“Dainipponjin” (or for those who don’t speak Japanese, “The Great Japanese) caught my attention early on when the TIFF schedule was first announced for several reasons:
1) Having lived in Japan, I love all things Japanese, especially if they are quirky and weird
2) the film was being called “the most bizarre film” of this festival, and possibly ever
3) a “mockumentary” directed by and starring Matsumoto, a Japanese sensation. Seriously, he’s everywhere. Ask your Japanese friends.
4) if none of that was enough to peak anyone’s interest, I’ll direct your attention to this video entitled, “Who is Matsumoto?” If anything, it is worth your time to watch and be enlightened.
Matsumoto is “Dainipponjin.” Or he is when he is called upon to protect Japan from the monstrous “Baddies.” A little bit mockumentary, a little bit monster flick, “Dainipponjin” is one of the funiest films I have ever seen, and one of the highlights of the fest for me. When he’s not saving the country, Daisato is a mocked and reviled 6th generation superhero. He lives in a small house with none of the grandeur past Dainipponjin’s had- servants, parades, you name it. He’s divorced, a bit overweight, with a daughter who barely knows him. He doesn’t seem to have any friends aside from his agent. When called to action, Daisato runs to the nearest electric transformation station, gets zapped with electrical current to become several storeys tall to fight off the numerous Baddies attacking Japan.
The film really defies explanation. It is meant to be experienced. It all seems too weird to describe in words…and it is weird. But it’s also incredibly funny, and being “lost in translation” helps here. It’s a big send up of Japanese anime, action heroes, and the country itself.
The screening was packed- one of the busiest Midnight Madness screenings I attended. Everyone seemed to get a kick out of the film, whether they understood the language or followed along with subtitles.
When this film is relased on DVD, do yourself a favour and rent it. It has a broad and wide-ranging appeal- from the gross out humour of “Borat” to mockumentary fans of “Best in Show.” Laugh with it or laugh at it, it doesn’t matter. It all translates to a turly bizarre and enjoyable experience.
Saturday, September 15, 2007
Rail & Ties
“Rails & Ties” is the first feature for director Alison Eastwood, offspring of Clint. She’s been around for a while, albeit in front of the camera in some of Daddy’s films like “Midnight in the Garden of Good and Evil.” She’s chosen her material wisely in the form of “Rails & Ties”, a sad and intimate look at a not-so-typical family.
The film follows three people whose lives are disrupted after a tragic train accident. When train conductor Tom (Kevin Bacon) hits and kills a woman who has parked her car with herself and her 11 year old son David (Miles Heizer) inside it, he is forced into taking a break from the job that he loves to recouperate and spend time with his ailing wife Megan (Marcia Gay Harden). Stricken with progressive cancer, Megan and Tom are at odds with how to spend her remaining days, as Tom is content to imagine nothing is wrong and continue to plug along as a train conductor. When David shows up at the couple’s door, Megan has the chance to experience motherhood- something she has always craved. This unconventional family bonds together through tragedy and gives Megan- who lives by Dylan Thomas’ immortal words to “rage against the dying light” finds solace and happiness in her final hours with her new family.
Eastwood does an impressive job with the difficult subject matter and infuses it with subtlety and even humour. A compassionate film, there are similarities in Alison’s style to that of her father Clint’s in both the subject of the American family and the simple and unobtrusive shots.
Kevin Bacon gives a great performance of a difficult man, reminiscient of his work in “Murder in the First” in that he goes beyond expectations in his quiet rage and sorrow. Marcia Gay Harden is wonderful. her performance resonates throguh the film and projects the love and compassion her character feels for her two troubled men outwards. Her performance resonated with the cancer survivors in the room who applauded her performance as incredibly true to life during the TIFF Q&A session, bringing tears to more than a few eyes.
The standout in the film is young David, played by Miles Heizer, who for all his lighthearted charm and awe at being so well received in a large theatre on his first starring role, was incredibly gracious. He had difficult dramatic scenes which he tackled with the ease of a seasoned pro.
“Rails & Ties” is a moving film, that speaks to living with illness and experiencing death and how it resonates through families- whether they are blood relatives, or makeshift families of friends and non-relations. The film demonstrates the grieving process, and how like Megan, it is in our best itnerest to stya together and “rage against the dying light.”
The film follows three people whose lives are disrupted after a tragic train accident. When train conductor Tom (Kevin Bacon) hits and kills a woman who has parked her car with herself and her 11 year old son David (Miles Heizer) inside it, he is forced into taking a break from the job that he loves to recouperate and spend time with his ailing wife Megan (Marcia Gay Harden). Stricken with progressive cancer, Megan and Tom are at odds with how to spend her remaining days, as Tom is content to imagine nothing is wrong and continue to plug along as a train conductor. When David shows up at the couple’s door, Megan has the chance to experience motherhood- something she has always craved. This unconventional family bonds together through tragedy and gives Megan- who lives by Dylan Thomas’ immortal words to “rage against the dying light” finds solace and happiness in her final hours with her new family.
Eastwood does an impressive job with the difficult subject matter and infuses it with subtlety and even humour. A compassionate film, there are similarities in Alison’s style to that of her father Clint’s in both the subject of the American family and the simple and unobtrusive shots.
Kevin Bacon gives a great performance of a difficult man, reminiscient of his work in “Murder in the First” in that he goes beyond expectations in his quiet rage and sorrow. Marcia Gay Harden is wonderful. her performance resonates throguh the film and projects the love and compassion her character feels for her two troubled men outwards. Her performance resonated with the cancer survivors in the room who applauded her performance as incredibly true to life during the TIFF Q&A session, bringing tears to more than a few eyes.
The standout in the film is young David, played by Miles Heizer, who for all his lighthearted charm and awe at being so well received in a large theatre on his first starring role, was incredibly gracious. He had difficult dramatic scenes which he tackled with the ease of a seasoned pro.
“Rails & Ties” is a moving film, that speaks to living with illness and experiencing death and how it resonates through families- whether they are blood relatives, or makeshift families of friends and non-relations. The film demonstrates the grieving process, and how like Megan, it is in our best itnerest to stya together and “rage against the dying light.”
Day 9
Day 9!
Finally, the end is in sight with 4 movies to go…four incredibly diverse films over the next two days: one from a first time Hollywood director, a French horror film, a Turkish/German hybrid, and what is being billed as the most “bizarre” TIFF film to date.
Celebrity Sightings: Kevin Bacon, Alison Eastwood, Marcia Gay Harden, Miles Heizer (you haven’t heard of him yet, but you will)
Overheard in line: “BACON!” which I am sure referred to the man and not the delicious breakfast meat
Thoughts: At each film I am either blown away by how friendly or how rude people are. Luckily, it’s usually the former. And I mean rude in the sense that “I’m going to push you out of the way and run to the seats at the front of the theatre and snatch them all up with no regard for lines or remaining calm.” You mention that you like Eric Bana? Well here’s a picture I took of him, give me your email and I’ll send it to you. The trading of photos, gossip, and even tickets is fantastic. It’s great that people who come from outside Toronto see how welcoming and friendly we can really be. Especially since I attend 50% or more of the films solo (this year I lucked out and managed more with friends), it’s easy to befriend other singles and compare schedules, tastes, reviews, photos, and everything else including where to grab a good snack in between screenings.
Finally, the end is in sight with 4 movies to go…four incredibly diverse films over the next two days: one from a first time Hollywood director, a French horror film, a Turkish/German hybrid, and what is being billed as the most “bizarre” TIFF film to date.
Celebrity Sightings: Kevin Bacon, Alison Eastwood, Marcia Gay Harden, Miles Heizer (you haven’t heard of him yet, but you will)
Overheard in line: “BACON!” which I am sure referred to the man and not the delicious breakfast meat
Thoughts: At each film I am either blown away by how friendly or how rude people are. Luckily, it’s usually the former. And I mean rude in the sense that “I’m going to push you out of the way and run to the seats at the front of the theatre and snatch them all up with no regard for lines or remaining calm.” You mention that you like Eric Bana? Well here’s a picture I took of him, give me your email and I’ll send it to you. The trading of photos, gossip, and even tickets is fantastic. It’s great that people who come from outside Toronto see how welcoming and friendly we can really be. Especially since I attend 50% or more of the films solo (this year I lucked out and managed more with friends), it’s easy to befriend other singles and compare schedules, tastes, reviews, photos, and everything else including where to grab a good snack in between screenings.
Day 8
Celebrity Sightings: Marisa Tomei, Ethan Hawke, Sidney Lumet
Gossip in line: that opening scene of “Before the Devil…!”, lots of talk about “Eastern Promises,” Where’s Philip Seymour Hoffman?, “I’m only here for Ethan Hawke because he’s single” overheard a young blonde girl saying
Thoughts: met someone who was on their 31st film screening, everyone seems to be battling a cold and lack of sleep.
Gossip in line: that opening scene of “Before the Devil…!”, lots of talk about “Eastern Promises,” Where’s Philip Seymour Hoffman?, “I’m only here for Ethan Hawke because he’s single” overheard a young blonde girl saying
Thoughts: met someone who was on their 31st film screening, everyone seems to be battling a cold and lack of sleep.
Friday, September 14, 2007
Before the Devil Knows You're Dead
When planning my TIFF schedule, I decided that I’d likely apprieciate at least one slow day with only one film near the tail end of the week. Day 8 gave me “Before the Devil Knows You’re Dead” the new Sidney Lumet film starring Philip Seymour Hoffman, Ethan hawke, and Marisa Tomei.
Much to my surprise, Sidney Lumet showed up to introduce the film. Talk about an icon of cinema. As TIFF co-director Noah Cowan pointed out, it’s been 50 years since he directed “12 Angry Men” and in between then and now, you’ve had “Network,” “Serpico,” and “Dog Day Afternoon,” even if you want to overlook “Gloria” and “The Wiz.”
Also on hand were Oscar winner Marisa Tomei and Ethan Hawke, who is not at all as rat-like in appearance as you’d expect. Although the years have not been kind to the actor/novellist. Hoffman was back in Australia filming a new movie.
“Before the Devil..” is a long title for a simple film. Noir-like, the plot is revolves around a botch heist masterminded by two brothers, Hank and Andy (Hawke and Hoffman). The twist is of course, that the targeted jewelery store in question is owned by the brother’s parents (Albert Finney and Rosemary Harris). Hank is what we’d call a “loser”- divorced, his ex-wife and daughter hate him and he’s down on his luck. The heist is a way out and a way to provide for his daughter. Andy is a bored coroprate yuppie, busy supplying his drug habit and pandering to his wife (marisa Tomei) who is in the midst of an affair…with Hank.
The film overlaps and doubles back on itself to provide persective from each of the main characters, including the mean-spirited and hard to like father. Over different days, we see the lead up to events through each of the character’s own eyes., which present us with a more rounded portrait of the family. No one is really that likeable, even by the end of the film, there really isn’t anyone to root for, but the actors give their all performance-wise.
The one major complaint I have with the film is the way Lumet flips perspectives between the characters. In a very jarring way, the film shakes, and skips providing multiple fast-paced jump cuts cut to a jarring techno-sounding beat box screech. It distracts and jars the viewer and stick sout like a sore thumb. it also happens to be one of the most talked about elements heard from the audience exiting the Elgin theatre, aside from Marisa Tomei’s numerous nude scenes.
Not bad, but the more I reflect on it, the less I like it. I enjoyed it coming out of the theatre, and not to suggest that it’s a poor film, looking back, it really didn’t do much for me. Then again, my 14th movie of the festival, I’m getting harder to impress.
Much to my surprise, Sidney Lumet showed up to introduce the film. Talk about an icon of cinema. As TIFF co-director Noah Cowan pointed out, it’s been 50 years since he directed “12 Angry Men” and in between then and now, you’ve had “Network,” “Serpico,” and “Dog Day Afternoon,” even if you want to overlook “Gloria” and “The Wiz.”
Also on hand were Oscar winner Marisa Tomei and Ethan Hawke, who is not at all as rat-like in appearance as you’d expect. Although the years have not been kind to the actor/novellist. Hoffman was back in Australia filming a new movie.
“Before the Devil..” is a long title for a simple film. Noir-like, the plot is revolves around a botch heist masterminded by two brothers, Hank and Andy (Hawke and Hoffman). The twist is of course, that the targeted jewelery store in question is owned by the brother’s parents (Albert Finney and Rosemary Harris). Hank is what we’d call a “loser”- divorced, his ex-wife and daughter hate him and he’s down on his luck. The heist is a way out and a way to provide for his daughter. Andy is a bored coroprate yuppie, busy supplying his drug habit and pandering to his wife (marisa Tomei) who is in the midst of an affair…with Hank.
The film overlaps and doubles back on itself to provide persective from each of the main characters, including the mean-spirited and hard to like father. Over different days, we see the lead up to events through each of the character’s own eyes., which present us with a more rounded portrait of the family. No one is really that likeable, even by the end of the film, there really isn’t anyone to root for, but the actors give their all performance-wise.
The one major complaint I have with the film is the way Lumet flips perspectives between the characters. In a very jarring way, the film shakes, and skips providing multiple fast-paced jump cuts cut to a jarring techno-sounding beat box screech. It distracts and jars the viewer and stick sout like a sore thumb. it also happens to be one of the most talked about elements heard from the audience exiting the Elgin theatre, aside from Marisa Tomei’s numerous nude scenes.
Not bad, but the more I reflect on it, the less I like it. I enjoyed it coming out of the theatre, and not to suggest that it’s a poor film, looking back, it really didn’t do much for me. Then again, my 14th movie of the festival, I’m getting harder to impress.
Thursday, September 13, 2007
The Devil's Chair
My second foray into Midnight Madness was with “The Devil’s Chair”- a first-time feature from British director Adam Mason. And from the description alone, I knew I was in for a bloody ride.
For a night of fun, Nick West (Andrew Howard) and his girlfriend decide to explore an abandoned mental asylum in the English countryside, do some drugs and have a good time. When his girlfriend sits in the old electric chair- because that is ALWAYS such a good idea- she is brutally killed and her body disappears. Told in flashbacks, we find that Nick is now locked up in a psychiatric facility, traumatized by the events of the night and the electric chair.
When a doctor and his young colleagues decide that the best therapy for Nick is to take him to the scene of the crime and let him wrestle his own demons out in the open. Again, like camping out in a mental asylum with a committed man could ever be a good idea. Mayhem ensues, and not to ruin a somewhat clever film (although it’s never really that good, or that scary, or that smart) the entire thing gets flipped on it’s head after buckets of blood, demons, and other strange occurrences have been witnessed.
The audience seemed to love the film, clapping and cheering along, but at Midnight Madness screenings, you get us weird, and twisted individuals looking for a good time.
There aren’t many true scares- this is definitely a gory B-movie. I will say that the only part that really creeped me out is that one of the female characters is named Rachel, just like me! And when a psycho demon killer covered in blood is running down a hallway screaming your name in a sadistic scratchy voice, you’d be unnerved too.
In a great top 10 recap of the film, check out my friend Shane’s posting on the official Midnight Madness blog and see pictures from the film and Q&A.
For a night of fun, Nick West (Andrew Howard) and his girlfriend decide to explore an abandoned mental asylum in the English countryside, do some drugs and have a good time. When his girlfriend sits in the old electric chair- because that is ALWAYS such a good idea- she is brutally killed and her body disappears. Told in flashbacks, we find that Nick is now locked up in a psychiatric facility, traumatized by the events of the night and the electric chair.
When a doctor and his young colleagues decide that the best therapy for Nick is to take him to the scene of the crime and let him wrestle his own demons out in the open. Again, like camping out in a mental asylum with a committed man could ever be a good idea. Mayhem ensues, and not to ruin a somewhat clever film (although it’s never really that good, or that scary, or that smart) the entire thing gets flipped on it’s head after buckets of blood, demons, and other strange occurrences have been witnessed.
The audience seemed to love the film, clapping and cheering along, but at Midnight Madness screenings, you get us weird, and twisted individuals looking for a good time.
There aren’t many true scares- this is definitely a gory B-movie. I will say that the only part that really creeped me out is that one of the female characters is named Rachel, just like me! And when a psycho demon killer covered in blood is running down a hallway screaming your name in a sadistic scratchy voice, you’d be unnerved too.
In a great top 10 recap of the film, check out my friend Shane’s posting on the official Midnight Madness blog and see pictures from the film and Q&A.
Romulus, My Father
I had been looking forward to this film for some time as a fan of Australian cinema, Eric Bana and actor turned first-time director Richard Roxburgh and I must say I was not let down in the least.
A thoughtful and moving film, “Romulus, My Father” is a true story based on the memoir of Australian philosopher Raimond Gaita. Growing up in Australia as a Romanian immigrant, the young Raimond exists in a world inbetween childhood and adulthood, caring for his depressed mother, his father, his mother’s new husband and their daughter. Sounds complicated and unusual? It is, but it’s also profoundly moving.
Romulus (Eris Bana) is the patriarch of the family a man who is unable to integrate his world in Romania with his new life in Australia. Christie (Franka Potente) is Rai’s mother: disappointed with her life as an immigrant, vacant, and struggling to hold onto her sanity. The film unfolds exactly like a child’s memory would- it’s not always linear, with fragments and bits and pieces of information missing. It is told from a child’s perspective as he experiences birth, death, separation, trauma and everything else that comes with growing up in the Australian outback.
While Bana and Potente are haunted and moving as a fractured couple caught up in memories and the past, the real star of the film is newcomer Kodi Smit-McPhee as Raimond. He appears in almost every frame of film and manges to hold his own against the unsettling and intense performances from the more-established actors on screen. The film unfolds slowly but the performances are better for it as there are no distractions in what is surprisingly an uplifting film.
A thoughtful and moving film, “Romulus, My Father” is a true story based on the memoir of Australian philosopher Raimond Gaita. Growing up in Australia as a Romanian immigrant, the young Raimond exists in a world inbetween childhood and adulthood, caring for his depressed mother, his father, his mother’s new husband and their daughter. Sounds complicated and unusual? It is, but it’s also profoundly moving.
Romulus (Eris Bana) is the patriarch of the family a man who is unable to integrate his world in Romania with his new life in Australia. Christie (Franka Potente) is Rai’s mother: disappointed with her life as an immigrant, vacant, and struggling to hold onto her sanity. The film unfolds exactly like a child’s memory would- it’s not always linear, with fragments and bits and pieces of information missing. It is told from a child’s perspective as he experiences birth, death, separation, trauma and everything else that comes with growing up in the Australian outback.
While Bana and Potente are haunted and moving as a fractured couple caught up in memories and the past, the real star of the film is newcomer Kodi Smit-McPhee as Raimond. He appears in almost every frame of film and manges to hold his own against the unsettling and intense performances from the more-established actors on screen. The film unfolds slowly but the performances are better for it as there are no distractions in what is surprisingly an uplifting film.
M (or mmmmmmmm)
“M” is a new film by Korean director Lee Myung-se. It’s a supernatural love story…that’s right, he’s in love with the past, a ghost, and the ghosts of the past.
Minwoo is a toremnted writer, hard at work on his first novel but suffering from sleep deprivation, hallucinations, and is inundated with memories that he can’t seem to fully recall. He looks at photos and objects he can’t remember although they are familiar to him in some inate way. Haunted by his memories, he is followed everywhere by Mimi, a woman whom it seems is borderline obsessively in love with Minwoo and his every move. Mimi sems to help him remember as images of his past fall together like the pieces of a puzzle in abstract and visually moving ways.
The film is a hunting and beautiful love story. Visually stunning, each image is breathtaking. By far the most avant-garde art film I have seen or will see at TIFF this year, ”M” asks as many questions as it answers. Director Myung-se keep sthe film moving through it’s fast cuts and barrage of stylistic images. Quite moody, the film resonates with the viewer with it’s universal themes.
I’m sure I missed a lot of the images while reading the Korean subtitles, which themselves become part of the film. The filmmaker uses original Korean text on screen as art. Stylistically “M” reminding me of Wong Kar Wai’s “In the Mood for Love” for it’s visual appeal and ability to evoke feelings through the mise-en-scene. Fans of that film will likely enjoy “M.”
Minwoo is a toremnted writer, hard at work on his first novel but suffering from sleep deprivation, hallucinations, and is inundated with memories that he can’t seem to fully recall. He looks at photos and objects he can’t remember although they are familiar to him in some inate way. Haunted by his memories, he is followed everywhere by Mimi, a woman whom it seems is borderline obsessively in love with Minwoo and his every move. Mimi sems to help him remember as images of his past fall together like the pieces of a puzzle in abstract and visually moving ways.
The film is a hunting and beautiful love story. Visually stunning, each image is breathtaking. By far the most avant-garde art film I have seen or will see at TIFF this year, ”M” asks as many questions as it answers. Director Myung-se keep sthe film moving through it’s fast cuts and barrage of stylistic images. Quite moody, the film resonates with the viewer with it’s universal themes.
I’m sure I missed a lot of the images while reading the Korean subtitles, which themselves become part of the film. The filmmaker uses original Korean text on screen as art. Stylistically “M” reminding me of Wong Kar Wai’s “In the Mood for Love” for it’s visual appeal and ability to evoke feelings through the mise-en-scene. Fans of that film will likely enjoy “M.”
Day 7: Triple Threat
Managed to cram in 3 diverse movies today: a Korean love story “M,” an Australian melodrama “Romulus, My Father,” and a good old fashioned horror flick, “The Devil’s Chair.”
Celebrity Sightings: director Lee Myung-se, Richard Roxburgh, Eric Bana, director Adam Mason, Andrew Howard
Buzz in Line: Gael Garcia Bernal is very short, Richard Roxburgh looks nothing like his character The Duke in “Moulin Rouge,” “Cassandra’s Dream” is a must-see Woody Allen in line with “Match Point.”
Celebrity Sightings: director Lee Myung-se, Richard Roxburgh, Eric Bana, director Adam Mason, Andrew Howard
Buzz in Line: Gael Garcia Bernal is very short, Richard Roxburgh looks nothing like his character The Duke in “Moulin Rouge,” “Cassandra’s Dream” is a must-see Woody Allen in line with “Match Point.”
Wednesday, September 12, 2007
Stuck
I have so many films to see, I have to cram them in at midnight as well!
My first foray into the Midnight Madness programme was with Stuart Gordon’s “Stuck.”
Based on the real-life story from a few years back that you might recall, hospice care worker Brandi (Mena Suvari) hits a down on his luck, newly evicted and out-of-work Tom (Stephen Rea) with her car. To her horror (and his) he becomes lodged in the windshield of the car. Panicked and high on drugs, she drives home and parks her car in the garage overnight, leaving her unfortunate victim stuck. Afriad of the consequences, she takes matters into her own hands, enlisting her boyfriend to help her get rid of this poor man in the windshield, who refuses to die.
A horrifying tale because of the graphic true nature of the crime, “Stuck” straddles B-movie elements of an original concept. I’m surprised this hasn’t been brought to the big screen before. Anyone who is familiar with Stuart Gordon’s horror films knows immeadiately that you’re in for a mix of sex, blood, and laughs (check out “Dagon” for a hilariously good time). Mena Suvari seems to have been out of the spotlight after her turn in “American Beauty” and “Stuck” is at the opposite end of the spectrum in terms of cinema, but she screams her lungs out as the scared girl you both hate and empathize with. Stephen Rea, the only veteran actor in the film does a painfully good job as the man in the windshield. Sure, the film is meant to be both laughed at and for you to laugh along with as proven by the racous reaction for the crowd. Not a good film, but not really meant to be either, “Stuck” is a fun way to spend 90 minutes.
During the Q&A, the cast and director made comparisons between the true story and their filmed version. Aside from the film’s ending, it is pretty much true to the story, including the fact that the real Brandi was a health care worker. The cast made the most of their desolate shooting schedule in New Brunswick in the Fall, of which the stark atomosphere added to the film.
Be prepared for lots of blood and some horrifying scenes that will make you cringe, but it’s hard to look away.
My first foray into the Midnight Madness programme was with Stuart Gordon’s “Stuck.”
Based on the real-life story from a few years back that you might recall, hospice care worker Brandi (Mena Suvari) hits a down on his luck, newly evicted and out-of-work Tom (Stephen Rea) with her car. To her horror (and his) he becomes lodged in the windshield of the car. Panicked and high on drugs, she drives home and parks her car in the garage overnight, leaving her unfortunate victim stuck. Afriad of the consequences, she takes matters into her own hands, enlisting her boyfriend to help her get rid of this poor man in the windshield, who refuses to die.
A horrifying tale because of the graphic true nature of the crime, “Stuck” straddles B-movie elements of an original concept. I’m surprised this hasn’t been brought to the big screen before. Anyone who is familiar with Stuart Gordon’s horror films knows immeadiately that you’re in for a mix of sex, blood, and laughs (check out “Dagon” for a hilariously good time). Mena Suvari seems to have been out of the spotlight after her turn in “American Beauty” and “Stuck” is at the opposite end of the spectrum in terms of cinema, but she screams her lungs out as the scared girl you both hate and empathize with. Stephen Rea, the only veteran actor in the film does a painfully good job as the man in the windshield. Sure, the film is meant to be both laughed at and for you to laugh along with as proven by the racous reaction for the crowd. Not a good film, but not really meant to be either, “Stuck” is a fun way to spend 90 minutes.
During the Q&A, the cast and director made comparisons between the true story and their filmed version. Aside from the film’s ending, it is pretty much true to the story, including the fact that the real Brandi was a health care worker. The cast made the most of their desolate shooting schedule in New Brunswick in the Fall, of which the stark atomosphere added to the film.
Be prepared for lots of blood and some horrifying scenes that will make you cringe, but it’s hard to look away.
Atonement
Anyone who has read Ian McEwan’s sweeping novel Atonement can tell you that the story touches nerves and evokes feelings and emotions. Putting the story on the big screen heightens those feelings through the breathtaking imagery and scenery.
“Atonement” is the story of how one young girl’s jealous mistake affects the lives of the people around her. When young Briony (played by three different actresses as she ages) interrupts a moment of passion between her elder sister Cecila (Keira Knightley) and the housekeeper’s son Robbie (James McAvoy), her imagination runs wild and paints Robbie as a “sex maniac.” When her teenage cousin is assaulted, Briony is the only “witness” as she calls out Robbie for the crime. Robbie is sent to war with Cecila, now a nurse, serves as his guiding light and reason to go on living. Will the lovers ever be able to be reuintied and will Briony be able to repair the damage she has caused to the people closest to her? The film skips years and changes perspectives between it’s three main characters: Robbie, Briony and Cecila as we follow them through the idyllic years before WWII in the English countryside, through the war in France, and wartime London to the present day.
The film is a nice blend of literal adaptation and cinematic originality. It differs from the book in parts and gives life to McEwan’s well-defined characters on screen. The beautiful English gardens stand in stark contrast to the grey and haunting French landscapes during the war. McAvoy is remarkable as Robbie as his character evolves and changes from a carefree young man to a hardened soldier fraught with his own demons. Knightley plays Cecila quite well, although she doesn’t offer any new range here. Child actress Saoirse Ronan as young Briony is good as well and bears a remarkable resemblance to Romola Garai who plays Briony at age 18 (the role is also shared briefly by Vanessa Redgrave).
“Atonement” is sure to garner Oscar nominations, if not for McAvoy then for adapted screenplay. A somewhat difficult novel to transform to film due to it’s leaps in time, non-linear narrative, and well-crafted inner dialogue of characters, and screenwriter Christopher Hampton has done the novel justice. Already nominated for a Golden Lion at the Venice Film Festival, “Atonement” is a must-see.
Keira Knightley and James McAvoy along with director Joe Wright were present for the film’s introductions. Knightley is beatuiful in person and not nearly as frail as she often appears in photos. McAvoy is quite handsome. Both are short and small people which somewhat betrays their cinematic presence. “Atonement” received a standing ovation at the film’s finish.
“Atonement” is the story of how one young girl’s jealous mistake affects the lives of the people around her. When young Briony (played by three different actresses as she ages) interrupts a moment of passion between her elder sister Cecila (Keira Knightley) and the housekeeper’s son Robbie (James McAvoy), her imagination runs wild and paints Robbie as a “sex maniac.” When her teenage cousin is assaulted, Briony is the only “witness” as she calls out Robbie for the crime. Robbie is sent to war with Cecila, now a nurse, serves as his guiding light and reason to go on living. Will the lovers ever be able to be reuintied and will Briony be able to repair the damage she has caused to the people closest to her? The film skips years and changes perspectives between it’s three main characters: Robbie, Briony and Cecila as we follow them through the idyllic years before WWII in the English countryside, through the war in France, and wartime London to the present day.
The film is a nice blend of literal adaptation and cinematic originality. It differs from the book in parts and gives life to McEwan’s well-defined characters on screen. The beautiful English gardens stand in stark contrast to the grey and haunting French landscapes during the war. McAvoy is remarkable as Robbie as his character evolves and changes from a carefree young man to a hardened soldier fraught with his own demons. Knightley plays Cecila quite well, although she doesn’t offer any new range here. Child actress Saoirse Ronan as young Briony is good as well and bears a remarkable resemblance to Romola Garai who plays Briony at age 18 (the role is also shared briefly by Vanessa Redgrave).
“Atonement” is sure to garner Oscar nominations, if not for McAvoy then for adapted screenplay. A somewhat difficult novel to transform to film due to it’s leaps in time, non-linear narrative, and well-crafted inner dialogue of characters, and screenwriter Christopher Hampton has done the novel justice. Already nominated for a Golden Lion at the Venice Film Festival, “Atonement” is a must-see.
Keira Knightley and James McAvoy along with director Joe Wright were present for the film’s introductions. Knightley is beatuiful in person and not nearly as frail as she often appears in photos. McAvoy is quite handsome. Both are short and small people which somewhat betrays their cinematic presence. “Atonement” received a standing ovation at the film’s finish.
Tuesday, September 11, 2007
Margot at the Wedding
Another much needed break: “Margot at the Wedding” is my only film of the day. Lack of sleep, regular 9 to 5 working hours, and a diet of snacks and fast food are taking their toll.
Eager to see the film, and see which of the cast shows up, I got to the Ryerson theatre with lots of time to spare. For anyone not well-acquainted with Toronto or TIFF, Ryerson is one of the best places to see a movie and for some star gazing as you cross the red carpet on your way into the theatre- lots of room to pull off to the side and get some quick pictures of stars.
A big fan of director Noah Baumbach’s previous film “The Squid and the Whale” (rent it tonight if you haven’t seen it), I had high hopes for “Margot.” I can’t say that I was fully satisfied with the film, but it wasn’t a bad way to spend anhour and a half.
“Margot at the Wedding” shares some common themes with “The Squid and the Whale” in terms of being centred around a dysfunctional family and watching characters roam about. When Margot (Nicole Kidman) arrives with her son Claude at her estranged sister Pauline’s (Jennifer Jason Leigh) house as a guest for her upcoming wedding to Malcolm (Jack Black), she is in the midst of a family crisis of her own as her marriage is slowly dissolving. Fuelled by an affair with neighbour (Ciaran Hinds) Margot blows into her sister’s life causing chaos and attemping to re-bond with her younger sibling.
The film isn’t so much about any one thing as it is about characters and perforamces. No real beginning, middle or end to the film, it kind of meanders around and lets Kidman, Leigh, and Black run the gamut of emotional complexes. Their performances are fine, but suffer from a lack of direction. Margot is a different and interesting choice for Kidman, who since her Oscar win seems drawn to grittier roles (”Stepford Wives” and “Bewtiched” aside) that remind us why she deserved her statuette. Jack Black doesn’t appear as “Jack Black” and his restraint is impressive considering he was last seen prancing about in a unitard in “Nacho Libre.” He’s continuing on his Jim Carrey path of non-comedy and he’s better for it. “Margot” seems like it would make a better book than a movie as the characters are often lost in thought, and themselves.
Only Noah Baumbach and Jennifer Jason Leigh made an appearance at the screening. Leigh, who apprently suffers from stage fright was too shy to speak before the film. Also my only celebrity sightings for the day, aside from the people in line who thought they saw Roger Ebert (it wasn’t).
Eager to see the film, and see which of the cast shows up, I got to the Ryerson theatre with lots of time to spare. For anyone not well-acquainted with Toronto or TIFF, Ryerson is one of the best places to see a movie and for some star gazing as you cross the red carpet on your way into the theatre- lots of room to pull off to the side and get some quick pictures of stars.
A big fan of director Noah Baumbach’s previous film “The Squid and the Whale” (rent it tonight if you haven’t seen it), I had high hopes for “Margot.” I can’t say that I was fully satisfied with the film, but it wasn’t a bad way to spend anhour and a half.
“Margot at the Wedding” shares some common themes with “The Squid and the Whale” in terms of being centred around a dysfunctional family and watching characters roam about. When Margot (Nicole Kidman) arrives with her son Claude at her estranged sister Pauline’s (Jennifer Jason Leigh) house as a guest for her upcoming wedding to Malcolm (Jack Black), she is in the midst of a family crisis of her own as her marriage is slowly dissolving. Fuelled by an affair with neighbour (Ciaran Hinds) Margot blows into her sister’s life causing chaos and attemping to re-bond with her younger sibling.
The film isn’t so much about any one thing as it is about characters and perforamces. No real beginning, middle or end to the film, it kind of meanders around and lets Kidman, Leigh, and Black run the gamut of emotional complexes. Their performances are fine, but suffer from a lack of direction. Margot is a different and interesting choice for Kidman, who since her Oscar win seems drawn to grittier roles (”Stepford Wives” and “Bewtiched” aside) that remind us why she deserved her statuette. Jack Black doesn’t appear as “Jack Black” and his restraint is impressive considering he was last seen prancing about in a unitard in “Nacho Libre.” He’s continuing on his Jim Carrey path of non-comedy and he’s better for it. “Margot” seems like it would make a better book than a movie as the characters are often lost in thought, and themselves.
Only Noah Baumbach and Jennifer Jason Leigh made an appearance at the screening. Leigh, who apprently suffers from stage fright was too shy to speak before the film. Also my only celebrity sightings for the day, aside from the people in line who thought they saw Roger Ebert (it wasn’t).
Monday, September 10, 2007
Day 6
Day 6 and it’s time to turn this festival around.
After 2 bad films (Le Douxieme Souffle and Bill) I’m more than ready for “Atonement” which is one of the films I have been most looking forward to. Following up the British literary adaptation I have my first Midnight Madness film, “Stuck.” The Midnight Madness programme features the cutting edge, horror, gore, and all-around unusual and has featured films like “Borat” and “Hostel” in the past. Check out the Midnight Madness blog for more on what’s showing nightly (my boyfriend, Shane McNeil is a contributing reporter highlighting the Madness with pictures and videos of zombies and fans).
Celebrity Sightings: James McAvoy (I LOVE HIM), Keira Knightley, director Joe Wright, director Stuart Gordon, Mena Suvari, and a smattering of cast members from “Stuck”
Buzz in Line: Is Stephen Rea here? “Atonement” is beautiful, hearing more good buzz about “Boy A” and “Sad Vacation”
Thoughts: I wish the Elgin theatre wasn’t so cold, Midnight Madness crowds are a strange and unusual bunch
While I’m plugging other blogs, for a more in-depth, and up-to-date TIFF blog, check out my friend’s site, The Dark of the Matinee, which goes back to being a regular movie blog once the fest is over.
After 2 bad films (Le Douxieme Souffle and Bill) I’m more than ready for “Atonement” which is one of the films I have been most looking forward to. Following up the British literary adaptation I have my first Midnight Madness film, “Stuck.” The Midnight Madness programme features the cutting edge, horror, gore, and all-around unusual and has featured films like “Borat” and “Hostel” in the past. Check out the Midnight Madness blog for more on what’s showing nightly (my boyfriend, Shane McNeil is a contributing reporter highlighting the Madness with pictures and videos of zombies and fans).
Celebrity Sightings: James McAvoy (I LOVE HIM), Keira Knightley, director Joe Wright, director Stuart Gordon, Mena Suvari, and a smattering of cast members from “Stuck”
Buzz in Line: Is Stephen Rea here? “Atonement” is beautiful, hearing more good buzz about “Boy A” and “Sad Vacation”
Thoughts: I wish the Elgin theatre wasn’t so cold, Midnight Madness crowds are a strange and unusual bunch
While I’m plugging other blogs, for a more in-depth, and up-to-date TIFF blog, check out my friend’s site, The Dark of the Matinee, which goes back to being a regular movie blog once the fest is over.
Sunday, September 9, 2007
Day 5 with "Bill"
Day 5 of the fest rolled in with just a single movie screening, due to my inability to roll out of bed early enough on my frist day to sleep in a week and with an oncoming cold, coupled with my hatred of anime films which is strong enough for me to turn down free passes to a screening.
Sadly missed “The Orphanage” but lined up for dark comedy “Bill” starring Aaron Eckhart. “Bill” was a tough decision for me as there were two other films I desperately wanted to see that were playing at the same time. But wanting a little variety with some comedy in my schedule, I opted for “Bill.” Boy, did I make a bad decision.
Bill (Aaron Eckhart) is a middle aged man, stuck in a rut at his job where his father-in-law boss takes him for granted, with a wife that cheats on him with the town reporter, who is now forced to participate in a student mentorship program when all Bill really wants to do is own a donut shop.
The film seems to be tailor made for laughs, but instead comes off as a pianful and bubmling mess with no clear director. A rather talented comic cast featuring SNL alums Jason Sudiekis and Kriten Wiig are cast aside and barely featured. The insufferable Jessica Alba gets second billing, even though she doesn’t appear until 30 minutes into the film- and she’ll have you wishing she had stayed off camera. Alba is terrible. Her “Acting” or lack thereof sticks out like a sore thumb from an otherwise okay round of performances. I can’t help but wonder if scenes with her were left on the cutting room floor due to her lack of skill.
The entire blame of the film does not rest of Alba’s shoulders as the film is poorly structured and edited together in an at time, almost inchoerent logic. Eckhart, who has proved himself a stellar performer in dark comedies like “Thank You for Smoking” is wasted here. The comedy is never funny enough, dark enough, or good enough to eleict any real laughs. How “Bill” slipped into the TIFF line-up is beyond me.
The entire cast was present for the screening including Eckhart, Alba, Wiig, Sudiekis, and Elizabeth Banks and another young co-star. Alba ducked out of the screening early to return at the tail end of the Q&A so perhaps she too was disappointed in the film.
Eckhart doesn’t seem to have much luck this year at TIFF: word on the street has it that his other film, “Nothing is Private” is so bad, that even Eckhart walked out before the end of the film.
Sadly missed “The Orphanage” but lined up for dark comedy “Bill” starring Aaron Eckhart. “Bill” was a tough decision for me as there were two other films I desperately wanted to see that were playing at the same time. But wanting a little variety with some comedy in my schedule, I opted for “Bill.” Boy, did I make a bad decision.
Bill (Aaron Eckhart) is a middle aged man, stuck in a rut at his job where his father-in-law boss takes him for granted, with a wife that cheats on him with the town reporter, who is now forced to participate in a student mentorship program when all Bill really wants to do is own a donut shop.
The film seems to be tailor made for laughs, but instead comes off as a pianful and bubmling mess with no clear director. A rather talented comic cast featuring SNL alums Jason Sudiekis and Kriten Wiig are cast aside and barely featured. The insufferable Jessica Alba gets second billing, even though she doesn’t appear until 30 minutes into the film- and she’ll have you wishing she had stayed off camera. Alba is terrible. Her “Acting” or lack thereof sticks out like a sore thumb from an otherwise okay round of performances. I can’t help but wonder if scenes with her were left on the cutting room floor due to her lack of skill.
The entire blame of the film does not rest of Alba’s shoulders as the film is poorly structured and edited together in an at time, almost inchoerent logic. Eckhart, who has proved himself a stellar performer in dark comedies like “Thank You for Smoking” is wasted here. The comedy is never funny enough, dark enough, or good enough to eleict any real laughs. How “Bill” slipped into the TIFF line-up is beyond me.
The entire cast was present for the screening including Eckhart, Alba, Wiig, Sudiekis, and Elizabeth Banks and another young co-star. Alba ducked out of the screening early to return at the tail end of the Q&A so perhaps she too was disappointed in the film.
Eckhart doesn’t seem to have much luck this year at TIFF: word on the street has it that his other film, “Nothing is Private” is so bad, that even Eckhart walked out before the end of the film.
Day 4
I’m getting too far behind in my re-cap posts! Blame it on too many movies, too little time, and a cold (talk about bad timing). Day 4 was a slow one with only one screening. Tried to fit in a Spanish thriller called “The Orphanage” which I’ve been told is in line with ‘The Others,’ but creepier. Will have to look for it on DVD. The only screening I have is for the new black comedy “Bill” starring Aaron Eckhart and Jessica Alba.
Saturday, September 8, 2007
Day 3
Films seen: 3
Celebrity Sightings: Ben Affleck, Jennifer Garner, Michael Cera, JK Simmons, Allison Janney, Jason Reitman, Ivan Reitman, Monica Bellucci, Jason Bateman, Ellen Page
Buzz in line: Ben Affleck is a jerk, Jake Gyllenhaal didn’t even want to be here (also a jerk as per our run in at TIFF 05), Hot dog vendors should sell breakfast, dripping zombies are walking the red carpet for Midnight Madness
Thoughts: Rendition wasn’t worth getting out of bed for at 730am on a Saturday, bailed out an hour into “Douxieme Souffle” which was not about chefs as we had thought but about…nothing
Interesting note: As I try to move into my new apartment, conveniently located next to an independent cinema, I arrive to see a red carpet in front of my front door- with Ben Affleck and Matt Damon standing in my way.
Celebrity Sightings: Ben Affleck, Jennifer Garner, Michael Cera, JK Simmons, Allison Janney, Jason Reitman, Ivan Reitman, Monica Bellucci, Jason Bateman, Ellen Page
Buzz in line: Ben Affleck is a jerk, Jake Gyllenhaal didn’t even want to be here (also a jerk as per our run in at TIFF 05), Hot dog vendors should sell breakfast, dripping zombies are walking the red carpet for Midnight Madness
Thoughts: Rendition wasn’t worth getting out of bed for at 730am on a Saturday, bailed out an hour into “Douxieme Souffle” which was not about chefs as we had thought but about…nothing
Interesting note: As I try to move into my new apartment, conveniently located next to an independent cinema, I arrive to see a red carpet in front of my front door- with Ben Affleck and Matt Damon standing in my way.
Le Douxieme Souffle
Unfortunately, I don’t have anything good to say about the Gala premiere of “Le Douxieme Souffle” starring Monica Bellucci. Like Bellucci, who was visibly forced to speak at the film’s introduction, I’ll echo her comment with, “I have nothing to say about this film.” When your leading lady offers that up, there isn’t much hope.
A 1960s film noir throwback, the film was all over the place and slow as can be. Audience members started walking out 30 minutes in. I hate to admit it, but I too left at the 1 hour mark, unable to sit through the remaining 90 minutes. Oh well. At least they were free tickets thanks to friends at TIFF so I wasn’t out anything other than time and perhaps a better film screening.
A 1960s film noir throwback, the film was all over the place and slow as can be. Audience members started walking out 30 minutes in. I hate to admit it, but I too left at the 1 hour mark, unable to sit through the remaining 90 minutes. Oh well. At least they were free tickets thanks to friends at TIFF so I wasn’t out anything other than time and perhaps a better film screening.
Juno
“Juno” may be the best premiere screening of a film I have ever seen at TIFF.
Not only is the film touching and truly funny, the entire emsemble cast attended the screening and stayed for a Q&A.
“Juno” is an original story of a teenager’s accidental pregnancy. Breaking with more traditional looks at teen pregnancy, “Juno” flips stereotypes on their head: there are no illusions about teen mothers and the parents are supportive and positive.
When 16 year old Juno (Ellen Page) finds out she is having best friend Paulie’s (Michael Cera) baby, she sets out to find the perfect adoptive parents for her unborn child. With the support of her off-the-wall but loving Dad and Step Mom (hilariously played by JK Simmons and Allison Janney) Juno finds picture-perfect couple Mark and Vanessa (Jason Bateman and Jennifer Garner) to share in the birth process of their future child. Mark and Vanessa aren’t as perfect as they seem, and Juno finds herself creating a special bond with Mark.
Quirky and off-beat as the best ways to describe “Juno.” relative newcomer Ellen Page handles the realistic teen dialogue with ease and humour. Michael Cera is once again brilliant, and it seems can do no wrong these days with the success of “Superbad” and “Arrested Development.” Jason Bateman is brilliant, much like his “Arrested Development” co-star and it’s great to see such a fine comic actor back in the spotlight. Supporting players JK Simmons and Allison Janney offer up many laughs as the crazy but loveable parents. Jennifer Garner is the weakest spot in the emsemble, but by no means detracts from the overall film as she gives a decent performance but seems to be a little out-shined by her castmates as the yuppie, eager mom-to-be Vanessa.
As director Jason Reitman’s second feature (after “Thank You for Smoking̶ “Juno” cements Reitman’s brand of black comedy and offbeat humour. It’s definitely a film to watch for audiences of all ages, from teen to adult.
After the screening in which the entire cast was present, there was an organized Q&A. Michael Cera stood next to me at the beginning of the screening and I had to restrain myself from reaching over and hugging him because he’s just so likeable. When Jason Bateman walked by and posed for photos, I could only manage a “Hi Jason” as he talked to me and the people next to me. Ben Affleck accompanied Jennifer Garner to the screening, although seemed bored throughout the screening and Q&A, slumped in his seat, chewing gum- further cemeting my negative impression of him after I saw him barely glance at his fans outside another screening, not stopping to pose for pictures or sign autographs. Comparably, at the same screening, Matt Damon went out of his way to make sure everyone got a picture and autograph, and took the time to shake hands with his fans. Affleck could learn a thing or two, especially in the manners department as he was also quite rude exiting the theatre after the Q&A. But I digress…
The Q&A was often hilarious, courtesy of Jason Bateman. Audience members posed questions about everything from the unique film soundtrack to comaprisons between this film and “Thank You For Smoking.” An audience member shouted, “Hey Michael Cera, did you ride the GO train from Brampton to be here?” to the Ontario native. Jason Bateman was quick to respond with, “no, but his parents did.”
An all-around great film, made even better by an enthusiastic audience. A definite must-see.
Not only is the film touching and truly funny, the entire emsemble cast attended the screening and stayed for a Q&A.
“Juno” is an original story of a teenager’s accidental pregnancy. Breaking with more traditional looks at teen pregnancy, “Juno” flips stereotypes on their head: there are no illusions about teen mothers and the parents are supportive and positive.
When 16 year old Juno (Ellen Page) finds out she is having best friend Paulie’s (Michael Cera) baby, she sets out to find the perfect adoptive parents for her unborn child. With the support of her off-the-wall but loving Dad and Step Mom (hilariously played by JK Simmons and Allison Janney) Juno finds picture-perfect couple Mark and Vanessa (Jason Bateman and Jennifer Garner) to share in the birth process of their future child. Mark and Vanessa aren’t as perfect as they seem, and Juno finds herself creating a special bond with Mark.
Quirky and off-beat as the best ways to describe “Juno.” relative newcomer Ellen Page handles the realistic teen dialogue with ease and humour. Michael Cera is once again brilliant, and it seems can do no wrong these days with the success of “Superbad” and “Arrested Development.” Jason Bateman is brilliant, much like his “Arrested Development” co-star and it’s great to see such a fine comic actor back in the spotlight. Supporting players JK Simmons and Allison Janney offer up many laughs as the crazy but loveable parents. Jennifer Garner is the weakest spot in the emsemble, but by no means detracts from the overall film as she gives a decent performance but seems to be a little out-shined by her castmates as the yuppie, eager mom-to-be Vanessa.
As director Jason Reitman’s second feature (after “Thank You for Smoking̶ “Juno” cements Reitman’s brand of black comedy and offbeat humour. It’s definitely a film to watch for audiences of all ages, from teen to adult.
After the screening in which the entire cast was present, there was an organized Q&A. Michael Cera stood next to me at the beginning of the screening and I had to restrain myself from reaching over and hugging him because he’s just so likeable. When Jason Bateman walked by and posed for photos, I could only manage a “Hi Jason” as he talked to me and the people next to me. Ben Affleck accompanied Jennifer Garner to the screening, although seemed bored throughout the screening and Q&A, slumped in his seat, chewing gum- further cemeting my negative impression of him after I saw him barely glance at his fans outside another screening, not stopping to pose for pictures or sign autographs. Comparably, at the same screening, Matt Damon went out of his way to make sure everyone got a picture and autograph, and took the time to shake hands with his fans. Affleck could learn a thing or two, especially in the manners department as he was also quite rude exiting the theatre after the Q&A. But I digress…
The Q&A was often hilarious, courtesy of Jason Bateman. Audience members posed questions about everything from the unique film soundtrack to comaprisons between this film and “Thank You For Smoking.” An audience member shouted, “Hey Michael Cera, did you ride the GO train from Brampton to be here?” to the Ontario native. Jason Bateman was quick to respond with, “no, but his parents did.”
An all-around great film, made even better by an enthusiastic audience. A definite must-see.
Rendition
Your typical political drama/thriller, Rendition is cut from the same cloth as Babel with an all star ensemble cast and a storyline that crosses borders.
When a pregnant Isabella’s (Reese Witherspoon) husband, the Egyptian-born Anwar (Omar Metwally) does not return from a business trip abroad, she enlists the help of college classmate and senator’s aide Alan (Peter Sarsgaard) to dig deeper into his disappearance. What they don’t know is that Anwar has been labelled a terrorist and has been hauled off to North Africa for torture and questioning on behalf of the US, under the watch of new CIA agent Douglas Freeman (Jake Gyllenhall). With government officials sanctioning the torture and denying knowledge of Anwar, Isabella is caught in a tangled web of politics and patriotism.
A great ensemble cast with stand-out performances by meryl Streep and PEter Sarsgaard. Gyllenhall seems mis-cast in his role as a CIA agent. Metwally does a fine job as Anwar through the often brutal scenes of torture. Witherspoon is unremarkable, although not bad as the distraught wife while Alan Arkin as the senator is underused. There’ s nothing really fresh about this film and it does pale in comparison to larger politcally charged thrillers like Babel. Often slow at times, the film never really seems to live up to the momentum it is trying to create.
A bit of a let down, Rendition is a worthy watch, although not one that you’d run out to see.
When a pregnant Isabella’s (Reese Witherspoon) husband, the Egyptian-born Anwar (Omar Metwally) does not return from a business trip abroad, she enlists the help of college classmate and senator’s aide Alan (Peter Sarsgaard) to dig deeper into his disappearance. What they don’t know is that Anwar has been labelled a terrorist and has been hauled off to North Africa for torture and questioning on behalf of the US, under the watch of new CIA agent Douglas Freeman (Jake Gyllenhall). With government officials sanctioning the torture and denying knowledge of Anwar, Isabella is caught in a tangled web of politics and patriotism.
A great ensemble cast with stand-out performances by meryl Streep and PEter Sarsgaard. Gyllenhall seems mis-cast in his role as a CIA agent. Metwally does a fine job as Anwar through the often brutal scenes of torture. Witherspoon is unremarkable, although not bad as the distraught wife while Alan Arkin as the senator is underused. There’ s nothing really fresh about this film and it does pale in comparison to larger politcally charged thrillers like Babel. Often slow at times, the film never really seems to live up to the momentum it is trying to create.
A bit of a let down, Rendition is a worthy watch, although not one that you’d run out to see.
Then She Found Me
Day 2 of TIFF began with Helen Hunt’s directorial debut, Then She Found Me starring Hunt, Bette Midler, and Colin Firth.
The first disappointment of the evening was that Colin Firth wasn’t present, a sure shoe in for an appearance since he also stars in When Did You Last See your Father? Hunt was on hand to introduce the film which was a labour of love for the actress, who although is beatuiful, is frightfully thin, detracting from some of her beauty and making her appear older. I couldn’t help but think she and Jodie Foster should play sisters in a film…
Then She Found Me is not a bad film, it’s not spectacular either. It’s only so-so, and weak as a festival entry. The story follows April (Hunt) as she is blindsided by a divorce from her new husband (Matthew Broderick), the death of her adoptive mother, and the discovery that at age 39, she’s pregnant with the child she always wanted. As her world is turned upsidedown, she receives a letter from her birth mother, local TV personality beatrice Graves (Midler) requesting a meeting. As April comes to terms with relationships ending and new ones beginning, she finds solace in single dad Frank (Firth) who is dealing with his own issues. Raising a baby with two father figures in the picture and an over the top birth mother may drive April to her wits end as she struggles to hold on and stay in control of her life.
Hunt’s first time out as a director isn’t bad, although one gets the idea that she’s somewhat unsure in terms of her framing and shots. As an actress she shines as the less-than-glamourous April. Firth steps slightly outside of his normal range and gets a chance to show anger and contempt along with his charming, British side. Midler is her usual self- a louder than life characture of a spotlight seeking stage mother who has so much misguided love to give. Broderick is unfortunately underused but is cast against type as a guy that you’re meant not to like.
A decent story with adult characters and themes. The script seems fresh (based on a novel) as tackling pregancy and divorce at age 39 is something not seen on a regular basis. The film is worth a look, but not worth rushing out for.
The first disappointment of the evening was that Colin Firth wasn’t present, a sure shoe in for an appearance since he also stars in When Did You Last See your Father? Hunt was on hand to introduce the film which was a labour of love for the actress, who although is beatuiful, is frightfully thin, detracting from some of her beauty and making her appear older. I couldn’t help but think she and Jodie Foster should play sisters in a film…
Then She Found Me is not a bad film, it’s not spectacular either. It’s only so-so, and weak as a festival entry. The story follows April (Hunt) as she is blindsided by a divorce from her new husband (Matthew Broderick), the death of her adoptive mother, and the discovery that at age 39, she’s pregnant with the child she always wanted. As her world is turned upsidedown, she receives a letter from her birth mother, local TV personality beatrice Graves (Midler) requesting a meeting. As April comes to terms with relationships ending and new ones beginning, she finds solace in single dad Frank (Firth) who is dealing with his own issues. Raising a baby with two father figures in the picture and an over the top birth mother may drive April to her wits end as she struggles to hold on and stay in control of her life.
Hunt’s first time out as a director isn’t bad, although one gets the idea that she’s somewhat unsure in terms of her framing and shots. As an actress she shines as the less-than-glamourous April. Firth steps slightly outside of his normal range and gets a chance to show anger and contempt along with his charming, British side. Midler is her usual self- a louder than life characture of a spotlight seeking stage mother who has so much misguided love to give. Broderick is unfortunately underused but is cast against type as a guy that you’re meant not to like.
A decent story with adult characters and themes. The script seems fresh (based on a novel) as tackling pregancy and divorce at age 39 is something not seen on a regular basis. The film is worth a look, but not worth rushing out for.
Friday, September 7, 2007
Day 2
Day 2
Celebrity Sightings: Helen Hunt, Anton Corbijn, Sam Riley
Buzz in Line: everyone loves Joy Division (the band) and ‘Joy Division’ the documentary, ‘Boy A’ seems promising, Helen Hunt is very thin and her boyfriend (?) is good looking
Thoughts: As much as I love the Q&A oppourtunities, some questions people ask make you cringe with embarassment
Celebrity Sightings: Helen Hunt, Anton Corbijn, Sam Riley
Buzz in Line: everyone loves Joy Division (the band) and ‘Joy Division’ the documentary, ‘Boy A’ seems promising, Helen Hunt is very thin and her boyfriend (?) is good looking
Thoughts: As much as I love the Q&A oppourtunities, some questions people ask make you cringe with embarassment
Control
My third film into the festival and the best one so far. I was completely blown away.
In a basic sense, Control is a biopic of the late lead singer Ian Curtis of Joy Division, whom at age 23, committed suicide at the height of the band’s short career. But the film delves much deeper than just a traditional look at the life of an artist. Director Anton Corbijn set himself a difficult task as his subject Curtis, has become somewhat mythologized in the eyes and hearts of fans. Corbijn successfully tells the supposed truth without demonishing any mythology surrounding Curtis while at the same time, does not elevate his status beyond a confused, and talented young man.
The film begins with Curtis- played by newcomer Sam Riley- as a high school student, young, with great hopes and dreams, and in love. A talented writer of poety, lyrics, and short stories, Curtis finds his niche when some friends are in need of a singer for their band. As Joy Division, the band gains some fame and begins touring England as Curtis leaves his wife and newborn daughter behind. Temptation and excess on the road take a toll on Curtis’ relationship with his wife Debbie (Samantha Morton) and his health begins to fail as he is diagnosed with a form of epilepsy. Forced to battle his demons on stage, Curtis is unable to sope with the pressures of being the famous rockstar his growing fanbase demands him to be and his own desire to be a better father and husband.
A tragic tale shot in beautiful black and white is the type of film only a seasoned photographer like Corbijn could make. Each frame of moving film stands on its own as a stunning photograph. Sam Riley, who bears an uncanny resemblance to the late frontman gives a gut wrenching performance. He personifies the tragic Curtis as someone you both loathe for his personal choices and empathize with the difficult choices he is faced with. A very tender and honest portrayal from someone I hope to see a lot more of in the future. Samantha Morton as Debbie, plays the neglected wife with fragility and love.
All the musical performances aside from “Love Will Tear Us Apart”, Joy Division’s biggest hit, are performed by Riley and the rest of the cast with uncanny accuracy. The basis of the plot is loosely adapted on Debbie’s memoir of the events surrounding the latter years of Ian Curtis’ life. It is also interesting to note that Corbijn himself photographed Joy Division on several occasions int he early 1980s, and according to the filmmaker in a live Q&A session, this film serves as the closing chapter to that part of his life as his work with Joy Division has now become full circle and he is ready to move on. In a screening of Control for the surviving band members (who went on to become New Order) Corbijn relayed that they had nothig but praise for this sensitive portrait of Ian Curtis.
One of the best biopics I have ever seen, Control should not be missed for its breathtaking art direction and affecting performances. By no means do you need to be a fan of Joy Division to enjoy this film.
In a basic sense, Control is a biopic of the late lead singer Ian Curtis of Joy Division, whom at age 23, committed suicide at the height of the band’s short career. But the film delves much deeper than just a traditional look at the life of an artist. Director Anton Corbijn set himself a difficult task as his subject Curtis, has become somewhat mythologized in the eyes and hearts of fans. Corbijn successfully tells the supposed truth without demonishing any mythology surrounding Curtis while at the same time, does not elevate his status beyond a confused, and talented young man.
The film begins with Curtis- played by newcomer Sam Riley- as a high school student, young, with great hopes and dreams, and in love. A talented writer of poety, lyrics, and short stories, Curtis finds his niche when some friends are in need of a singer for their band. As Joy Division, the band gains some fame and begins touring England as Curtis leaves his wife and newborn daughter behind. Temptation and excess on the road take a toll on Curtis’ relationship with his wife Debbie (Samantha Morton) and his health begins to fail as he is diagnosed with a form of epilepsy. Forced to battle his demons on stage, Curtis is unable to sope with the pressures of being the famous rockstar his growing fanbase demands him to be and his own desire to be a better father and husband.
A tragic tale shot in beautiful black and white is the type of film only a seasoned photographer like Corbijn could make. Each frame of moving film stands on its own as a stunning photograph. Sam Riley, who bears an uncanny resemblance to the late frontman gives a gut wrenching performance. He personifies the tragic Curtis as someone you both loathe for his personal choices and empathize with the difficult choices he is faced with. A very tender and honest portrayal from someone I hope to see a lot more of in the future. Samantha Morton as Debbie, plays the neglected wife with fragility and love.
All the musical performances aside from “Love Will Tear Us Apart”, Joy Division’s biggest hit, are performed by Riley and the rest of the cast with uncanny accuracy. The basis of the plot is loosely adapted on Debbie’s memoir of the events surrounding the latter years of Ian Curtis’ life. It is also interesting to note that Corbijn himself photographed Joy Division on several occasions int he early 1980s, and according to the filmmaker in a live Q&A session, this film serves as the closing chapter to that part of his life as his work with Joy Division has now become full circle and he is ready to move on. In a screening of Control for the surviving band members (who went on to become New Order) Corbijn relayed that they had nothig but praise for this sensitive portrait of Ian Curtis.
One of the best biopics I have ever seen, Control should not be missed for its breathtaking art direction and affecting performances. By no means do you need to be a fan of Joy Division to enjoy this film.
Day 1
Celebrity sightings: Jodie Foster, Neil Jordan
Buzz in Line: wear a TIFF button handed out in the info pack and win a free web cam...less than 5 minutes in line and I already had a web cam in my hands; the general excitement of what it is to be at TIFF
Thoughts: great crowds so far, and lots of friendly people as usual!
Buzz in Line: wear a TIFF button handed out in the info pack and win a free web cam...less than 5 minutes in line and I already had a web cam in my hands; the general excitement of what it is to be at TIFF
Thoughts: great crowds so far, and lots of friendly people as usual!
The Brave One
Day 1 at the Toronto International Film Festival started with a bang.
My first scheduled film, the world premiere of “The Brave One” opened the festival for me at the Ryerson theatre. You could feel the excitement in line as ticketholders waited over an hour in advance for great seats (at the Ryerson, there are no bad ones). One thign that is unique and often surprising to featival newcomers is how friendly the people in line are. They’re huge movie fans, some of them having attending the festival for more than 20 years, and others who are here for the first time. Everyone loves to chat and compare film schedules, discuss directors, and regale eachother with celebrity encounters.
Passing the red carpet on the way into the theatre, illuminated by the flashbulbs of photographers, autograph seekers, and the glaring lights of TV cameras, the cast, director, and producer, made their way through the gamut.
Jodie Foster, so incredibly beautiful in real life that the camera really doesn’t do her justice, and Terrence Howard, a relative newcomer thanks to “Crash” and “Hustle & Flow” stopped to wave at fans who had lined up to greet them. No official question and answers session before the film (a regular appearance on first-run movie premieres at TIFF), TIFF co-director Noah Cowan was on hand to introduce the producer of the film, Joel Silver and his partner, director Neil Jordan, Jodie Foster, and Terrence Howard. Jordan is a regular at TIFF, and I caught his last film, “Breakfast on Pluto” in 2005. Foster hasn’t made an appearance since her 1991 film, “Little Man Tate.” The crowd was very welcoming and the talent on stage seemed to really apprieciate it.
After the usual security warnings and acknowledgment of the infared goggle carrying security at the front of the theatre, the film was rolling.
“The Brave One” tells the tale of Erica Bain (Foster), a talk radio host who has her life shattered when she and her husband-to-be (Naveen Andrews of Lost) are brutally attacked by a gang of thugs in a park. Waking up from a coma with her fiance dead, Erica is paralyzed by her fear- a former shell of her previous self. Arming herself with a gun, she takes to the streets and, in a matter of words, takes the law into her own hands, hunting down the scum of society as a way to cleanse her own demons. Investigating this rash of vigilante crimes, Det. Mercer (Howard) crosses paths with Erica, as a friend and saviour.
A number of disturbing images, the film is quite graphic at times. Foster effortlessly glides between the emotionally devestated and heartbroken Erica and the in control vigilante Erica. She is commanding on screen and hammers home a knock-out performance, as per usual. Howard holds his own as the sensitive detective, and doesn’t let Foster steal his thunder on screen. Neil Jordan’s directing style is fluid with his usual off-kilter shots to make things itneresting as the inner turmoil of the characters is displayed on screen.
All around, a tense thriller that delivers as much story and identifiable characters as it does action.
My first scheduled film, the world premiere of “The Brave One” opened the festival for me at the Ryerson theatre. You could feel the excitement in line as ticketholders waited over an hour in advance for great seats (at the Ryerson, there are no bad ones). One thign that is unique and often surprising to featival newcomers is how friendly the people in line are. They’re huge movie fans, some of them having attending the festival for more than 20 years, and others who are here for the first time. Everyone loves to chat and compare film schedules, discuss directors, and regale eachother with celebrity encounters.
Passing the red carpet on the way into the theatre, illuminated by the flashbulbs of photographers, autograph seekers, and the glaring lights of TV cameras, the cast, director, and producer, made their way through the gamut.
Jodie Foster, so incredibly beautiful in real life that the camera really doesn’t do her justice, and Terrence Howard, a relative newcomer thanks to “Crash” and “Hustle & Flow” stopped to wave at fans who had lined up to greet them. No official question and answers session before the film (a regular appearance on first-run movie premieres at TIFF), TIFF co-director Noah Cowan was on hand to introduce the producer of the film, Joel Silver and his partner, director Neil Jordan, Jodie Foster, and Terrence Howard. Jordan is a regular at TIFF, and I caught his last film, “Breakfast on Pluto” in 2005. Foster hasn’t made an appearance since her 1991 film, “Little Man Tate.” The crowd was very welcoming and the talent on stage seemed to really apprieciate it.
After the usual security warnings and acknowledgment of the infared goggle carrying security at the front of the theatre, the film was rolling.
“The Brave One” tells the tale of Erica Bain (Foster), a talk radio host who has her life shattered when she and her husband-to-be (Naveen Andrews of Lost) are brutally attacked by a gang of thugs in a park. Waking up from a coma with her fiance dead, Erica is paralyzed by her fear- a former shell of her previous self. Arming herself with a gun, she takes to the streets and, in a matter of words, takes the law into her own hands, hunting down the scum of society as a way to cleanse her own demons. Investigating this rash of vigilante crimes, Det. Mercer (Howard) crosses paths with Erica, as a friend and saviour.
A number of disturbing images, the film is quite graphic at times. Foster effortlessly glides between the emotionally devestated and heartbroken Erica and the in control vigilante Erica. She is commanding on screen and hammers home a knock-out performance, as per usual. Howard holds his own as the sensitive detective, and doesn’t let Foster steal his thunder on screen. Neil Jordan’s directing style is fluid with his usual off-kilter shots to make things itneresting as the inner turmoil of the characters is displayed on screen.
All around, a tense thriller that delivers as much story and identifiable characters as it does action.
Thursday, September 6, 2007
TIFF Line-Up
Another September, another Toronto International Film Festival.
With what seems like an extrodinary amount of “must-see” films- from Canadian shorts to Hollywood Oscar contenders- the TIFF line-up is as impressive as it gets. Stars on hand left and right to support their films and eachother, with Brad Pitt, Cat Blanchett, Keira Knightley, Jodie Foster, George Clooney, Jude Law, Matt Damon, and a slew of other celebrity directors and stars are slated to appear.
How does one narrow their choices down, carefully selecting which films to see? With lots of time, headaches, and heartaches for the films that simply won’t fit into a time table. TIFF is a stressful and chaotic 10 days, but worth it.
TIFF comes with convenient packages of tickets at discount prices (versus buying tickets individually for $25 a pop) but it still costs an arm and a leg. After pouring over the film schedule, I narrowed it down to my 10 must-see films, with some spare tickets picked up on the side:
The Brave One
Then She Found Me
Control
Rendition
Juno
Bill
Atonement
Stuck
Margot at the Wedding
Romulus, My Father
Before the Devil Knows You’re Dead
Rails & Ties
A l’interieur
There’s always more last minute additions as tickets come my way, but it’s shaping up to be a great TIFF.
With what seems like an extrodinary amount of “must-see” films- from Canadian shorts to Hollywood Oscar contenders- the TIFF line-up is as impressive as it gets. Stars on hand left and right to support their films and eachother, with Brad Pitt, Cat Blanchett, Keira Knightley, Jodie Foster, George Clooney, Jude Law, Matt Damon, and a slew of other celebrity directors and stars are slated to appear.
How does one narrow their choices down, carefully selecting which films to see? With lots of time, headaches, and heartaches for the films that simply won’t fit into a time table. TIFF is a stressful and chaotic 10 days, but worth it.
TIFF comes with convenient packages of tickets at discount prices (versus buying tickets individually for $25 a pop) but it still costs an arm and a leg. After pouring over the film schedule, I narrowed it down to my 10 must-see films, with some spare tickets picked up on the side:
The Brave One
Then She Found Me
Control
Rendition
Juno
Bill
Atonement
Stuck
Margot at the Wedding
Romulus, My Father
Before the Devil Knows You’re Dead
Rails & Ties
A l’interieur
There’s always more last minute additions as tickets come my way, but it’s shaping up to be a great TIFF.
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