CANNES, France — No need for dreaming here. Each Cannes Film Festival generates its own metaphors for a 10-day regimen of visions in the dark. It’s impossible to forget, let alone transcend, one’s unnatural situation here. The opening film of Cannes’ 2008 edition clobbered participants with a cautionary allegory. Regardez:…

David Mamet’s Redbelt is a tricky bar brawl — call it the Roundhouse of Games. The writer-director has scarcely abandoned his sense of the movies as an innately duplicitous medium, one best suited to stories that play out as conspiratorial chess matches. But, with his 10th feature — an entertaining…

Converting a fondly remembered cartoon series — one of the first Japanese animes syndicated on American TV — into a prospective franchise, the Matrix masters, Larry and Andy Wachowski, have taken another step toward the total cyb­organization of the cinema. Even more than most summer-season F/X fests, Speed Racer is…

Morgan Spurlock, the daredevil documentarian who lived on Big Macs for a month and turned this exercise in “body art” into the 2004 hit Super Size Me, returns — this time expanding his horizons rather than his girth. Paraphrasing the title of a venerable computer game, Where in the World…

Francis Ford Coppola’s self-financed return to the fray, Youth Without Youth, is a curious project — well-crafted, personal, and movie-movie old-fashioned even in its vanguard aspirations. Simply put, it’s a Faustian romance about the reversal of time and transmigration of souls which, shot mainly in Romania, adds a soupçon of…

It’s that time of year again. Our six critics don’t always (or often) agree, but we’ve combined their top 10 lists (allowing for ties) to pretend that they do! So without further ado, the 10 (or 15) best movies of the year, kind of: 1. There Will Be Blood The…

A great brooding thundercloud of a movie, Paul Thomas Anderson’s There Will Be Blood arrives as if from nowhere on a gust of critical acclaim, lowering over a landscape of barren mesas and hot, scrubby hills. Anderson’s epic, no less than his career, is both fearfully grandiose and wonderfully eccentric…

I’m Not There is the movie of the year — but to whom does Todd Haynes’s Bob Dylan biopic actually belong, and when was it really made? The great attention-grabber of last month’s New York Film Festival, I’m Not There is as notable for its stunt casting as its elusive…

A doom-ridden pulp cabalist with a dark sense of purpose as well as humor, Richard Kelly shoots the moon with his rich, strange, and very funny sci-fi social satire, Southland Tales. Kelly’s debut, Donnie Darko, was the first post-millennial cult hit; his second feature, Southland Tales, achieved film maudit status…

Wristcutters: A Love Story, a well-wrought indie written and directed by Goran Dukic, has to be the kewpie doll of current zombie flicks: Its walking dead are a bunch of attractive slackers whose wounds are largely internal. They’ve got attitude. Before the opening credits end, the movie’s glum protagonist has…

Before the Devil Knows You’re Dead is less Sidney Lumet’s comeback than his resurrection. Three years after being presented a Lifetime Achievement Oscar, the 83-year-old director comes forth with a violent family melodrama that is his strongest movie in at least two decades. Robustly directed from Kelly Masterson’s bear-trap screenplay…

Jonathan Demme, who directed Tom Hanks to an Oscar as the AIDS-afflicted lawyer in Philadelphia, may be the most well-meaning filmmaker in Hollywood. Jimmy Carter, winner of the 2002 Nobel Peace Prize “for his decades of untiring effort to find peaceful solutions to international conflicts, to advance democracy and human…

American Gangster is a movie with obvious gravitas and a familiar argument: Organized crime is outsider capitalism. As archetypal as its title, Ridley Scott’s would-be epic aspires to enshrine Harlem dope king Frank Lucas in Hollywood heaven, heir to Scarface and the Godfather. Or, as suggested by the Mark Jacobson…

Calling all pundits. It’s a baffling caprice of the zeitgeist to have two studio Westerns released in the same season, 30-odd years after the genre basically gave up the ghost. James Mangold’s better-than-competent and highly crowd-pleasing 3:10 to Yuma has provided a harmonica fanfare for something more ambitious and polarizing…

I’ve said it before and hope to again: David Cronenberg is the most provocative, original, and consistently excellent North American director of his generation. From Videodrome (1983) through A History of Violence (2005), neither Scorsese nor Spielberg, and not even David Lynch, has enjoyed a comparable run. A rhapsodic movie…

Huffing and puffing to resuscitate a long-moribund genre, James Mangold manages to imbue a 50-year-old Western with the semblance of life. Mangold’s remake of 3:10 to Yuma isn’t as startling a resurrection job as his Johnny Cash biopic, but it does send a saddlebag full of Western tropes skittering into…

Ingmar Bergman directed more than 50 features, but he was a significant figure in 20th-century culture in part because he was so obviously significant. Last week’s inch-above-the-fold front-page New York Times obituary cites Woody Allen’s pledge of allegiance: The Swedish director was nothing less than “the greatest film artist …..

There are first films like Citizen Kane or Breathless, which, as radically new and fully achieved as they are, unfairly overshadow an entire oeuvre. And then there are first films, perhaps even more radical, which haunt an artist’s career not through precocious virtuosity but because they have an innocence that…

Nothing if not appropriate for summer blockbuster season, Werner Herzog’s latest feature, based on his 1997 documentary Little Dieter Needs to Fly, offers a suitably fantastic tale of war, freedom, and fortitude, set in the jungles of Indochina and featuring an immigrant lad who turns out to be just as…

“We’re Americans. We go into other countries when we need to. It’s tricky, but it works.” So declares Michael Moore in the midst of his new documentary, Sicko. Moore may be riffing on the war in Iraq, to name only our most recent intervention, but he’s actually referring to U.S…

So lame it’s . . . cool? Nancy Drew, writer-director Andrew Fleming’s attempt to jump-start a new Warner Bros. franchise, is a movie flaunting a most obvious demographic strategy — a teen flick with a sensibility, or at least sense of humor, that’s most definitely parental. Invented in 1930 by…

Mystery man of the long-ago Australian new wave, Ray Lawrence evidently has grown less finicky. Lawrence, now 59, made his feature debut with the phantasmagoric Bliss, the famous flop of the 1985 Cannes Film Festival. He then licked his wounds and directed TV commercials for 16 years before reappearing with…