Last night’s opening ceremony, which was shown to the press corps via simulcast in the Debussy theater, was pure joy, especially if you speak French. French film and theater actor Edouard Baer emceed the event with ironic bonhomie and a piano player who accompanied him as he delivered a spoken-word-style love letter to cinema and to humanity at large. With Anna Karina, the actress from “Pierrot le fou,” (this year’s poster depicts a scene from that movie) watching him in the audience, he played short clips from the film and entertained the audience with quips.

Asghar Farhadi's eighth film was shot entirely on location in Spain. Laura (Penelope Cruz) lives with her husband (played by Javier Bardem) and their children in Buenos Aires. When they return together to her native village in Spain for a family event, the trip gets derailed after unexpected events bring secrets out into the open. The family, its ties and the moral choices imposed on them are all leitmotifs of Farhadi's films and figure front and center in the script.

"The Last Face," starring Charlize Theron, Javier Bardem and Adèle Exarchopoulos and directed by Sean Penn, premiered in Cannes this morning. In this romance drama juxtaposed with a humanitarian action story Theron plays the director of an international aid agency who meets a Doctors Without Borders doctor (Bardem), as an armed conflict in Liberia drifts into full-on civil war.

Here’s a topic for sitting around the campfire: are the worst films by the best directors still better than 80% of what is released? Are say, "Bringing Out the Dead" or "The Hudsucker Proxy" still relative carrots for the eyes when compared to the "Transformer" movies? Terrence Malick’s "To the Wonder" is a lot more "The Prairie Home Companion" than "McCabe and Mrs. Miller." Following in the wake of his towering

Less than three years after “Tree of Life” and his Palme D'Or win at Cannes, Terrence Malick is back with “To the Wonder,” a film-as-poem whose secret only he knows, apparently. At some point during the time lapsed Malick’s creativity and inspiration went out the window. In fact, with this vaguely sensory, visual fog of a film, Malick, convinced of his own genius and assured of making a new masterpiece, has completely forgotten to tell a story.

That name. The musical score playing over the line of a gun sight. That Aston Martin. That dry martini. Few things in Hollywood stay fresh for this long, but Ian Fleming’s "James Bond" franchise just keeps reinvigorating itself. Its best move, recently, was the recruitment of Daniel Craig--one of the most impressive Bonds ever, no doubt. We first see him involved in an improbable action sequence in Istanbul as he chases

Eat, Pray, Love is not your typical chick flick. Julia […]

Woody Allen’s Vicky Christina Barcelona runs from promising to intriguing to agreeably incoherent to disagreeably incoherent to utter anarchy.

A little frustrating as film, yes, but one might say it successfully mirrors the pathway of romance. It certainly mirrors the pathway of the volcanic marriage of artists Maria and Juan Antonio (Penelope Cruz and Javier Bardem), a disturbed, bickering couple for whom “shooting from the hip” can have uncomfortable meanings. The film traces the sensuous adventures of two American college grads Vicky and Christina (Rebecca Hall and Scarlett Johansson) as they summer in Spain and become romantically entangled with the couple.