lacking. My review is live over at Screen International. 

Tom Cruise Really Doesn't Need Maverick Anymore

While watching Top Gun: Maverick, I kept thinking, "Tom Cruise has sorta outgrown this character." I explain what I mean by that in this MEL piece.

Cannes 2022: 'Final Cut' Review

And, just like that, another Cannes gets underway. For Screen International, I reviewed the delightfully dopey zombie comedy Final Cut. You can read my thoughts here.

Kevin Kline's Varied 1997

As part of MEL's yearlong look back at 1997, I wrote about two pretty pivotal performances the Oscar-winner gave in movies that came out a week apart: In & Out and The Ice Storm. Read on here.

'Firestarter' Review

I didn't love the original Firestarter, so the remake didn't have a high bar to get over. Alas, this new version isn't so hot either. My review is up at Screen International.

When Young Actors Pivot to Dad Roles

The internet went into a tizzy about the fact that Zac Efron is now old enough to play a father in the new Firestarter. For all young actors, eventually you have to embrace adulthood and start portraying dads. For MEL, I looked at several of Efron's peers who got there before he did. Hope you enjoy.

'Top Gun: Maverick' Review

The long-awaited Tom Cruise sequel has gotten stellar notices. I'm a little more mixed on it: You can read my Screen International review here.

Lesley Duncan - "Love Song"

Have a good weekend.

The Grierson & Leitch Podcast: Doctor Strange, 'Happening' and My Cannes 2022 Preview

It's that time of year again: I'm off to Cannes soon. That means I spent part of this week's episode spotlighting some films I'm excited to see at the festival. Also, we reviewed Doctor Strange in the Multiverse of Madness and Happening. Hear the whole thing down below.

A Salute to Bruce Campbell, the Best Cameo in 'Doctor Strange in the Multiverse of Madness'

Yup, Bruce Campbell and Sam Raimi are back together again in the new Marvel movie. For MEL, I wrote about their long friendship and why Campbell remains a fascinating cult-film fixture. Hope you enjoy.

Lady Gaga Gets Her 'Top Gun' On

Does "Hold My Hand" feel like a real Top Gun song? Kinda yes, kinda no. Over at MEL, I looked back at the original soundtrack to discuss its lasting legacy, and where Lady Gaga's latest fits in. Hope you enjoy.

In 2022, What Does Arcade Fire's "Wake Up" Mean?

 
It was a generational anthem, a bulwark against the Bush years. But how does the Arcade Fire anthem hit now? For MEL, I tried to answer that question.

Stevie Nicks - "Stand Back"

Somehow, I've gone through my whole life never hearing the story of how Prince's "Little Red Corvette" inspired Stevie Nicks' "Stand Back." It's worth reading in full.

Doctor Strange Is Good Now

Long a second-tier character in the Marvel Cinematic Universe, Doctor Stephen Strange is starting to grow on me. For MEL, I wrote about his increased importance to the franchise here.

'Star Wars' Doesn't Deserve Darth Vader

A character whom George Lucas originally named Dark Water has far since transcended the franchise that spawned him. In honor of the new Obi-Wan Kenobi trailer, which made news because it featured the Sith Lord for all of about two seconds, I wrote about Darth Vader's lasting cultural relevance for MEL.

The Grierson & Leitch Podcast: 'Vortex,' 'Hatching' and 'Irma Vep'

We focus on international cinema on this week's episode. First up, there are reviews of Vortex and Hatching. Then, we go back to 1996 to look at Irma Vep. Hear the whole thing down below.

'Doctor Strange in the Multiverse of Madness' Review

You know how most Marvel movies don't feel like they were directed by anyone in particular? Well, that's not an issue with the new Doctor Strange film: It definitely seems like the work of one Sam Raimi. That's a good thing, as I explain in my Screen International review.

My Interview With William Katt, the Prom King of 'Carrie'

This week, MEL will be running a series of articles that examine the phenomenon of the prom king. My contribution was talking to William Katt, who played Tommy in Carrie. He had a lot to say about high school, proms and portraying a jock. Hope you enjoy.

Pierce Brosnan's Journey to James Bond

Currently, there's a lot of speculation regarding who will be the next James Bond. These moments always make me think about Pierce Brosnan, who was eventually cast as 007, although the road was bumpy along the way. For MEL, I wrote about why he ended up being better off without the franchise.

Farewell to TNT's "We Know Drama" Era

Warner Bros. Discovery is pulling the plug on development of new scripted series over at TNT. For MEL, I wrote about the channel's old slogan, and how it personified a period when cable dramas were a thing. Hope you enjoy.

The Mike Myers Comeback

The Austin Powers star has a Netflix series and a role in a David O. Russell movie this year. With that in mind, I wrote about my mixed feelings about his legacy. My piece is up at MEL.

What's Up With Tracklist Announcements?

The other day, Harry Styles revealed the tracklist for his forthcoming album, Harry's House. I always find this part of the album promotion cycle amusing, so I wrote about it for MEL.

'Press Play With Madeleine Brand': Reviews of 'Memory,' 'Navalny' and 'The Mystery of Marilyn Monroe'

Amy Nicholson and I had some thoughts about this weekend's new releases. We both liked Hatching and Navalny, but we disagreed on the Netflix documentary The Mystery of Marilyn Monroe: The Unheard Tapes. Hear our whole segment down below.