With just four games left in the regular season, my Minnesota Twins have clinched a playoff berth, are a half game out of a tie for the division lead with the Tigers, and two games back of the Yankees for best record in the American League--I am pumped! The turnaround after being 8 games under .500 in the first two months of the season has been virtually miraculous. They have played most of the season without their stud starting left fielder (and leadoff hitter), Shannon Stewart, and have been without their superstar rookie pitcher, Francisco Liriano, for nearly the final two months of the season. This guy was merely the best pitcher in baseball for over 2 1/2 months before hurting his elbow, and possibly would have been the first pitcher since Fernando Valenzuela over two decades ago to win both Rookie of the Year and the Cy Young award. Yet somehow, with the "healthy" best pitcher in baseball, Johan Santana, anchoring a staff of rookie starters (we won't mention lame veteran Carlos Silva-ugh!), a great bullpen, good defense, and an opportunistic offense, this team of scrappers have come from way back to grab themselves a playoff spot.

For the first time ever, the Wild Card team will come from the AL Central (take that Red Sox!), which will have two teams in the playoffs. Who would've thought the World Champion Chicago White Sox wouldn't be part of that equation, but this is now the best division in baseball. Unfortunately, the Yankees and their $200 million dollar payroll and All-Star at every position (Robinson Cano, hitting .343, batted 9th in the order yesterday with both Giambi and Sheffield back in the lineup--that's sick!) will have to be taken out by somebody, and the Twins haven't been able to do that in recent years. But I'm sure they relish having the opportunity.

Individual honors are of course secondary to the success of the team, but heading into this final weekend a number of Twins have a great chance of picking up some end of year hardware as well: the most likely is Santana winning the Cy Young--he's tied with Wang from the Yankees (his likely Game 1 counterpart in the playoffs) for most wins with 19, and leads all other AL starters in strikeouts, ERA, and opponent's batting average; 1st baseman Justin Morneau is having a monster year hiiting in the .320's with 30-something home runs and 129 RBI, second to only David Ortiz--he's certainly an MVP candidate along with Ortiz and Yankee captain Derek Jeter; catcher Joe Mauer is hitting .350 and trying to become the first American League catcher in history to lead the league in batting average--it's only been done twice before by NL catchers and that was something like 60 years ago. Mauer's main competition are those two aforementioned Yankees--Cano's hitting .343 and because he was out injured for a few weeks, just qualified with enough at bats this week; Jeter's hitting .340 and is having a super year. And finally, though Jim Leyland has done a phenomenal job with a Detroit Tigers team that has surprised everyone, Twins manager Ron Gardenhire has a definite shot at Manager of the Year, especially if Minnesota wins the division. Good things are happening, and Minnesota will be playing ball in October--what more can you ask? Go Twins!

--Matthew

Though the technical snafus seemed to be at an all-time high (not to mention the opening night film fiasco when hundreds of people, including those that RSVP'd like yours truly, were turned away from the screening of A GUIDE TO RECOGNIZING YOUR SAINTS), the quality of both projects and panels at this year's IFP Market seemed better than ever.

I did feel sorry for the filmmakers though. The Angelika has always had issues, including the constant rumble and sound from the subway system and a broken escalator or two. Subway noise was as annoying as ever and we were spared any escalator malfunctions, but the projection and ability to stay on schedule was another matter entirely. Most screenings were starting at least 10 minutes late, which threw off the ability to properly time moving from theater to theater (a common strategy at the Market). Theater # 1 had framing issues, with subtitles on the right side of the screen getting cut off. Theater # 4 had terrible video sound for virtually everything, and apparently management wasn't allowing anyone to make the adjustments to correct the problem. Early on they were turning down the house lights and starting the films before the filmmakers even had a chance to make any intro remarks, and during one director's post-film Q & A they actually started the tech rehearsal for the next scheduled film. After the first day they no longer provided free soda and popcorn for Market-goers, which was such a nice amenity last year. And I'm still annoyed that the video library shuts down at 2:00 PM for "breakdown" on the final day when you're trying to play catch up on "buzz" titles and they're still having screenings all day at the Angelika.

OK, enough bitching. Despite it all, filmmakers were upbeat, the parties were fun, there were lots of good networking opportunities, and a host of worthy film projects that bear watching on their road to completion. I wouldn't particularly say any trends stood out from the pack, though the usual themes of unlikely "sports" competitions, political and racial oppression, biographies of artists, and the post-Katrina experience all had a prescence. Of the (mostly completed) doc features in the Market, stand-outs included EMILE NORMAN - BY HIS OWN DESIGN, a lovely portrait of a great and innovative artist based in Big Sur that was directed by Will Parrinello and produced by Michael Tucker and Jill Eikenberry (of "L.A. Law" fame), both very nice and approachable and big participants throughout all five days of the Market; James Marsh's THE TEAM, a fascinating doc from the director of THE KING and WISCONSIN DEATH TRIP about a soccer team from New York that travels to Austria for the first "Homeless World Cup Championship" --no shit!; and Steve Karras and Rose Lizarraga's ABOUT FACE: THE STORY OF THE JEWISH REFUGEE SOLDIERS OF WW II, a thorough and moving film narrated by Peter Coyote and scored by John Cale, about the European Jews who after escaping the Nazis in their home countries, enlisted in the Allied Forces of the US and Great Britain. I also heard nice things about Luke Wolbach's ROW HARD NO EXCUSES, about a two-man, 3000 mile rowing race, and Abigail Child's ON THE DOWNLOW, about bisexual African American men living in Cleveland.

In the Doc Shorts category, Arturo Cabanas' MAN UP is an intense, deceptively simple look at a military dad using tough love to prepare his teenage son for adulthood. The skillful mix of black and white and color photography adds to its impact. Richard Power Hoffman's FRIDAYS AT THE FARM features striking time lapse photography of farm life in Pennsylvania in its hopeful exploration of a community supported organic farm and a family that decides to change its lifestyle.

The standout Narrative Short (besides Derek Cianfrance's Chrysler Award winner) was Nicholas Child's THE SHOVEL. Focusing on a hole in the ground, a suspicious neighbor, and a police investigation, this featured fine performances from David Strathairn and Tim Guinee and had a nasty twist ending.

But the meat of the Market now is definitely the Docs Works-In-Progress section, and quite a few projects here have my attention: Susan Motamed and Melanie Judd's poignant ADOPT ME, MICHAEL JORDAN, about Ethiopian orphans getting adopted by American families; Paul Devlin's scientific thriller, BLAST, about a team of scientists trying to launch a unique telescope that will provide insights into the origins of the universe and the beginnings of galaxies, and all of the provocative ideas that such an endeavor entails; Cynthia Wade's FREEHELD, the moving and infuriating story of a New Jersey town that does not want to give pension benefits to the lesbian partner of a dying, honored police Lieutenant; Helen Hood-Scheer's JUMP, a breathtaking and exciting doc about the Competitive Jump Rope world that goes way beyond the Double Dutch stuff we're all familiar with; Michael Chandler's KNEE DEEP, the bizarre story of a Maine dairy farmer who schemed to kill his Mom when she threatened to sell the business his father had promised him; Jeffrey Morgan's LILLIE & LEANDER: A LEGACY OF VIOLENCE, a jaw-dropping investigation into a Pensacola family's past and the mass murder of black men who happened to cross their property in the early 1900's; Yoruba Richen's PROMISED LAND, winner of the Fledgling Fund Award for Socially Conscious Docs, about black communities in South Africa trying to get their ancestral land back from the government; Franco Sacchi, Kate Davis, and David Heilbroner's WAITING FOR ARMAGEDDON, a film about the growing section of the population that believes the Apocalypse is imminent and how these lunatics can have profound implications for the rest of us; Julie Checkoway's Doc Work-in-Progress Completion Award winner, WAITING FOR HOCKNEY, an entertaining and humorous cliffhanger about an artist who believes he's produced a revolutionary portarit of Marilyn and what happens after he shows it to David Hockney; and Christopher Wong's WHATEVER IT TAKES, which follows the first year of an experimental high school in the South Bronx and the extraordinarily devoted principal who leads the way. These are but a few of the outstanding projects that will hopefully come to fruition in the coming months (or more likely years).

--Matthew

Since I'm currently in NYC, you may think the Derek I'm referring to is the stud starting shortstop/MVP candidate for the Yankees. Actually the Derek I want to mention is one Derek Cianfrance, winner of the Chrysler Film Project competition announced at this year's IFP Market. Some of you may remember his exceptional first feature, BROTHER TIED, winner of a 1998 Florida Film Festival Special Jury Award for Bold, Original Expression. He also won a cinematography award at the 2003 Sundance Film Festival for his work on QUATTRO NOZA, and contributed some photography to Jacob Septimus and Anthony Howard's B.I.K.E., the highly acclaimed doc feature that had its East Coast Premiere and second US showing after Slamdance at last year's FFF.

Back in '98 Derek was already talking about the next feature he was interested in doing, a project called BLUE VALENTINE. Well guess what? I think he can finally get started! On the strength of his terrific short film that he produced specifically for the contest--LATELY THERE HAVE BEEN MANY MISUNDERSTANDINGS--the man has won himself a one million dollar production deal from Chrysler and Silverwood Films. The five finalists had to use a Chrysler car in their films (like the BMW shorts a couple of years ago), and though they were all pretty entertaining, Derek's was clearly the cream of the crop. So major congratulations to a talented filmmaker and nice guy. Hopefully while we wait for the feature, more people will get a chance to see the short than just the contest judges and the few dozen in the audience at the Market screening of the finalists on Tuesday afternoon.

--Matthew

After a quick 2-day turnaround back in Orlando, I headed out to NYC for this year's 28th annual IFP Market. This is now 11 in row for me. Easing the cultural whiplash I generally get from the transition of watching 25 - 30 mostly accomplished and finished features up in Toronto to some narrative and doc shorts and dozens of doc feature works-in-progress, the IFP thankfully scheduled a Sunday morning screening of THE LAST KING OF SCOTLAND in preparation for the panel at the Puck building later in the day. Though the screening was free to both DGA and IFP members, I guess people didn't notice the invite in the IFP e-mail blast since there was only about 15 of us in the theater. What a shame--this is a superb historical drama inspired by real events, and Forest Whitaker's performance as Idi Amin, the terrifying yet charming leader of Uganda in the 1970's, will certainly be talked about come awards time. The panel with Whitaker, director Kevin Macdonald (TOUCHING THE VOID) and co-lead James McAvoy, was titled "Passport Required" and went into great depth about the film's production and the logistics of shooting in a foreign country. Too bad more people didn't see the film prior to attending.

Once again the Market seems to have less projects than the year before and a greater concentration on meetings for the filmmakers and panels, yet there are still a number of familiar names with new projects that bear checking out. Things I'm interested in viewing either in the Angelika or in the video library if necessary include: EMILE NORMAN - BY HIS OWN DESIGN, a film about an artist produced by Michael Tucker and Jill Eikenberry (of "LA Law" fame); SECRECY, a film about classified secrets by Robb Moss (THE SAME RIVER TWICE); THE TEAM, which deals with a soccer team that recruits the homeless, and is directed by James Marsh (THE KING, WISCONSIN DEATH TRIP); ADOPT ME, MICHAEL JORDAN, from Susan Motamed, producer of ENRON: THE SMARTEST GUYS IN THE ROOM; THE AXE IN THE ATTIC by Lucia Small (MY FATHER THE GENIUS); BLAST, the new work from FFF Grand Jury Prize winner Paul Devlin (POWER TRIP); FREEHELD, a new film from FFF veteran Cynthia Wade (SHELTER DOGS); JUMP!, a film by Helen Hood Scheer, producer of Arlene Donnely's FFF faves NAKED STATES and POSITIVELY NAKED; THE TOY MOVIE, from 2006 FFF award winner Dori Berinstein (SHOWBUSINESS: A SEASON TO REMEMBER); WAITING FOR ARMAGEDDON, a film listed as being directed by Franco Sacchi but will actually be made with FFF award winners Kate Davis and David Heilbroner (PUCKER UP, SOUTHERN COMFORT) as well; and even a couple of narrative shorts including KUBUKU RIDES (THIS IS IT), directed by Steppenwolf Theater Company's Terry Kinney ("Oz" and Tim McCann's RUNAWAY), and THE SHOVEL, starring Oscar nominee David Strathairn and Tim Guinee from SWEETLAND.

And these are just the titles where I've got some familiarity with the talent involved. I'm sure they'll be a few surprises and discoveries along the way.

--Matthew

Fitting that, with the NYC IFP Market trip next on the travel agenda, we'd suddenly start seeing black squirrels running around Toronto. At least they weren't exhibiting flesh-eating behavior like the one I came upon my first day in New York last year that was chowing down on a dead bird. It was gross then and it's still disgusting thinking about it--circle of life my ass!

Final Quick Takes from Ontario: When I didn't get in to see DEATH OF A PRESIDENT, the most convenient alternative was THE ABANDONED (2-Stars), also playing at the Cumberland. A nicely shot ghost story with decently forboding atmosphere, this English language Spanish film set in Russia (!) is ultimately too convoluted and ridiculous. In fact, this story of an adult sister and brother confronting their family demons in an isolated farm house probably had the highest percentage of walk-outs of any of the screenings I attended. Of all the worthy selections in the MIdnight Madness section this year, this one was the weakest of the bunch. FAY GRIM (3-Stars) - First let me say that HENRY FOOL was my favorite film of the festival when it played here 8 or 9 years ago. Everyone is back in Hal Hartley's much anticipated sequel, with the addition of Jeff Goldblum as a perfectly cast CIA agent. But what starts out hilariously deadpan and bizarre, not to mention cleverly shot from every angle but a straight one, grows tiresome in its complicated tale of political intrigue and espionage. Parker Posey is terrific once again (what a festival with both this and FOR YOUR CONSIDERATION!), and the film looks great shot in HD (and had the best video projection I saw the whole week), but this subject matter and spy stuff wore me down. AMERICAN HARDCORE (4-Stars) - In theaters any day now, I was happy to catch up up with Paul Rachman's thoroughly researched and entertaining doc about this particular part of the early 80's punk scene after missing it at Sundance. With a great deal of emphasis on Black Flag, Bad Brains, and Minor Threat, the film is nicely constructed with good archival footage and interviews. But for my money the definitive early 80's punk doc is still Penelope Spheeris' classic THE DECLINE OF WESTERN CIVILIZATION. RESCUE DAWN (4-Stars) - Based on his own documentary from 1997, LITTLE DIETER NEEDS TO FLY, Werner Herzog has made a really good Vietnam War POW story that should be his biggest success in years. Christian Bale, who just keeps getting better and better, is fantastic as Dieter Dengler, the German-born US Navy pilot who was captured in Laos and tortured until he finally escaped. Steve Zahn is also great (in a serious role!) as a fellow prisoner, and it seems one of our most extraordinary filmmakers is happy being back in the jungle. SEVERANCE (4-Stars) - The British sales division of an international arms company goes on retreat for a little team building in Hungary, and ends up at the wrong lodge in the wrong forest--bad move! Without giving too much more away, I'll just say that this sick, funny, bloody, and violent combo of "The Office" with DELIVERANCE and FRIDAY THE 13TH both shocks and rocks--another perfect Midnight Movie!

--Matthew

Someone already responded to my last blog about the People's Choice award, and it seems that ballots may have only been available at the public screenings, not the Press & Industry ones. Are we perceived as so jaded and cynical that we can't give a fair assessment of our favorite film of the festival? If that's the case that would be an interesting position for the festival to take.

Toronto's such a nice, clean city (at least where we are centered during the festival), that even a bit of grafitti can make one do a doubletake. Sitting in the back row of the Varsity 6 and glancing at the wall to my left, I noticed the following complaint scrawled in black marker: "Lower prices for movies - $14 Give me a Break" Now there's an unhappy patron, and at those prices who can blame him?

Quick Takes: AWAY FROM HER (4-Stars) - A well-made golden-year drama skillfully directed by actress Sarah Polley in her feature debut. A still-lovely Julie Christie is sublime in this touching story of a woman moved to an assisted living facility due to the onset of Alzheimer's disease, and the emotional strain it takes on her husband (an equally good Gordon Pinsent) as he reflects on their life together and adjusts to his new situation. Olympia Dukakis co-stars in this Lionsgate pickup scheduled for Spring 2007. THE KILLER WITHIN (3-Stars) - An esteemed psychology professor and family man decides to suddenly tell his grown daughters, his colleagues, and his students about murdering his college roommate at Swarthmore fifty years ago. Great idea for a doc, fascinating in places, but lacks the mindblowing conclusion the subject matter demands and still leaves some questions unanswered. The latest from Macky Alston, whose fine FAMILY NAME played the Florida Film Festival back in 1997. BLACK SHEEP (4-Stars) - Almost perfect Midnight fare from New Zealand. Clever, funny, bloody, and gross, this horror-comedy about genetically altered killer sheep features good special effects and delivers on all fronts. This film had surprising buzz considering the subject matter, and will surely get US distribution if the right company is smart enough. Sheep and goats always kind of creep me out anyway--it's that thing with the eyes. TRAPPED ASHES (2-Stars) - Marginally minor horror fun here in this omnibus featuring the collected talents of Joe Dante, Ken Russell, Monte Hellman, Sean Cunningham, and John Gaeta (visual effects guy for THE MATRIX), not to mention the B-movie acting talents of John Saxon, Henry Gibson, and Dick Miller. The Tales From the Crypt-like stories feature vampire tits (!), all kinds of ghosts, a six-foot tapeworm, and lots of cheesy T&A and animation. Kind of like OK late night TV fare. RENAISSANCE (3-Stars) - A cop investigates the disappearance of a scientist in the Paris of the future in this stunning-looking (almost exclusively) black and white scope animated sci-fi feature. Comic book geeks should eat this up,and the voice talents of actors like Daniel Craig, Ian Holm, and Jonathan Pryce add to its pedigree, but the overall effect (and narrative) seem less edgy and compelling than SIN CITY. VINCE VAUGHN'S WILD WEST COMEDY SHOW: 30 DAYS & 30 NIGHTS - HOLLYWOOD TO THE HEARTLAND (4-Stars) - Ari Sandel (director of the great dueling falafel stand musical, WEST BANK STORY, from FFF 2005), hits the road with VInce Vaughn and four unknown but talented comedians for a month of performances and tourbus and backstage shenanigans. A little improv (Jon Favreau, Justin Long, and Peter Billingsley show up here and there), a little music (Dwight Yoakam and Buck Owens make appearances), and a surprisingly moving and hilarious look at these performers and their art makes this one a definite winner. The bit about the Ross For Less store was so funny it was painful.

--Matthew

Well, it had to happen at least once during the week. Despite my best efforts to get on line at least 30 minutes early and even hopping in a cab to guarantee it, I did not make the cut for those getting into D.O.A.P. (DEATH OF A PRESIDENT). Since the Cumberland 3 seats 319 and the volunteer with the clicker said I was right at #300, I was optimistic that I'd get to see one of the real "buzz" titles at the festival and the film that had Fox News' panties in a twist. But of course that's before all the line jumpers squeezed in with their buddies and co-workers and ruined it for the rest of us. There's a little thing called karma you know... Anyway, word has it that this controversial British mock doc about the US administration after Bush gets assasinated is pretty darn good--cleverly constructed with a seamless mix of archival and fictional "news." But at least Newmarket picked it up (they've been quiet since THE CHUMSCRUBBER last year and the whole Picturehouse thing, haven't they?), so hopefully we'll all have an opportunity to judge for ourselves in the near future. And though many Press and Industry screenings were insanely crowded this year (Monday in particular was nuts!), I somehow managed to only strike out this one time.

What happened to the "People's Choice " award this year? Ever since I can remember, Toronto has used this system to determine their Audience Award winner. But as we headed to the airport for the flight home, I realized I had forgotten to vote this year (BABEL would have been my selection), and just as quickly realized that there had been no ballot boxes at the theaters anyway, nor had there been the usual trailer hyping the award and telling people to vote. What's up with that?

I did get a kick strolling home very late one night down Yonge Street. Though I must have walked by it dozens of times, I found myself reading the digital ticker/marquee on the outside of The Brass Rail, a huge strip club taking up a good size chunk of the city block. Not only did they "Welcome Film Festival Fans," but I liked their attitude when they personally guaranteed "Very Satisfying Lap Dances." If you disagree do they give you your money back? We'll never know.

--Matthew

I saw 10 more films my last three days in Toronto. The rain and clouds didn't let up so I was happy to snuggle up in the good, the bad, and the rest. The good:

Todd Field's LITTLE CHILDREN. I can't believe Kelly from the Bad News Bears was able to create one of the creepiest performances I have ever seen. Ick but a great piece of acting. What a chilling and yet somehow touching film. I just got chills typing this...

BLINDSIGHT blew me away. Last year, Black Sun, another doc about blindness really got to me. This year BLINDSIGHT did it again. A blind German woman is inspired by Eric Weihenmayer's ascent of Everest and invites him to help her Tibetan students challenge themselves. Their partial ascent doesn't turn out like you would think and becomes about Eastern/Western cultural differences and what these brave young kids can accomplish off the mountain, which by the way is apparently anything.

STARTER FOR TEN was the final in the James McAvoy trifecta. Predictable? Mostly, but entertaining nonetheless. What's impressive about McAvoy is that he is able to range from a quirky freshman here to a doctor in the middle of a civil war in THE LAST KING OF SCOTLAND. P.S. take note tweens, there's a new heartthrob in town.

BREAKING AND ENTERING is one of those films that is enthralling but you're not quite sure why. Minghella made his mark with The English Patient, The Talented Mr. Ripley, and Cold Mountain...all focused on heightened dramatic circumstances. They are equally dramatic here but more centered on everyday life as opposed to a war, a serial killer, or, oh yeah, a war. What's impressive is that the tension is just as high with mere theft and loss of love and the characters just as enthralling. My admiration for Robin Wright Penn also increases each time I see her on screen.

I only got to see the first hour of NUE PROPRIETE. We've already established how I feel about French film, but even more so, Isabelle Huppert's performances are always stunning. Wish I could have seen the end but I opted to run off to STARTER FOR TEN...not a totally regrettable decision.

The Bad:
Thankfully there are only two here...just a few that did nothing for me. GRIFFIN & PHOENIX has okay acting but a plot twist that made me groan...until the end of the film. THE MISSING STAR led me by the nose all the way, wanting to know more to understand, but alas nothing. Was something lost in the Italian and Chinese translation?

The Ehhhh:
RENAISSANCE was stylistically beautiful but a little long. Not everyone's cup of tea, a stronger plot would help, but graphic novel fans should rejoice. THE PLEASURE OF YOUR COMPANY is Michael Ian Black's (Wet Hot American Summer, TV's Ed, Best Week Ever) directorial debut. Despite another American Pie performance by Jason Biggs, the film is moderately funny and well done but somehow seemed bland. SHARKWATER is more of a tv doc but includes incredible footage of man hugging shark and a Greenpeace-type shark rescue effort being chased into international waters at gunpoint. Good stuff. Not a big fan of shark fin soup, I was shocked at the dangerous illegal international trafficking and near extinction it is causing. Damn, just have some Campbell's people!

Our flight home had more turbulence than I have felt in a while. I spent half the flight clutching the arm of the gentleman next to me. Good thing he was a cutie!
-- Shannon

Yes, I did go see BORAT. I figure we each deserve one guilty pleasure on the trip, right? Hysterical by the way. Despite it's initial wacky physical comedy, it is in fact a scathing commentary on the U.S. I could feel myself sinking into my seat from embarrasment as I laughed until I cried. Well, there it is. Our secret is out, the sad part it that I know there are a lot of people out there who WON'T get it...ugh.

Before BORAT I went to LOVE AND OTHER DISASTERS. Yes, it's a chick flick with Brittany Murphy as a modern day Holly Golightly, but the dialogue is clever, Murphy is charming, and in the midst of all its cutesy set ups, the film remains shockingly unpretentious. I love films like this for what they are: fun escapism. And isn't that what chick flicks are all about?

A.B. (after Borat), I went to 10 ITEMS OR LESS. Normally, I must confess I am a person who hates movies about making movies. Just a pet peeve of mine, but this film is so clever and who can help but be beguiled by Morgan Freeman and Paz Vega. Both are just trying to get through another day, initially getting in one anothers' way then ultimately being the only person who could have helped the other through it. So I guess it really isn't a movie about making movies, but it's the closest I'll ever get to liking one.

I wanted to like HULA GIRLS so badly. My ex-husband's parents were among the very first luau dancers at Walt Disney World and having heard of their misadventures in a strange land throught this film would be right up my alley. Based on a true story, the film starts out with all the elements of a moving story. A village struggling against change, a young girl with high hopes, an outsider as teacher. But somehow as the film wears on, it lost me. If the entire village burst into tears one more time, I thought I was going to scream. Don't get me wrong, this is the same girl who enjoyed LOVE AND OTHER DISASTERS and is a big fan of a good cry, but man, I just wanted someone in the village to yell at them all to stop being so overly emotional every second.

Matthew was right, the SHORTBUS party was really fun but long and I either had to get really drunk or go home and go to sleep. Sleep won out as I am reluctant to make an ass out of myself in public on a normal day in front of my friends, let alone in front of other professionals in a foreign country...maybe next year.
-- Shannon

Every so often during a festival they'll be one of those quirks in the schedule when the only thing playing worth seeing is a film that doesn't apply to any of our needs areas. It's not applicable for any of our special programming or mini-fests, it will be released way before the next Florida Film Festival, and we know it's not gonna open at Enzian (either because it's a major studio release or the distributor is already committed elsewhere). These are what we refer to as "guilty pleasures," and Sunday morning provided a couple of doozies. While Shannon went for BORAT CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN, I got to see FOR YOUR CONSIDERATION, and what a joyous experience that was (more on the film later).

Last night we arrived unfashionably early for the much-anticipated post-film concert/party in honor of John Cameron Mitchell's new work, SHORTBUS. Since it was advertised from 10 PM - 4 AM and we knew there was no way we'd be there until the wee hours, we figured to stay for as long as possible and hopefully still get to see some industry friends and good music. Unfortunately, without any place to sit and rest my troublesome middle-aged lower back, we didn't make it to John's performance (I would've loved to hear some HEDWIG live if that's what he ended up playing). But the people-watching was great, the assortment of Go-Go dancers of all shapes and sizes pretty entertaining (including the zaftig woman, the two ballet dancers, and the "Monkey Girl" with fur and hair in way too many places), and we did get to hear a couple of SHORTBUS cast members display their musical talents. And the hosts of the event, a drag queen and king who called themselves Kathy Bates and Kevin Spacey, were pretty funny. Thanks to Michael and Erin and everyone at THINKFilm for the invitation.

Quick Takes: ALL THE KING'S MEN (3-Stars) - This one gets an extra star for Sean Penn's typically great performance as the Huey Long-like Louisiana politician in this remake based on the novel by Robert Penn Warren. But despite a cast that also includes(get this!) Jude Law, Kate Winslet, James Gandolfini, Mark Ruffalo, Patricia Clarkson, and Sir Anthony Hopkins, the film feels all wrong. Perhaps trimming it down to 2 hours killed it, but the voiceover narration, the inconsistent Southern accents, and James Horner's cloying and overdone score are just some of the problems in this long-delayed disappointment. FOR YOUR CONSIDERATION (5-Stars) - Christopher Guest and company take aim at Hollywood in this hilarious look at a film production called "Home From Purim" and the effect that some rumored Oscar buzz has on everyone connected to the film. Add Ricky Gervais (as the studio head) to the comedy dream ensemble of Catherine O'Hara, Harry Shearer, Eugene Levy, Parker Posey, Fred Willard, Bob Balaban, Michael McKean,Jennifer Coolidge, and the list goes on--they're all back and as good as ever. LITTLE CHILDREN(5-Stars) - The excellent new comedic drama from Todd Field (IN THE BEDROOM) about disgruntled surburbanites and parents who end up having an affair while the town reels from the addition of a paroled sex offender to the neighborhood. Wonderful performances by Kate Winslet, Patrick Wilson (who is this guy?), Jennifer Connelly, and Jackie Earl Haley (who was also in ALL THE KING'S MEN as Sean Penn's creepy bodyguard), along with a smart script and voice-over narration that actually works, make this one of the best films of the year. THE NAMESAKE(4-Stars) - Mira Nair's poignant family saga that moves from Calcutta in the turbulent 1970's to present-day America is a beautifully shot drama with some nice humorous touches. Kal Penn makes a nice transition into a more serious role, and it's only in the film's latter moments that the dialogue and action veer toward the melodramatic. It's no MONSOON WEDDING but still well worth a look. THE FALL(2-Stars) - What the hell? Tarsem, the director of THE CELL and REM's "Losing My Religion" video, spent four years shooting this exotic, grand-looking, yet completely ridiculous adventure-fantasy about a hospitalized silent-film stuntman who's telling a heroic story to a little girl in exchange for stolen morphine from the hospital pharmacy. The broken-armed child is certainly precocious, but for all the visually striking locations and set design, the film is boring and poorly acted (perhaps intentionally to heighten the Saturday morning serial/silent film influences). A major letdown.

--Matthew

Being at Toronto is like being in spring training. No rest for the weary. Somehow even our own festival doesn't feel this tirinig, but then again, we don't watch five films a day at our Fest. By then we've seen everything...twice. We are busy running in and out preparing for the next thing. But here we train. Five films in one day is nothing. Matthew once saw seven. Yesterday, here were my five:

I actually slept in a little before going to PARIS JE T'AIME a delightful string of vignettes, I wouldn't even call them short films, from various directors from Wes Craven to Gerard Depardieu. As someone on the virge of visiting Paris for the first time, I already feel like I never want to leave. The film explores all kinds of love...passionate, enduring, parental, vampiric, etc. amidst a whirlwind tour of each neighborhood in Paris. I doubt Parisians would define their neighborhoods as these clips do, but for those of us on the other side of the pond it was a delightful visit.

In stark contrast, THE LAST KING OF SCOTLAND is a powerful, if somewhat ficitonal look into the reign of Idi Amin. I remember hearing his name as a kid and learning later what happened, but the film manages to portray why and what we didn't know when we didn't know it. A very painful look from the outside but actually within the action. Forrest Whitaker is incredibly lovable and psycho at the same time, and the film marks a breakthrough performance by James McAvoy (also in PENELOPE here in Toronto).

Bouncing back to the Cumberland for CANDY, my day didn't get much brighter. Despite great performances and an adept script, I have to say addiction films bore me. Maybe, having never been or known an addict intimately I just don't get it, but the plots get old. I want to quit. I can't quit. I have issues. I want to quit. I can't quit. You enable me. I want to quit...blah, blah, blah. I want to care! I do! But somehow I can't. Maybe it's just me and my issues that make me insensitive...apologies to all addicts and filmmakers who see something fascinating I don't.

Again, I returned to the Varsity and all this bouncing back and forth today with barely a half hour in between is exhausting me. SUMMER '04 doesn't perk up my day much. Another nod to Lolita, this time in German when a young girl is on vacation with her boyfriend's family and meets the local returned ex-pat hunk. Usually a fan of plot twists, this one actually ruined the entire rest of the film for me, which up until that time I found extremely entertaining.

7 ANS was a better way to end the day. Again, for some reason I am drawn to French films. This one tells the story of a young wife trying to continue on while her husband spends seven years in prision. She visits him and does his laundry, watches the young boy across the street, and dreams of having her own family some day. Then she meets a young guard who provides some distraction, stunningly with her husband's approval. Love is not love which alters when it alteration finds...or is it? Good stuff.

The weather has taken a turn for the rainy and chilly. I have never seen rain in four years here but the cool weather is a joy.
-- Shannon

Day 3 at the Toronto Film Festival finds a new and curious trend in my films thus far, as well as some uncommonly wet weather that has cooled things off considerably. Usually by now I'm surprised when a movie has no scenes of someone vomiting (and TAXIDERMIA has enough to count for a week's worth), but so far that action has not been so prevalent. Nope, what's eliciting groans and making audiences squirm in their seats has been stitches--usually without the stitchee having any anaestetic and in a couple of cases, the characters are sewing up themselves! That'll get your attention...

I'm happy to report I've yet to hear a single cell phone go off at a screening (yea!), and the glow of open crackberries has been kept to a minimum. Thank you. I find it a little ironic that right after the pre-film trailer for the Motorola Talent Lab (short excerpts of films shot on a cell phone that presumably only look decent on a 2-inch screen), comes the Cineplex trailer imploring audiences to "Think BIg." In other words, go to their movie theaters and see films on the big screen, not on your I-pod, computer, or mobile phone. We'll have to see how this whole streaming movies to cell phones thing works out for Sprint. If you ever see me watching one, please put me out of my misery.

Thanks again to Matt Dentler and SXSW for the intimate gathering Friday night in celebration of Bradley Beesley and Sarah Price's new doc feature, SUMMERCAMP! Of special note was their choice of entertainment--The Flaming Lips, in town for a music festival headlining gig on Saturday night, did a short but fun acoustic set, including a tune called "Plastic Jesus" that's apparently from the film, COOL HAND LUKE. Still no word on the release of CHRISTMAS ON MARS by the way.

Quick takes: THE BOTHERSOME MAN (4-Stars) - a droll and surreal satire from Norway about a young man who, having failed at a suicde attempt, ends up in a city where everyone's just a bit too happy and polite. There's lots of funny stuff here, it's distinctly Scandinavian, and the prolonged train encounter is a gem. THE WHITE PLANET (3-Stars) - French filmmakers spend a year in Antarctica filming assorted wildlife and the changes of the seasons. Sound familiar? While it may not have the narrative thrust of that other recent doc feature about penguins, it still has some strikingly beautiful camerawork, baby polar bears that are cute as hell, and some other cool creatures like the hooded seals (that blows up the skin on their heads like Dizzy Gillespie's cheeks). BABEL (5-Stars) - the latest from Alejandro Gonzalez Inarritu, director of AMORES PERROS and 21 GRAMS, once again involves multiple story lines and time shifts, though this time on four continents and with a cast including Brad Pitt, Cate Blanchett, and Gael Garcia Bernal. The accidental and random shooting of an American tourist in Morocco is the common thread here, and while the three main stories may not be as integrally connected as in his other work, the film is brilliantly directed and shot, and emotionally gripping for the duration of its nearly 2 and a half hour running time. A must-see. TAXIDERMIA (3-Stars) - Hungarian director Gyorgy Palfi's new film after his highly acclaimed HUKKLE plays like Monty Python and Jeunet & Caro crossed with Jodorowsky and Arrabal. Sick, twisted, graphic, extremely gross, yet quite funny in places, the film's three sections tell the story of a soldier with sexual fantasies (who happens to shoot flames out of his penis), and his descendants including a competitive eater who becomes a monster and a creepy taxidermist. One of those "you've got to see it to believe it" experiences, and definitely not for the squeamish (or vegans for that matter). LIGHTS IN THE DUSK (3-Stars) - Aki Kaurismaki's new work after THE MAN WITHOUT A PAST is instantly recognizable though not quite up to his prevous work. Deceptively simple and with that droll Finnish sensibility, this riff on a film noir involves a sad sack of a security worker who becomes the patsy for a blonde working for her Russian mobster boyfriend. PAN'S LABYRINTH (4-Stars) - Guillermo Del Toro is back in THE DEVIL'S BACKBONE mode with this magical and bloody fable set during the Spanish Civil War, where a fascist stepfather-Captain is as frightening and evil as the supernatural beasties that exist in a little girl's fantasy world come to life. Way too intense and gory for kids (who would actually love some of the elements here), this is a Grimms fairy tale for adults that truly delivers the goods. THE SUGAR CURTAIN (3-Stars) - an interesting doc about contemporary Cuba, in which the filmmaker goes back and talks to classmates from elementary school two decades ago as well as family members. Simply filmed and intimate, the overall tone is one of disillusionment for those that stayed behind and believed they were part of a common cause to make their youthful ideals for their homeland come to fruition.

--Matthew

This morning there was no water pressure in our apartment. So maybe being on the 11th floor in an old building isn't so great. Nighttime showers it is! We went to the ThinkFilm breakfast this morning and there among the cast of SHORTBUS celebrated the company's fifth anniversary. Matthew and I saw SHORTBUS a few weeks ago and I have to admit it was odd at first standing there watching the cast eat danish and coffee having seen them bend in positions I didn't even know was possible. But then it hit me that that was part of the point of the film. We all do it. IT and other stuff, eat, drink, shit. We just are. If we kill and mame on film constantly, why can't we fuck too? A little philosophical for 9:30 in the morning but there it is.

Afterward we planned out our day and parted ways. I to Adrian Grenier's SHOT IN THE DARK, the French drama CAGES, and VENUS starring a now ancient Peter O'Toole. Matthew to three others. I don't know a lot about Grenier. I am one of the fraction of people who have barely seen Entourage. But his film is a touching and honest look at a 23 year-old searching for his father. Not overly emotional, but obviously heart-felt. A publicity stunt? Maybe, but I kind of find that hard to believe considering the grounded people around him.

CAGES was powerful and interesting. A fresh look at deep love and loss. French films never cease to amaze me in their honesty. They are so much more emotionally real to me for some reason. Maybe because just when I thought the film was about to turn into a campy revamped Misery, it didn't and held my attention until the end.

VENUS proves that talent is talent at any age. Peter O'Toole is brilliant and sharp as always as an aging actor with the opporutnity for one last Lolita encounter. The young woman playing opposite him, Jodie Whittaker, completely held her own in the presence of greatness. Despite eons of culture between them, the two characters connect because of their vulnerabilities. Vanessa Redgrave turns in stellar performance as usual, nearly out shining someone a fraction of her age and highlighting what it means to age gracefully.
-- Shannon

They say you're never too old to learn something new, and the trip north to Canada for this year's Toronto Film Festival certainly reinforced that point. Checking in at the Air Canada/United Airlines counter at 6:30 AM (for our 8:00 AM flight) on Thursday, the attendant took our passports, seemed a little confused, refused to look at our confirmation printout, said everything was good, handed us our boarding passes, and told us what gate to proceed to. Upon attempting to board the plane 20 minutes prior to take off, we discovered that not only were our seats different than what we had reserved while booking the flight, but she had ticketed us for the next flight out to Toronto 6 hours later at 1:55 PM. Why she did this (supreme incompetence?) we'll never know. After many frantic phone calls, contact with Canadian immigration, and lots of running around by the wonderful person at the gate, we were finally able to get on the early flight and our bags even made it--amazing! Moral of the story: verbally confirm the flight number, time of departure and gate every time with the person checking you in--who the hell knows what they're doing! That this could happen on an International flight in the current climate is even more mind-boggling.

Thankfully the flight itself was without incident and I was very impressed by Air Canada's "enRoute" entertainment touch screen system in the backs of the seat headrests. Check this out--under the "Movies" category, they actually have 8 different categories: Avant Garde(!), Classics, Holllywood, Family, Contemporary, World, Franco-cinema, and Canadian. Each one had anywhere from 2 to 8 titles which you could watch previews for or in their entirety, and though some of the choices actually fit better in other categories, the list was pretty formidable for an airplane. Unfortunately I was too tired to start watching films at that time of day (especially knowing the task at hand once we landed), but titles in their library included BALLETS RUSSES, THANK YOU FOR SMOKING, WAH-WAH, WAKING LIFE, the original STRICTLY BALLROOM, WATER, DOUBLE DARE, SOPHIE SCHOLL: THE FINAL DAYS, THREE TIMES, and BEOWIULF & GRENDEL. Now how cool (and cultured) is that?

Now on to the miniscule sampling of the 352 films on display here in Toronto at this glorious festival. For consistency sake with the Orlando media's way of doing things, my quick takes will be accompanied by a 1 - 5 star rating. Things got off to an auspicious start with THE HOST (4-Stars), a Korean monster movie with a giant mutant fish (you have to see it to believe it!) running amok and causing major death and destruction. When a dysfunctional family sets out to rescue one of its own, the stage is set for for a comical creature-feature that skillfully blends horror and social and political satire with some jaw-dropping special effects. Next up was one of the most anticipated films of the festival, Almodovar's VOLVER (4-Stars). The stunning Penelope Cruz is wonderful in this juicy, comic melodrama that plays like the ultimate Spanish chick flick. Mothers and daughters, sisters and friends, family secrets, generational ties, a fully functioning "ghost" and a dead body are some of the key elements in this impeccably acted work that's sure to be one of the Fall's biggest art house releases.

--Matthew

Once again I have made the journey north to Toronto. Hard to believe this is my fourth year here. Matthew just celebrated(?) his tenth anniversary at Enzian. I had my fifth in June. How does time fuck with your mind like that? I know, I know. Mathematicians have been wondering for millenia...

Anyway, after nearly missing our flight after checking in early at 6:30 AM, we boarded the plane. The woman who checked us in randomly put us on the next flight and the attendant at the gate had to run around like a mad woman to get us on the plane. Thank god she had some sense. I would have raged if I woke up at 5 and had to wait until 2 to get on a flight.

Once here we checked into our place. A new one for us this year, it is a cute little one bedroom apartment much closer to the theaters and the shopping district. Way more space for Matthew and I to spread out so we're not climbing all over each other and getting on each others' nerves. We dropped our stuff and went to Sutton Place to check in. We ate our traditional Biscotti lunch and read the schedule. Matthew went to see a South Korean horror while I checked out CONFETTI. Charming and silly, this film is what would happen if Christopher Guest was British and made a film about weddings.

Afterward, we met up with our booker Don for VOLVER the newest from Pedro Almodovar starring Penelope Cruz. As with all of his films it was quirky and funny and more insightful to the relationships of women than a man should be allowed. Then we went to Yorkville for dinner and chatted about all things film related. I love this business, and no offense to Don and Matthew but I found my attention drifting away to the Steelers/Dolphins game more often than not. (Go Steelers!)
But maybe I was just sleepy...
-- Shannon

Son of a bitch! Woke up to the news Monday that "Crocodile Hunter" Steve Irwin, the Australian TV personality and environmentalist, was killed on the job. Apparently he was filming an underwater doc on the Great Barrier Reef when the accident occurred and he took a stingray's barb to the heart--ouch!

To say that this man's job was a dangerous one is an understatement. But like adventurer Jeff Corwin--whose escapades also air on Animal Planet--you always felt that because it was taking place on camera and our host was so experienced, no way can this kooky risk-taker get seriously hurt. That is why his death is still shocking, no matter his line of work.

My kids grew up watching "Crocodile Hunter" on TV, and I even took them to see the adventure-comedy feature film, THE CROCODILE HUNTER: COLLISION COURSE (2002) about five years ago (fairly entertaining if I remember correctly). Not only was the TV show funny, informative, thrilling at times, and cool alternative programming for children, but it definitely contributed to their education and enthusiasm for some of the frightening and bizarre creatures on this planet. For a time, this was "must-see" TV that we could all watch together, see something we've never seen before, and actually learn a thing or two.

Yes, he pulled a "Wack Jacko" moment a couple of years ago when he brought his 1-year-old son into a crocodile show at the Australia Zoo and fed a 13-footer some meat with the infant tucked under his other arm. Not exactly a model for good parenting, but he said the boy was never in any harm's way. Luckily that proved to be the case. And there was also some controversy about him getting too close to the animals during a shoot in Antarctica some time after that. But Steve Irwin did so much good while he was alive and clearly was as passionate as one could be about their work. His show was such a phenomenon that his "Crikey!" exclamatory catch-phrase became a household word. The "Crocodile Hunter" revolutionized the nature show on television and though others have followed in his footsteps, Steve Irwin will be missed.

--Matthew