CANNES – There are few faces — individual, honest-to-God faces – in the movies today quite like that of Marion Cotillard, her startling beauty assembled from oddly sized, quizzical features that mightn’t hang quite right on anyone else’s bones. She looks like no one else, and yet never quite resembles herself on screen either: it’s a face that different angles and contexts can turn from silken to sallow, hunter to hunted, goddess to guttersnipe.
Godzilla has been around forever, with most of us simply knowing he exists instead of remembering the moment we first “met” him. The last time Godzilla reared his lizard head on the big screen was 1998, and the film only made $136 million.
Last month we gave you a peek at Ryan Gosling’s directorial debut — the fantasy noir Lost River, starring Christina Hendricks, Ben Mendelsohn, Eva Mendes, Saoirse Ronan, Barbara Steele and Matt Smith. The “modern-day fairy tale” finds Hendricks as a single mother who becomes swept up in the dark underworld of a vanishing city.
CANNES – Charged with devising a character name that immediately conveys staunch feminine pluck and perseverance, I’m not sure any writer could do much better than Mary Bee Cuddy — the disarming heroine of Tommy Lee Jones’ handsome, elegiac neo-western “The Homesman,” until she rather unsettlingly isn’t.
CANNES, France (AP) — Who needs a red carpet?
The megawatt cast of “Expendables 3″ made a spectacular debut at Cannes on Sunday, rolling down the famous Croisette in tanks as a throng of onlookers and media jostled for a better view of its cargo: Sly Stallone, Arnold Schwarzenegger, Mel Gibson, Harrison Ford, Antonio Banderas, and Jason Statham.
CANNES – It begins internet. Robert Pattinson made his first public appearance this morning to support one of two films he has at this year’s Cannes Film Festival, “The Rover.” Pattinson can smile knowing the toughest role of his career has also earned him the best notices of his career after the film screened for press on Saturday.
CANNES – If you only see one incestuous Israeli father-daughter relationship study a year, well, it’s pretty much going to have to be “That Lovely Girl.” If your annual average is lower than that, chances are you won’t be tempted to make an exception for Keren Yedaya‘s modestly accomplished third feature, which debuted to ashen-faced audiences in Un Certain Regard yesterday.