Director Yorgos Lanthimos's fourth feature-film, and second one at the Cannes Festival, can be divided into two parts: the first, good one, and the second half, which takes place in a woodsy area. There are trees, lots of them, and people living in them who attempt to alternatively break away from, and comply with, some complicated social constructs governing celibacy and marriage. How does THE LOBSTER succeed? Let me count the ways.

Carnage tells the story of two couples who meet to discuss in as civilized and understanding a manner as possible the schoolyard spat of their sons that resulted in broken teeth and harsh words. One pair of parents comes to the other pair’s apartment to discuss the situation. After they come to an agreement about the wording of a document describing the incident, things start going downhill. For an excruciating hour and a half

We Need to Talk About Kevin isn’t the first film this year to outlast its immediacy. A novel written by Lionel Shriver in the wake of the Columbine school killings, director Lynne Ramsay has been trying to make the film since her last feature, Morvern Callar, in 2002. The unusually long gestation period has stripped the story of its ripped-from-the-headlines quality. It now plays like a quaint, violent memory. These are the under-parented demon children of not so long ago

Roman Polanski's latest effort is an adaptation of French dramatic auteur—and, for a short while, Nicolas Sarkozy confidante--Yasmine Reza's play “God of Carnage.” After being favorably received onstage, both Broadway and the West End mounted productions to mostly positive acclaim. It seems natural, then, that a film version—a ninety-minute set piece in which the characters barely leave the room

Corn feeder of the world! A city smelling of insurance, [...]

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