The Greatest Showman - Chapter 1353
Sight & Sound (★★★★): "A wonderful script, outstanding performances, and breathtaking cinematography. This film is sweet and sad, humorous and melancholic—capturing a lost world of folk ballads with poetic grace. Renly Hall's dazzling performance elevates it even further."
Jiefang Baobao (★★★★): "In 'Drunken Country Ballad,' Renly Hall is the undeniable core. His angelic voice, soulful performance, and profound portrayal transform what could have been an unlikable character into an unforgettable, consistent, and blameless figure. Once again, we are reminded that the greatest art often emerges from turmoil, even at the cost of the creator's own destruction."
Feature Film Magazine (★★★★): "'Drunken Country Ballad' is not about telling great stories—it's about creating them. Renly Hall delivers yet another year-defining performance, amplifying the film's endless possibilities. This is undoubtedly a masterpiece—one of the most mournful yet memorable works of the decade."
Los Angeles Times (★★★★): "Perhaps the simplest and purest of all the Coen brothers' works. Perhaps their best. And perhaps Renly Hall's most moving performance to date—his portrayal is undeniably the soul of the entire film."
The Age (★★★★): "What is more magnificent than witnessing the rise and fall of an era? Witnessing the beginning and end of a life. This is the film's essence—passion, pain, loss, and regret. Renly Hall's performance is devastatingly intoxicating. A chair, a guitar, a single spotlight, and a voice—that's all it takes."
A Historic Reception at Cannes
The Cannes Film Festival's official publication has spoken: Drunken Country Ballad has received an explosive response, tying for the highest score in festival history at 3.6 points. Praise is flooding through Cannes like an unstoppable wave.
Renly Hall is at the center of it all. Nearly every review mentions him, often in glowing terms. Fresh off his Olivier Award win, his name is dominating discussions, interviews, and headlines.
The internet has followed suit. Major media outlets, including Empire Magazine, The Hollywood Reporter, and Cinebook, have given the film unanimous acclaim.
Cinebook, one of the most respected film magazines worldwide, added to the fervor by awarding the film a perfect score. Known for its independence and unwavering focus on artistic merit, Cinebook's top ten list is often filled with under-the-radar masterpieces. Their influence on the global film industry is unmatched, and a full score from them is a statement in itself.
Every year at Cannes, critics eagerly await Cinebook's verdict, often placing it above the official festival rankings. This year, their praise was unequivocal:
"The perfect way to experience this soulful, poetic work is to let yourself drift into its bittersweet dream. When you awaken, an era will have vanished, but its impact will remain, leaving an indelible mark on your soul. Beautiful, profound, utterly captivating."
Another perfect score—from Cinebook, no less!
The frenzy surrounding Drunken Country Ballad has officially reached a fever pitch. Cannes has not seen such an overwhelming response since Adèle's Life. The festival has found another modern classic.
The Chaos of Cannes: Rain, Wind, and Endless Queues
Despite Cannes' love for cinematic magic, today's weather was far from cooperative.
The early morning sun barely had time to rise before thick clouds rolled in, casting a heavy haze over the city. Before long, raindrops began to fall, drenching the streets in a persistent drizzle. As the wind picked up, the rainfall turned into an unrelenting downpour. The once-crystal-clear Mediterranean sky was now a stormy abyss.
The morning's premiere of Shield of Straw in the main competition only added to the chaos. As the screening ended, a wave of disappointment swept through the festival. Critics were merciless:
"By far the worst entry in competition so far."
"Can't believe I wasted 30 minutes in Debussy Hall."
"Anyone who sits through the entire movie deserves an award."
The word on the street? Shield of Straw was a complete disaster. Some critics even speculated that its official festival score might dip below 1.0—an absolute embarrassment for a main competition entry. Many questioned why Thierry Frémaux had selected it at all.
Meanwhile, Drunken Country Ballad continued to bask in the afterglow of its triumphant premiere, with the excitement now shifting to the official press conference. The queue outside the press center stretched for nearly 300 meters, winding around the Palais des Festivals. It was reminiscent of the Toronto Film Festival's biggest moments—only this time, it wasn't for a screening, but for a chance to interview the cast and crew.
Not even the freezing rain could deter journalists. Despite shivering in coats and rain gear—just yesterday they were in summer dresses and short sleeves—reporters remained in line, determined not to miss this moment.
Among them was Emily. She had made a tough choice that morning: attend the Shield of Straw premiere or secure a front-row spot at the press conference? Ultimately, she chose the latter.
Now, standing at the very front of the queue, she could only feel relief. She had avoided the disaster that was Shield of Straw and instead found herself in the heart of the festival's most coveted event.
The press center doors finally opened. As Emily stepped inside, the warmth of the lobby enveloped her, banishing the cold dampness from outside. A staff member approached, offering her a steaming cup of American coffee.
"Courtesy of the Drunken Country Ballad team," the staffer explained with a smile.
Emily took a sip, feeling the heat spread through her fingers and down her throat. She had made the right choice.
Cannes had its favorite film. And she was right where she needed to be.