Finally, I’ve met my dream of hitting the ground running at Cannes thanks to good advice about beating the normal restraint of jetlag.
Dominik Moll’s Cannes opener "Lemming" was an interesting but ultimately unsatisfying contemplation of middle class mentality via a dark psychological thriller.
Woody Allen’s latest film "Match Point" hit the biggest ace in the festival so far. Set in London, the movie is Allen’s strongest effort in a long time and exceeds even "Melinda And Melinda." This is vintage Woody Allen. The director liked working in London so much that his next film will also be set there.
Shane Black’s "Kiss Kiss Bang Bang" is great fun and firmly states Robert Downey Jr.s’ return to the big screen. I enjoyed chatting with my hero Robert Ebert and his wife while we waited for our screening to be rearranged at one of the cinema’s a few blocks from the Palias.
Frederick Baker’s documentary "Shadowing The Third Man," about the making of "The Third Man," shed essential light on the film widely considered to be the best "British" film ever made.
Gus Van Sant’s "Last Days" is the worst film in the festival as the navel-gazing director continues his lazy and sloppy deconstructionist approach to filmmaking. Somebody, please take Van Sant’s camera away.
Atom Egoyan strikes dramatic paydirt with "Where The Truth Lies" with great performances by Allison Lohman, Kevin Bacon and Colin Firth.
"Midnight Moivies: From The Margin To The Mainstream" is a fun and informative at the six movies that generated a decade of cult cinema.
The Rivera sun, the insane screening scheduling, and little time for sleep – "Hog Heaven."
