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Other reviews have been published that have been much more positive than the review on indiewire. The indiewire review is odd as the reviewer's main complaint seems to be that the film wasn't enough of a departure from the Dardenne's usual style and was just more of the "same".

Lol, the French really didn't like the Ramsay, did they. And, yet, they loved Hunger... Seems the Ramsay may be a great piece of work after all.

That Indiewire review of Kid with the Bike was something of a breath of a fresh air... Glad to see at least someone in the press getting tired of the Dardennes' shtick - the most overrated filmmakers of the past decade. Having said this, I quite like Rosetta and Lorna's Silence, but a Grand Prix and a Jury Prize would've been about right for those two respectively. Actually, scrap that, let's give them their third palme d'or. Who is this Malick fellow anyway and how dare he stray beyond handheld kitchen sink realism (the serialism of modern art cinema, it would seem...)?

:-"

\:D/

Tomorrow is the day... Not only Malick but Dumont, who must now add some very unfortunate scheduling to his list of grievances (Someone must really hate his guts!)

That reminds me - is Hadewijch available anywhere yet? I know New Wave are supposed to be releasing it on DVD in the UK at some point this decade, but this would have been a great time to capitalise on what publicity there was for his new film by releasing the previous one.

colinr0380 wrote:That reminds me - is Hadewijch available anywhere yet? I know New Wave are supposed to be releasing it on DVD in the UK at some point this decade, but this would have been a great time to capitalise on what publicity there was for his new film by releasing the previous one.

Bizarrely it seems to have gone out of print in France where copies are on sale for over 80 euros.

Slant on Day Four of the festival: Dardennes, Wenders and Rasolouf

Famous auteurs occasionally cruise through material so smoothly we misjudge potentially complex efforts as minor. I fear Jean-Pierre and Luc Dardennes new film, The Kid with a Bike, will be seen as such a film and get overlooked due to its short running time, concisely linear storyline, and almost perfectly aligned mosaic of fatherly failures.(...)
Stylistically, this is one of the Dardennes' most fluid films, an approach that mirrors Cyril's long rides on his bike through the streets and by the river. Long takes are of course the language of choice for the Dardennes, stalking the characters from a close distance with ease. But the inherent menace in the quickstep cinematography of L'Enfant is absent. Instead, there's a breezy feel to the film's aesthetic, a sense of space that feels at peace with the harsh realities of a child's sadness. That's not to say The Kid with the Bike isn't hopeful, or even ideologically transcendent in its final moments. One question seems to linger above all the rest: How can any child buck the debilitating memories their parents pass down to them? Unlike most filmmakers, the Dardennes leave it up to Cyril to decide his own gospel, smart enough to soak in the good, the bad, and the ugly, and choose if father knows best

Yeah, I was just about to post something about it. I cannot stand cutesy throwbacks to how "zanie" old films are (ie Guy Maddin), but it sounds like the filmmaker did his homework and presented something very much in the spirit of classic silent cinema. Here's to hoping, anyways!

indiewire is less enamoured with The Artist than previous critics.

PS.: Nice interview also with Lynne Ramsay

Did you read about this Indian film playing at Cannes Dear Friend Hitler

The film is based on the letters Gandhi wrote to Adolf Hitler and the different visions they had to achieve their ideologies. Hitler with violence and Ghandi in a non-violent way. Odd thing is, the whole cast is played by Indian people.

Finch wrote:indiewire is less enamoured with The Artist than previous critics.

While praising Mel Brooks' abominable Silent Movie, which says it all

Bradshaw takes a break from jury duty to weigh in with a couple of useful summaries.

A clip of Dumont's 'Hors Satan' Looks like he's been watching some Li Hongqi.

Slant on Day Five of the festival The Artist, Macy May Marlene & House of Tolerance

Duncan Hopper wrote:Looks like he's been watching some Li Hongqi.

Looks like every other Dumont film to me (no bad thing). Also looks like it should've been in Competition.

You know, whilst most of the major critics are starting to fall behind Tree of Life in a major way, it seems to have enraged casual filmgoers even more than anticipated. I think this Todd McCarthy quote sums up the 'problem' very succinctly:

Todd McCarthy wrote:The Tree of Life is shaped in an unconventional way, not as a narrative with normal character arcs and dramatic tension but more like a symphony with several movements each expressive of its own natural phenomena and moods.

With this almost total lack of narrative in mind, one does then start to wonder what the likes of Shi Nansun, Jude Law and Johnny To may make of it - or, indeed, the director of A Bronx Tale himself. Extremely vocal support from some members of the jury would seem inevitable - but also, perhaps, some vociferous opposition... Going for a consensus compromise, something like The Artist, whilst palming Malick off with the Best Director prize, would seem a distinct possibility in such circumstances - but would everyone be able to live with that? At least some of the jury will surely realise that Tree of Life is the film that will be remembered in twenty, fifty, a hundred years from now, regardless of their decision, and do they really want to be remembered (if at all) for shunning it in favour of a shallow crowd-pleasing silent film pastiche? Do they want to be responsible for the biggest Cannes travesty since The Mission? It makes me start to wonder if this may be one of those years when we see a split Palme d'Or.

Though you could be right, it's all pure speculation at this stage, let us not forget there are still some big hitters to come yet.

Nothing wrote:At least some of the jury will surely realise that Tree of Life is the film that will be remembered in twenty, fifty, a hundred years from now, regardless of their decision, and do they really want to be remembered (if at all) for shunning it in favour of a shallow crowd-pleasing silent film pastiche? Do they want to be responsible for the biggest Cannes travesty since The Mission? It makes me start to wonder if this may be one of those years when we see a split Palme d'Or.

Amazing how you can make sweeping statements about the Malick and snidely dismiss The Artist when you haven't seen either film yet to be in a position of passing judgement. And why get your knickers in a twist over how the jury may decide? The Malick may well be brilliant (and I'm really pleased that the major critics are giving it their full support) but even if it were to lose to The Artist or Kevin or another as yet to be recognised frontrunner, the prospect of going home empty-handed wouldn't diminish the film itself one bit. I don't understand how so many people fail to consider this whilst losing no time to shit all over their darling's competition.

I know how - because he's a douchebag!

OFF WITH HIS HEAD! OFF WITH HIS HEAD!!!!!!


But seriously we've got reviews of Tree of Life. A film we've discussed and speculated about endlessly with only screenplay rumors and a few stills. Lets discuss and speculate.

The initial reaction to this is going to be like the initial reaction to the last two Malick films: a Rorschach test that reveals little except for how the reviewer already feels about Malick's work. In this sense, he really has become our new Kubrick.

First review of 'Another "WTF?" film from Gallic writer-director Bruno Dumont'

Is Code Blue this year's Cannes controversy? They clearly anticipated a strong response since they had a warning "that the film may hurt audience feelings" glued to the walls outside the screening rooms.

Slant on Day 6 & The Tree of Life

The Tree of Life feels so much more than merely "metaphysical" or "lyrical." Elemental might be the best way to describe its relationship with cinema and theme. There will undoubtedly be people who think it falls short of its astounding ambition. I disagree completely. The Tree of Life is Malick's ultimate doctrine on light, sound, religion, rage, regret, guilt, promise, and memory. Corridors of all kinds lead us toward the glimmering light, but Malick dares to destroy the boundaries and swoon over the possibilities of open-air perspective. The nature of grace has arrived.

Why is no one ever prepared to follow up absurd levels of hyperbole with "this is the best film ever made"? It'd almost be refreshing to hear that from a critic about a modern film, even if it's far from true.

Add Bradshaw to the chorus of critics who see The Artist as a Palme D'or contender: the capsule also includes his reactions on Footnote and the Austrian picture Michael about a paedophile from Haneke's former casting director Schleinzer.

Finch wrote:the Austrian picture Michael about a paedophile from Haneke's former casting director Schleinzer.

This capsule summary / review / epitaph made me laugh out loud. I feel like I've already seen the film now.