Peacock’s intelligent and gripping “Dr. Death,” based on the podcast of the same name, avoids the pitfalls of many true crime narratives, smartly realizing that a monster like Christopher Duntsch can’t be explained in an eight-episode mini-series. I have a strong aversion to projects about sociopaths that attempt to explain them away via abusive pasts or…

RogerEbert.com publisher Chaz Ebert’s fifth video dispatch from the 2021 Cannes Film Festival, directed and edited by Scott Dummler of Mint Media Works, includes commentary on “Bergman Island,” “Flag Day,” and “Stillwater,” starring Matt Damon, as well as a press conference with Sean Penn.  Source link…

The titular character of director Benoît Jacquot’s “Casanova, Last Love” is famous for being an impressive sexual success, but the way he’s written here, you’d be hard pressed to buy him as anything other than the 18th century equivalent of the Old Man at the Club; he’s the obnoxious guy who spends his evenings harassing young…

Sam (Karen Gillan) has known only one line of work for as long as she can remember: killing. Like her mother, Scarlet (Lena Headey), before her, Sam has taken on the family business of working as an assassin for a mysterious organization called The Firm. For 15 years, she’s wondered what happened to her mother…

In 1983, Robert Bresson won the best-director award at Cannes for “L’Argent,” his final, Tolstoy-inspired feature. It follows the journey of a counterfeit bill that acquires a metaphysical significance. The sin that began with the printing and passing of the bill never goes away; the banknote simply brings trouble wherever it travels. Asghar Farhadi’s “A Hero,”…

The human capacity to acclimate to just about any circumstance remains remarkable, and it’s almost surreal how the view of mega-yachts, beach sand, palm trees, and well coifed-cinephiles is already old-hat by the time you reach the second week of Cannes. There are still reminders of how strange this year is, with Léa Seydoux’s COVID…