Where's the best place to form a considered critical opinion of a movie like Oliver Stone's new Wall Street movie? How about in the middle of an overexcited, overdressed crowd of film buffs while a brass band plays cover versions of old movie themes?

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  • Comment number 21. Posted by Vincent Kane

    on 17 May 2010 23:12

    The Cannes noise would explain the Dr's somewhat misguided judgement of Lars von Trier's films.

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  • Comment number 20. Posted by indiaTiger

    on 16 May 2010 16:14

    All of these Hollywood films make such a loud noise at Cannes and ultimately the best they ever get are mixed reviews. I would like to take a moment to champion some of the short films on offer, some of which are in Competition at the Cannes Short Film Corner Award. I saw a number of these films in the short film corner and two British entries to the competition are wonderful animations, Crash Bang Wallow by Jon Dunleavy is a hilarious tale of an ex stuntman, and BAFTA winner Mother of Many by Emma Lazenby is a fine film about the important role of midwives. Check them out on Youtube where you can also vote for them for the public award.

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  • Comment number 19. Posted by TheConciseStatement

    on 16 May 2010 12:43

    The other thing Kermode hasn't mentioned - the most obvious thing - is that's it's pretty sad seeing Stone reduced to having Shia LaBouff in his film and bringing it in for the massive handicap of a PG-13 rating. It means in a dialogue-driven movie Gekko doesn't get to be as foul-mouthed as the character requires. Doesn't these obvious studio demands make Stone at least partly a sellout to the corporate America, he so furiously rails against?

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  • Comment number 18. Posted by Rourkesdrifter

    on 16 May 2010 12:31

    Dr K

    It looks like the Circus I have always imagined it to be, two years ago during the Autumn I happened to be in Cannes for the day passing through during a holiday. Of course as a film geek I couldn't resist the temptation to wander along to the theatre to see what all the fuss was about. It's location is rather wonderful an ideal setting some would say, but the town itself had a 'shallowness' to it that was probably even more obvious once the circus had left town.
    My 'Cannes moment' was purchasing a cheap and cheerful Al Fresco lunch from one of the many vendors and realising it was enough to feed a small army, I spotted two street drinkers sitting on a bench swigging cheap red wine (who looked totally out of place there) looking longingly at my lunch purchase. Being brave I walked over to them and gave them the remainder of the French Bread Feast. Much to my surprise and amusement one of them kissed or rather mauled my hand, whilst the other hastily divided the spoils! Wish I'd had a hand held camera with me could have made a short film and put it in the competition..........Entitled .....Biting the hand that feeds you perhaps? ;-)

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  • Comment number 17. Posted by staplehead

    on 16 May 2010 11:25

    Is Oliver Stone going soft in his old age? What happened to his baking, blistering diatribes at the bloated, entrenched authorities? When I saw Dubya, I was expecting the cinematic equivalent of watching Bush being repeatedly smashed in by a breezeblock but instead got a ruffle of his hair, a pat on his head and a 'cheeky little scamp, don't do it again.' For his next movie, Stone needs to employ someone to poke him in the eye and kick him in the shins before every take so he's in the proper fiery spirit.

    As for Ridley Scott; has that man ever had a sense of humour? His movies, especially his most recent ones, have been exceedingly dull and po-faced. If I have to witness yet another gritty close-up of a grim-faced Crowe I'm going to poke someone in the eye or kick them in the shin... Hey Oliver, call me okay?

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  • Comment number 16. Posted by BillPaxtonsSecondBiggestFan

    on 16 May 2010 09:42

    Cannes looks like great fun. Lots of film screenings, random events, celebrity appearances and partying. It's like the cinematic equivalent of Glastonbury (but with less mud and drugs). Mark, just do what people do at music festivals; walk around in a semi aware daze and stumble into whatever seems appealing at the time.

    Also, if you really don't enjoy it this year then why not set up a competition on this blog for your spot next year? We'll all put forward our cases for why we think we should go and whoever is the most convincing gets to take your place. Deal?

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  • Comment number 15. Posted by Charlotte

    on 16 May 2010 08:04

    I can relate. When I go to the cinema with a group of friends we always end up having the compulsory post-film discussion in the lobby. It is rarely a discussion of more than a few words each. Speaking for myself I can't get past that slight sense of bewilderment on my return to reality. We now follow our films with a trip to the pub. That extra bit of time and space to think about it properly often changes our outlook and enables us to speak in full sentences, sometimes paragraphs.

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  • Comment number 14. Posted by Crash Landen

    on 16 May 2010 08:01

    You seem to be holding up well under the stress of Cannes, Mark (whiner). As others have noted, your quiff does appear to have a few locks askew on your left side. I don't think I've seen that before. I hope you make it through the whole Cannes ordeal (a little sarcasm there).

    I enjoyed (as always) your takes on the new releases (Robin Hood, the Bill Hicks doc., Das Tank, the Mussolini Was A Horrible Guy To Be Around film,etc...), BUT... (yes, 'but')... I just returned from seeing the new Robin Hood flick and I enjoyed it much more than you did. Mr. Scott delivered on all of the things that he does well. Awesome war scenes. Interesting concepts. Fairly clear storytelling. Amazingly artistic visuals.... I also enjoyed the Middle Ages version of the opening of Saving Private Ryan (that was fun). This wasn't one of Ridley Scott's best, but to me his mediocre films are better than most of the other stuff that's out there (and is always very watchable).

    And being American, I thought Crowe's accent was fine. But what do I know? Everyone in the movie sounded like they were from Australia to me.

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  • Comment number 13. Posted by KubrickandScott

    on 16 May 2010 01:42

    The original Wall Street, like Platoon before it, is just Oliver Stone lecturing us for two hours. There is no subtlety to Stone's work - he just oversimplifies everything and covers his tracks by appealing to bizarre conspiracy theories. American Psycho is a much better examination of 1980s greed, and it's a damn sight funnier.

    I haven't seen Robin Hood yet, but I would like to agree with the earlier post. I don't find his war films boring but he should make another sci-fi film. And no, I'm not talking about the planned Alien prequel (please don't do 3D Ridley, you're so much better than that), but the planned adaptation of Brave New World that he's listed as doing on IMDB. Considering that Robert Altman was still directing into his 80s, Ridley's got a few years left to do it - but please get a move on just to be sure! You are the only living director who can do Huxley's masterpiece justice!

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  • Comment number 12. Posted by TheConciseStatement

    on 15 May 2010 21:29

    He says Wall Street : Money Never Sleeps is a bit baggy and it may well be. But I think people's memories of that film are wholly consumed by that terrific Thatcherite speech in the middle. Overall, the original is pretty baggy and slow as well - not all the scenes land, Darryl Hannah, much to her oft-reported frustration, is given very little to do other than look pretty, and I'd even say that the central performance by Charlie Sheen is a bit too much of a blank slate. Douglas's Gekko is indeed terrific and terrifying but he's not in the movie that much, as is also the case with the brief but equally powerful support by Martin Sheen as the blue collar father, who I'm sure was conjuring some genuine anger toward his real life, tabloid-leading son. Hell, it even pulls the old tape recorder gaffe and we don't get to the satisfaction of seeing Gekko being tried or convicted. All in all then, a good morality tale but full of arch dialogue given to ciphers rather than well-rounded characters, so not quite the masterpiece every critic remembers it as.

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