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The Invite Review. Olivia Wilde's new film, The Invite, marks a significant recovery from her recent struggles. Centered on a couple, Joe and Angela, facing marital strife, the narrative humorously explores their relationship with swinging neighbors. Blending comedy with a profound analysis of love and communication, the film stands out as one of the year's best....

The Death of Robin Hood Review. The Death of Robin Hood presents an interesting, yet familiar deconstruction of the iconic folk hero. Despite strong performances and excellent filmmaking, it doesn't save it from its rather boring execution.... https://thecelluloidcorrespondent.com/2026/07/06/the-death-of-robin-hood-review/

Supergirl Review Despite Milly Alcock's best efforts, Supergirl is a forgettable and satanized adaptation of Supergirl: Woman of Tomorrow. Filled with cliche, terrible CGI, shallow characters and themes, tonal whiplash and flat cinematography, Supergirl is a collage of the worst of the superhero genre.... https://thecelluloidcorrespondent.com/2026/06/28/supergirl-review/

Cannes 2026: Fatherland Review With Fatherland, Pawel Pawlikowski completes his unofficial Cold War trilogy with a meditation on exile, memory, and the impossibility of returning home.... https://thecelluloidcorrespondent.com/2026/06/17/cannes-2026-fatherland-review/

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Disclosure Day Review Can humanity handle the truth of alien life? Is there anything that can bring reasoning to us again? Who knows, but Steven Spielberg will make you ask those questions with his latest feature, Disclosure Day.... https://thecelluloidcorrespondent.com/2026/06/17/disclosure-day-review/

Cannes 2026: The Black Ball Review Los Javis's The Black Ball is a sweeping, generational defining epic about the queer experience.... https://thecelluloidcorrespondent.com/2026/06/07/cannes-2026-the-black-ball-review/

Cannes 2026: Minotaur Review Russian director Andrey Zvyagintsev returns with "Minotaur," a critical examination of societal corruption amidst the backdrop of the Ukraine war. The film follows Gleb, a corporate director grappling with personal and professional crises, reflecting the broader impact of the oppressive state on individual lives. With deep emotional performances, it portrays the haunting consequences of power and corruption.... https://thecelluloidcorrespondent.com/2026/06/04/cannes-2026-minotaur-review/

Cannes 2026: Coward Review Lukas Dhont's Coward is a beautiful and tender portrait of love, grief, and the healing power that art can offer in times of war.... https://thecelluloidcorrespondent.com/2026/06/01/cannes-2026-coward-review/

Cannes 2026: Her Private Hell Review Nicolas Winding Refn's Her Private Hell is certainly a film of all time. One part neon drench neo-noir vibes and another part an incoherent mess, Her Private Hell is a cinematic experience you won't forget. For better or worse.... https://thecelluloidcorrespondent.com/2026/06/01/cannes-2026-her-private-hell-review/

Cannes 2026: Teenage Sex and Death at Camp Miasma Review

We all know what happens to horror franchises when they go way beyond their expiration date. They become a shell of themselves as they fall exponentially into mediocrity and irrelevance. All horror fans sadly know this truth. Eventually after the franchise has almost faded from the public eye, some studio rep decides it is time to revive the franchise and in their quest they misunderstand…

Backrooms Review

Out of all of the “Creepy Pasta” horror that has emerged out of the internet, I believe the Backrooms is the most disturbing. Being mostly void of monsters, or should I say entities, much of its horror relies on its minimalistic concept. Being stuck in a never ending maze of similar looking rooms where everything is just off to make your survival instincts kick in and the only thing you hear are…

Cannes 2026: The Man I Love Review

The AIDS epidemic at its height in the 1980s has been examined from nearly every possible angle. No matter the perspective, the story almost always starts and ends at the devastating conclusion. But Ira Sachs, whose films often linger in the quiet, intimate moments of an artist in their everyday lives, takes a different approach with his latest feature, The Man I Love. Even though the words AIDS…

Cannes 2026: Gentle Monster Review

What would you do if your spouse was accused of selling and distributing child pornography? Would you stand by their side and defend them? Would you pack up everything and get out of dodge as quickly as you can? Or would you keep yourself at a distance and allow the investigation to go its course? It’s a difficult situation that no person would want to find themselves in. This difficult situation…

Cannes 2026: Fjord Review

Romanian director Cristian Mungui is no stranger to making his audiences uncomfortable. In his Palmer d’Or winning film, 4 Months, 3 Weeks, and 2 Days, me makes you uncomfortable with the reality of an abortion. In Graduation, he turns his attention towards a corrupt government who shut out justice to protect the rich and powerful. With his latest feature, Fjord, he turns his attention towards…

Cannes 2026: Tangles Review

We all know of the terrible illness that is Alzheimer. A degenerative brain disorder that causes disorientation, mood swings, neglect, language problems and most commonly memory loss as the brain deteriorates. It is a terrible disease that causes the loss of the human soul. Obviously, Hollywood and other cinematic arturs have explored this devastating disease through almost every lens imaginable.…

Cannes 2026: Hope Review

Hope marks the first feature from Na Hong-jin, director of The Wailing, Chaser and The Yellow Sea, in over ten years. Known for his slow burn, methodical narratives, and thematically rich films, everyone assumed that Hope would follow his previous work. A film about a small town discovering that we are not alone in the universe. But nothing could have prepared me nor the entire press audience for…

Cannes 2026: Paper Tiger Review

James Gray is a filmmaker whose films have been described as having “Oscar potential”, but when the film premieres all of that Oscar hype entirely diminishes. This has been said for Ad Astra, Armageddon Time, and The Lost City of Z, with none of them turning into a success at the Oscar. But with his latest feature, Paper Tiger, premiering in-competition at Cannes, many would assume he would…

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