The praise critics have showered on Todd Haynes’s CAROL gives me pause. Have I seen an entirely different film or is there something in this one that escapes me? A. O. Scott of the N.Y. Times sees CAROL as “fetishistically precise in its recreation of the look and sound of the past.” Sorry, but the fingernails with their bright red polish, the lips with their bright red lipstick, the precisely-coiffed heads, women wearing high heels

Bill Cosby, Mel Gibson and Roman Polansky were among the few (corrected: the many) Hollywood bold-faced names that got trashed by British comedian and Golden Globe host Ricky Gervais ("The Office"). There was a whiff of shenanigannery to the affair, with Gervais promising that he would hold his tongue only to start lashing out at everyone before him and creating, I assume, some major discomfort

Welcome to the macabre world of the novels of Mo Hayder. THE BEAST (DE BEHANDELING in the original Belgian title), currently being released in European theaters, is a screen adaptation of a thriller written by Hayder, a British novelist whose recurring crime procedurals have captured the imagination of the genre’s amateurs. Struggling with his own demons police inspector Nick Cafmeyer (Geert Van Rampelberg) is looking

Of course, the historical Hugh Glass, legendary nineteenth-century frontiersman left for dead by his fellows after surviving a horrific grizzly bear attack, never had a half-Native American son. But neither did he violently confront the traitor who left him for dead and murdered the aforementioned imagined son. It’s also improbable that during his journey he was rescued and aided by a lone Pawnee elder. We know this because we have authentic

There is a moment in Paolo Sorrentino’s YOUTH when the aging conductor and composer, played by Michael Caine, stops in a beautiful European meadow to watch the cows. At first we are listening to each dong of a cowbell as a separate sound. Slowly he begins to hear the music hidden inside them. With a bit of imagination, the conductor soon raises a hand to conduct. If the film has a metaphor, this is it. It takes every random "dong" and connects them into a symphony. When not conducting cows, the conductor has retreated to a luxury spa-hotel that might be Purgatory.

In rather surprising turn of events French film producers have lost their exhibition license for the film LA VIE D'ADELE this week. It's surprising because this is France we're talking about, not Dark Ages Saudi Arabia. Granted, the film’s exhibition cycle is long over so who cares? But the fact of a Parisian judge striking at the heart of both cinema's cultural preeminence in France, and freedom of expression, is jarring. For now it is illegal for any movie theaters in France to show this film. LA VIE, a film which features frank depictions of saphic loving’ and earned the Palme D’Or in 2013 (in my decade in Cannes, this is one of the rare films that hands down deserved the top prize)

The Cold War, which provides the historical context for Steven Spielberg's new film BRIDGE OF SPIES, is one of modern history's more stupid phases (BRIDGE OF SPIES is based on real historical events), a Thanksgiving Day parade of hypocrites high on reefer-madness paranoia about the other guy. That era gave us doctrines, an arms race, the constant threat of mutually-assured destruction and a movie franchise