The Cannes Film Festival Is About to Begin. Here Are the Key Films Making Their Debut

 This image released by Neon shows Hwang Jung-min in a scene from "Hope." (Neon via AP)
This image released by Neon shows Hwang Jung-min in a scene from "Hope." (Neon via AP)
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The Cannes Film Festival Is About to Begin. Here Are the Key Films Making Their Debut

 This image released by Neon shows Hwang Jung-min in a scene from "Hope." (Neon via AP)
This image released by Neon shows Hwang Jung-min in a scene from "Hope." (Neon via AP)

For 12 days this week, the eyes of the movie world will be on the Cannes Film Festival.

The Cote d’Azur spectacular will play host — starting on Tuesday — to some of the most anticipated movies of the year in a constant parade of red carpets and megawatt premieres. This year, Hollywood studios are mostly on the sidelines. But for more than 78 years, Cannes has been an unparalleled showcase, and sun-dappled circus, for some of the best in cinema.

Last year that included Oscar nominees like “Sentimental Value,” “The Secret Agent” and “It Was Just an Accident.” This year is just as likely to produce a crop of contenders. In recent years, movies like “Parasite” and “Anora” have launched at Cannes and gone on to win best picture at the Academy Awards.

Presiding over the jury deciding the Palme this year is South Korean filmmaker Park Chan-wook. At the opening ceremony Tuesday, Cannes will also bestow an honorary Palme d’Or on Peter Jackson. Later, Barbra Streisand will get one, too.

So there will be much to keep an eye on at this year’s Cannes, including “The White Lotus.” The HBO series has come to the Croisette — the Mediterranean city's famous promenade — to shoot its fourth season.

On the screen, these are some of the movies that should stir Cannes.

‘Hope’ Na Hong-jin isn’t as well-known as some of his fellow Korean filmmakers, but he may be poised for a breakout moment this year. His latest is a long-gestating sci-fi thriller that Cannes artistic director Thierry Fremaux said “constantly changes genres.” The cast has both Korean and Hollywood stars, including Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Michael Fassbender, Alicia Vikander and Taylor Russell.

‘Paper Tiger’ Though not initially announced as part of the festival competition slate, James Gray’s latest Queens-set drama was subsequently added. And it instantly became one of the most anticipated and star-studded American films at the festival. Gray, the filmmaker of “Armageddon Time” and “The Immigrant,” tells a story about two brothers (Adam Driver, Miles Teller) who become mixed up with the Russian mafia. Scarlett Johansson co-stars.

‘Fjord’ The Romanian director Cristian Mungiu is a heavyweight of European cinema because of films like the 2007 Palme d’Or winner “4 Months, 3 Weeks and 2 Days” and 2022’s “R.M.N.” Sebastian Stan and Renate Reinsve star in his latest as a Romanian-Norwegian couple who move to the wife’s remote Norwegian hometown.

‘Fatherland’ Polish filmmaker Pawel Pawlikowski is best known for a pair of black-and-white, powerfully succinct period dramas: “Ida” and “Cold War.” His latest makes it three. It stars Hanns Zischler as the German author Thomas Mann on a road trip following World War II. Accompanying him is his daughter, played by Sandra Hüller.

‘All of a Sudden’ The Japanese auteur Ryusuke Hamaguchi makes his French-language debut. Hamaguchi’s 2021 opus “Drive My Car” made history as the first Japanese film nominated for best picture. His 2023 follow-up, “Evil Does Not Exist,” was also acclaimed. “All of a Sudden,” starring Virginie Efira and Tao Okamoto, is about a nursing home director and a terminally ill Japanese playwright.

‘Sheep in the Box’ Long revered for his delicate humanism, the Japanese filmmaker Hirokazu Kore-eda will unveil his latest. Kore-eda has already won the Palme d’Or, for 2018’s “Shoplifters.” But his three decades of moviemaking have made him a never-to-be-missed filmmaker of exquisite tenderness. The sci-fi “Sheep in the Box” is about a couple, grieving the loss of their son, who adopt an infant humanoid robot.

‘The Unknown’ The French filmmaker Arthur Harari three years ago co-wrote the Palme d’Or winner “Anatomy of a Fall” with his partner, Justine Triet. In “The Unknown,” Harari directs and cowrites a film about a photographer who, after photographing a woman at a party and then following her, wakes up in her body. Starring Léa Seydoux.

‘Minotaur’ The Russian filmmaker Andrey Zvyagintsev has been behind some powerfully potent dramas, including 2014’s “Leviathan” and 2017’s “Loveless” — both of which were Oscar nominated. After a near-death experience during the pandemic, Zvyagintsev returns to Cannes with a business executive in crisis in rural Russia.

’John Lennon: The Last Interview’ Steven Soderbergh ’s documentary about John Lennon’s final interview, granted at the Dakota in New York just before he was killed, drew headlines after Soderbergh acknowledged using artificial intelligence to illustrate some of Lennon’s more philosophical musings. But the film, playing in Cannes as a special screening, promises to lend unparalleled intimacy with the great Beatle.

‘Bitter Christmas’ Pedro Almodovar is among the most regular filmmakers in Cannes. This festival, he'll debut “Bitter Christmas,” a multilayered melodrama about filmmaking, grief and aging. After making his English-language debut with “The Room Next Door,” starring Tilda Swinton and Julianne Moore, Almodovar is back in his native Spain with one of his most personal films yet.



Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
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Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)

At the end of the block in David Robert Mitchell’s “The End of Oak Street,” is a cul-de-sac with a telephone pole in the middle and wires radiating out like the cables of a big top. It’s a fitting touch for a breakneck, carnivalesque movie made with throwback showmanship.

Summer movies, of course, are not known for lacking in circus-like mayhem. But much of the pastiche delight of the 1980s-set “The End of Oak Street,” a mid-August surprise, is how it absorbs an Amblin-style blockbuster spirit and conjures, without winking irony or belabored homage, a summer thrill ride seemingly designed for the drive-in.

Mitchell’s breakthrough was the nifty 2014 horror “It Follows,” which he followed up with an admirably ambitious but shaggily self-indulgent Los Angeles neo noir, “Under the Silver Lake.” But any indulgences in “The End of Oak Street,” about a 1980s suburban family whose neighborhood is transported through time, are for the audience. “The End of Oak Street” is a bonkers blast.

It’s best going in not knowing anything about the movie’s twists, so tread carefully on the rest of this review. That’s not to say that an enormous amount of “The End of Oak Street” isn’t immediately familiar, starting with the central family.

The Platts live in what looks like a San Fernando Valley neighborhood full of split levels and tidy little streets. Denise (Anne Hathaway) and Greg (Ewan McGregor) have two kids and a dog named Starbuck. Audrey (Maisy Stella) is a teenager and Brian (Christian Convery) is her younger brother.

But from the moment we meet them, during a neighborhood fair, there are obvious cracks in their all-American life. Greg is working a side job delivering pizzas while Denise is secretly typing up a maybe-aspirational novel about a woman dreaming of leaving her family. The kids have their own secrets, too. They suspect their parents are on the cusp of divorcing, and so, seemingly, do Greg and Denise.

Such a framework for sci-fi cataclysm is, naturally, Spielberg 101. But while “The End of Oak Street” is sure to test and restore their familial bonds, Mitchell, who also wrote the script, takes a route that leans more into horror, absurdism and outright silliness.

In any case, yes, there are dinosaurs. It’s both skillful and a lot of fun how Mitchell teases them out. The first signs are mysterious. A flash of light. A strange exotic flower in a neighbor’s backyard. A giant mount of feces in another’s. But soon, the Platts find that their neighborhood is overrun with primordial beasts and surrounded by jungle: Oak Street is suddenly a suburban island in a prehistoric world.

It’s a perfectly “Twilight Zone” plot that inadvertently solves the problems that have plagued the “Jurassic Park” movies for 20 years. If those films have struggled to find an off-island setting, “The End of Oak Street” instead brings the dino isle straight into suburbia. Encounters with raptors and worse transpire across front porches and shag carpets.

You could chalk it all up to good dumb fun. And it is mostly that, with set pieces built to make an audience groan in anticipation or cheer for the successful swing of a sledgehammer. But where “The End of Oak Street” succeeds where so many others fail is in the sincerity it has for its characters. Ridiculous and over-the-top as the concept is, the Platts are firmly grounded. (Hathaway, especially, helps in this department.) The combination of an earnest family drama with CGI hijinks, plus increasingly nutty plotting, make “The End of Oak Street” a fairly nonstop hoot.

Composer Michael Giacchino does his best John Williams impression to match. But Mitchell’s film also increasingly detours from the Spielberg playbook. Only Mitchell would take a moment for a freaked-out Audrey to sneak into the car to pop a cassette in and listen to Steve Winwood’s “Valerie.”

And while it would be pushing it to say there’s that much underneath “The End of Oak Street,” its characters are united in keeping certain things secret out of fear that their spouse or kids or parents can’t handle the truth. The swiftness that the dinosaurs invade their neighborhood could be symbolic of any ecological disaster, but the subsequent challenges prove each member of the family can handle quite a bit more than expected — even when the parental assurance that everything's going to be OK, like when a giant snake is slithering through their home, is laughably disputable.

It adds up to a gonzo good time that gives an old-school family adventure a darker, modern spin. Mitchell has quickly made suburbia his evident domain, where “it,” or something else, is sure to follow.


Movie Review: ‘The Rivals of Amziah King’ Is a Southern Fried Flick with Too Many Ingredients

 This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
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Movie Review: ‘The Rivals of Amziah King’ Is a Southern Fried Flick with Too Many Ingredients

 This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)
This image released by Black Bear shows Matthew McConaughey, left, and Angelina LookingGlass in a scene from "The Rivals of the Amziah King." (Kyle Kaplan/Black Bear via AP)

It turns out that the honey business isn't as sweet as it sounds: In the new movie “The Rivals of Amziah King,” beekeepers steal from each other, poison rivals' insects and rip folk off. “It’s not full of kind people,” the title character warns.

“The Rivals of Amziah King” isn't as sweet as it thinks it is, either. Instead of picking a single variety to explore, the movie is a maddening mishmash of genres — blending Quentin Tarantino's sudden brutality, a coming-of-age tale, a heist flick, a revenge fantasy and a sweet, music-filled country hoedown.

Matthew McConaughey returns to the big screen playing the title character in what can only be called Matthew-McConaughey-turned-up-to-11 mode, pure Cheshire Cat smile, rascally wink and buttery, Southern gentlemanly charm. Suspenders and scruff on, cowboy boots snug, McConaughey is the one who makes everyone's life instantly better just by showing up.

Written by Andrew Patterson and James Montague and directed by Patterson, “The Rivals of Amziah King” follows McConaughey's honey-producing King as he negotiates his patch of rural Oklahoma until he inexplicably leaves the movie at the hour mark and hands it off to Angelina LookingGlass, making her film debut.

We meet King ordering chicken fried steak sandwiches and cherry Cokes as he plays the banjo in a quartet of musicians at a beloved food joint. That gets interrupted when authorities need his knowledge to find out who abandoned $250,000 worth of honey barrels on the road and King starts to investigate. Then someone gets a chunk of their skull — including ponytail — ripped off in an industrial accident and that takes over. Settle in, the whiplash is just beginning.

King soon connects with his former foster daughter — that's LookingGlass, fierce and preternaturally grounded — who he gets to mansplain in the local ways, like what to eat at the potluck (“There's a story in every dish”), life lessons (“Patience is better than being smart”) and beekeeping (“Every queen is a survivor”). Bees here, if you didn't already get from the clunky writing, represent community, sharing and caring.

Cinematographer M.I. Littin-Menz's camera techniques never settle down in this movie, like a puppy forever pulling on its leash. Early sequences employ frozen shots irritatingly dropped into the mix and later we have furious close-ups, quick cuts, quirky flashbacks, ethereal river sequences and lingering poetic images of close-up bees like from a documentary, a kinetic approach that seems not to have much faith in the actual story keeping viewers' interest alive. Music supervisor Winslow Bright swamps many scenes with loud choirs, loud banjo and loud strings.

Maybe that's because as soon as you've settled down for one genre, it gets hijacked by the next. Warm and extended moments of communal song — the great T Bone Burnett had a hand in some of the outstanding Americana tunes like “Quill” with McConaughey exuberant, and “Johnny Come Outside” — are undercut by seeing kids smash their heads on school bus roofs or a cool Western-like tracking of a honey-stealing local rascal that is marred by his horrific, boiling-to-death murder. There are so many montages of honey production that viewers may qualify for a beekeeping certificate.

Great turns are produced by Kurt Russell as a lethal local kingpin who schmoozes his way past the law, and Jake Horowitz, a former Marine who knows how to plan a theft with military precision, mostly shirtless. One brazen theft here is of “O Brother, Where Art Thou?” and, however you liked that movie, you realize now how hard it was to actually pull off.

Patterson likes to remind viewers of his Oklahoma bona fides, but much of the overlong movie was shot in Alabama. And that hints at what's wrong with “The Rivals of Amziah King” — it just doesn't feel authentic, either in place or in story. Forget honey, it sort of leaves a vinegary taste behind.


Rod Stewart Cancels Tour Dates After Heart Surgery

Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
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Rod Stewart Cancels Tour Dates After Heart Surgery

Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)
Rod Stewart performs during the Glastonbury Festival in Worthy Farm, Somerset, England, Sunday, June 29, 2025. (AP)

British rock star Rod Stewart, 81, has cancelled forthcoming US tour dates after having a heart operation, his social media announced.

A message posted late Tuesday on his Instagram page said the raspy-voiced rocker has "successfully undergone a routine coronary stent procedure".

This procedure is to widen blocked or narrowed coronary arteries by interesting a tube that allows blood to flow more freely.

He had been due to play a series of US tour dates this month including in Las Vegas.

Now, "on the advice of his doctors, he will take the next four weeks to recuperate and regain full fitness before returning to the stage," his management said.

"Unfortunately, this means he will be unable to continue his current tour dates".

The spiky-haired singer and songwriter, who had a string of megahits in the 1970s and 1980s, has kept up a busy touring schedule despite his age.

He wrote in 2025: "I love what I do, and I do what I love. I'm fit, have a full head of hair and can run 100 meters (330 feet) in 18 seconds."

Stewart has recently cancelled several US shows over ill health, however, most recently on Sunday in Cincinnati, described at the time as due to "an unforeseen but minor medical procedure".

In June, he cancelled a concert in California at the last moment after contracting laryngitis, but faced criticism for attending a World Cup match the next day.

Later in June he was seen receiving oxygen during a show in Utah and told the audience he had nearly fainted.