The Book of Henry is certainly not a good film, but calling it a bad one doesn’t seem to fit; it falls short of the mark, but not in the way a truly bad film does. Rather, it fails to answer two vital questions—who is it for, and what is it about?—and it’s hard to imagine anyone being satisfied with the end result.
I may not have called it, but I came pretty damn close – and I’m quite happy to be ever so slightly wrong.
The 70th Cannes Film Festival kicks off today, and to mark the occasion I’ve decided to evaluate – in my own poor way – the films in contention for the festival’s top prize, the Palme d’Or.
I have provided synopses for all the contenders and trailers, when available. I have also taken a stab at guessing who’ll actually win the Palme, though my methods in doing so are wholly unscientific (unless you consider hunches to have a science of their own).
Apologies, by the way, for not breaking down the Un Certain Regard contenders and non-competitive screenings. Time and space did not allow.
As we work our way through the 2016 awards season and try to wrap up the last of that contentious year, it’s only right that we also look to the future. I can’t say if 2017 will go down as good year in film or not; less than two weeks into it I don’t even have the firmest grasp on what will come out.
But we have to start somewhere, and after some research I’ve compiled a list of 80 films which I’m anticipating – or, in some cases, dreading.
Please note that not all of my analyses are as thoughtful or in-depth as might be optimal. This is just a first casting of the net to see what awaits us. I’ll put out another rendition of this list later in the year, probably either after Cannes or right around when I do my Six-Month Awards.