The rest of the titles in my Canuck movie marathon last week:
DETROIT METAL CITY (3-stars) - Incredibly silly but frequently hilarious, plus Gene Simmons in a cameo as metal guitar god Jack Il Dark. Based on a popular manga series, film focuses on a complete dork with a mop top who loves to sing sunshiney bubble-gum pop songs. Unfortunately the only gig he can get is as the foul-mouthed Sir Krauser, leader of the fastest rising death-metal band in Japan, complete with outrageous costumes and demon make-up. But what happens if his family and college crush find out? Good midnight fare and some inspired lunacy, but slapstick and wacky-situation haters may tire of it quickly.
IS THERE ANYBODY THERE? (4-stars) - Michael Caine plays a crusty retired magician and widower who’s reluctantly moved into a nursing home. The facility is run by the parents of Bill Milner (the adorable lead from SON OF RAMBOW), and he’s obsessed with ghosts and what happens after death. Predictably, these two form a friendship and learn plenty from each other, and this is a nicely acted comedy-drama that tugs at the heartstrings. A change of pace for BOY A director John Crowley.
WHO DO YOU LOVE (3-stars) - The Chess Records story as directed by multiple Tony Award winner Jerry Zaks. Two Jewish junkyard owners in 1940s Chicago open a nightclub and soon are taking the gamble of putting out their own records. The fact that Willie Dixon came on board early on and helped add Muddy Waters and Bo Diddley to their roster went a long way to establishing the label’s success. Keb Mo handles a lot of the soundtrack duties (and plays Waters’ guitarist Jimmy Rogers), and there’s some nice performances by Allesandro Nivola as the ambitious and driven Leonard Chess and Chi McBride as Dixon, even if the whole thing feels a bit like a quality TV movie.
$9.99 (4-stars) - Easily one of the most ambitious films of the festival. An Israeli-Australian co-production featuring the voices of Geoffrey Rush and Anthony LaPaglia and amazing stop-motion animation to depict a cross-section of city dwellers pondering the larger questions in life. The characters are from short stories by Etgar Keret, the Israeli
author behind WRISTCUTTERS: A LOVE STORY and JELLYFISH, and director and co-writer Tatia Rosenthal has exceeded the promise of her animated short from a couple of years ago, A BUCK’S WORTH. My suspicion that short was actually part of something much larger proved to be correct as it turns out to be the opening scene of the feature (and it works perfectly).
STILL WALKING (5-stars) - Hirokazu Kore-eda, director of AFTER LIFE and NOBODY KNOWS, has created a quiet masterpiece about a family reunion that’s his best film in years. The intergenerational dynamics, subtle resentments, and unresolved conflicts are superbly depicted as the daughter and her family and the middle son with his new (widowed) wife and her kid spend a weekend with their elderly parents. The reason for the get-together is the 15th anniversary of the heroic drowning death of the eldest son, and the annual visit from the boy that he saved (now a failure of a man) is unfortunately part of the festivities as well. All of this plays much lighter than it sounds, with lots of gentle humor and warmth as well as enticing dishes. Somebody should pick this up!
JCVD (4-stars) - One of the true surprises and no-shit-sensations of the festival. In this meta-movie parody, the Muscles from Brussels, Jean-Claude Van Damme, plays a version of himself: the washed-up action hero in an ugly custody battle with his wife over their daughter, who is actually losing roles to Steven Seagal. During a brief stopover in his Belgian hometown, Van Damme heads into a post office to make a money transfer and stumbles into a robbery and hostage situation. But the authorities have no idea the bad guys are already in the building and think JCVD is so desperate that he’s the one responsible. An ingenious idea for a film that’s both suspenseful and very funny in spots, and overall entertaining as hell. And damn—who knew JCVD could really act?
These words from the lips of the youngest son in Hirokazu Kore-eda’s sublime STILL WALKING seem to sum up many of the themes on display in the group of films I just happened to choose to see up in Toronto. Less an excuse for incompetence or failure of some kind and more of an acceptance of who we are and what limitations exist in the cards we’re dealt, this statement resonated more and more as the week came to a close. So here’s the lowdown on the next group of films:
SUGAR (4-stars) - Anna Boden and Ryan Fleck, creators of HALF NELSON, return with this subtly observed drama about the immigrant experience in America. Their focus is a hot pitching prospect from the Dominican Republic who gets called up to spring training in Arizona and then the minor leagues in Iowa. Unfortunately, homesickness, injuries, and the language barrier all work against Sugar fulfilling his American dream. Much more than a sports movie, this is a film that really makes you care about its characters.
NOTHING BUT THE TRUTH (4-stars) - Loosely inspired by the Valerie Plame case, Rod Lurie’s new political thriller concerns itself with one woman’s fight to stand up for her principles, no matter what the cost. Kate Beckinsale, in her second strong performance in a row after SNOW ANGELS, plays a reporter who outs a CIA agent (the equally strong Vera Farmiga) that had uncovered some potentially damaging info about some lies coming out of the White House. Then all hell really breaks loose. Matt Dillon, Angela Bassett, David Schwimmer and a pitch-perfect Alan Alda round out a superb cast in this slick and entertaining work.
KISSES (4-stars) - A most pleasant surprise. Young teenagers Kylie and Dylan run away from their miserable home situations to downtown Dublin, and over the course of one night, have a series of adventures both charming and unsettling. Both actors are really good and the film cleverly moves from dismal, grainy black and white to full-blown color and back again. But the Irish accents are so tough, the film really should be subtitled for non-Gaelic audiences. Kudos for telling a solid story in only 72 minutes as well!
SYNECDOCHE, NEW YORK (4-stars) - Now here’s one to argue about..Charlie Kaufman, the writer of ETERNAL SUNSHINE OF THE SPOTLESS MIND, ADAPTATION, and BEING JOHN MALKOVICH makes his directorial debut with this daring, challenging, surreal, frequently humorous, and (many would say) infuriating story that will make your head spin. The brilliant Philip Seymour Hoffman plays a hypochondriac playwright and theater director whose latest project swallows up his life and everyone around him—he builds replicas of everything in his world and hires actors to play the parts, and soon it’s hard to distinguish between reality and dramatic recreation. I find the casting of Emily Watson as the Samantha Morton character particularly inspired, since I used to confuse them all the time back in the mid-90s.
THE WRESTLER (5-stars) - Darren Aronofsky’s Venice winner is easily his most conventional film yet, and it’s superb. It also had the biggest lines and hottest buzz of any press screening at the festival. In the role he was born to play (and may just get an Oscar nomination for), Mickey Rourke embodies a one time minor wrestling star now 25 years past his prime, who’s a total screw-up but doesn’t know how to do anything else. Evan Rachel Wood is his estranged daughter and a sexy Marisa Tomei is his stripper friend/possible romantic interest. Welcome back Mickey!
THE OTHER MAN (2-stars) - Where did this one go wrong? Quite possibly the worst film I saw at the festival, it couldn’t have had more pedigree: the fine cast of Liam Neeson, Laura Linney, and Antonio Banderas in an adultery thriller filmed in England and Milan by the director of NOTES ON A SCANDAL, Richard Eyre. But this story blew chunks, the ending is ridiculous, and Banderas is an embarrassingly bad cliche. Must to avoid!
I could say that for some of the movies I’ve been seeing up in Toronto, but I was actually referring to the Leonard Cohen song (himself a Canadian I believe) bookending my day yesterday. First thing in the morning it was the original playing in Starbucks on my way to the Cumberland, then much later in the day it was a Spanish version (!) playing in Ryan Fleck and Anna Boden’s terrific SUGAR. One thing is certain—no matter who’s doing it or what language it’s in, this is one great tune.
More festival films in brief:
SLUMDOG MILLIONAIRE (5-stars) - Warner Bros.’ loss seems to be Fox Searchlight’s gain with Danny Boyle’s adventurous, romantic, humorous, even suspenseful picaresque tale of the trials and tribulations of an orphan boy in India who grows up to find himself on the Mumbai version of TV’s Who Wants To be a Millionaire . This was one of the huge buzz films coming out of Telluride, and audience reaction here will only add to the momentum.
IT MIGHT GET LOUD (4-stars) - Focusing on Jimmy Page, The Edge, and Jack White, this wonderful addition to the rock doc canon gives us three generations worth of classic electric guitar history and anecdotes. Bringing these 3 guys together to shoot the shit and jam is a joy to behold, and the whole thing is nicely edited and chock full of great archival footage.
FIRAAQ (3-stars) - Renowned Indian actress Nandita Das makes her directorial debut with searing drama about the horrifying violence between Hindus and Muslims in the state of Gujarat in 2002. This as an ambitious film with many powerful moments, but there’s too many characters and storylines that don’t really gel by the film’s conclusion. And once again we get a look at domestic violence and how Indian men mistreat women, though not quite to the degree of Deepa Mehta’s new film.
MEDICINE FOR MELANCHOLY (4-stars) - What a pleasant surprise! This beautifully shot, monochromatic low-budget American indie by Barry Jenkins follows two attractive young people for the next 24 hours after a drunken one-night stand at a party. The fact that that they’re black and live in San Francisco make this low-key, urban romantic comedy something special, even if the comparisons to IN SEARCH OF A MIDNIGHT KISS and the Linklater/Hawke/Delpy movies are inevitable.
ASHES OF TIME REDUX (2-stars) - Never saw the 1994 original, but it’s pretty clear why Wong Kar Wai’s only martial arts film was also one of his most obscure. Even with the new re-editing, enhanced color processing, and revised musical score, this tale of an amnesiac samurai, a “problem solving” sword for hire, and the troubled people who cross their path, is just not that engaging in its melodrama and plot machinations. Visually though, the cinematography by Christopher Doyle is often stunning, and it is fun to see Leslie Cheung, Tony Leung Chiu Wai, and Maggie Cheung do their best with the material.
I’ve been here 3 days so far and have seen so much film I haven’t been able to fit in a blog yet. So far I am thoroughly impressed with this city and this festival. I got into Toronto about mid-day on Friday and got in 2 films before the night was over. Kicking off my 5-day film marathon I caught the Brazilian feature ONCE UPON A TIME IN RIO. A unique adaptation on the Romeo and Juliet theme, the film is beautifully set both in the favela slum of Cantagalo and ‘glamorous’ Ipanema Beach and follows the almost fairy tale love story between a young hot dog vendor and a wealthy daughter of a well-to-do lawyer. Cinematography was magnificent - the cinema scope views of Rio from the perspective of the slums were absolutely stunning. Although the story was a little predictable and a little too drawn out, it was still captivating - I’d give it between 3 and 4 stars. Closed out my first day with a stop animation feature called EDISON & LEO. Although technically impressive, the story went all over the place and got me a little frustrated in the end. I’d give it less than 3 stars. I got in a lot more film in Days #2 and #3. I’ll be blogging about that in the morning. —CHRIS BLANC (TIFF newbie)
Back in Toronto for my annual pilgrimage to international cinema heaven known as the Toronto Film Festival, but getting up here wasn’t without incident. Dropping my car off at the Park and Ride by the Orlando airport at 5:30 AM, I accidentally turned on my hazard lights while putting up my sunshades in the windshield. Having never had to use the hazard lights before, of course I had no idea how or where to turn them off (being unable to see the little red triangle on the dashboard didn’t help matters). After at least 10 minutes that felt like an eternity, the mechanical genius in me finally found the damn button and I was able to catch my shuttle without fear of returning home to a dead battery.
The passenger next to me on the flight up was an older guy who looked like he was from India or Pakistan but ended up telling me he emigrated from Guyana. At least I think that’s what he said, since he talked the whole way up to Canada and his accent was so thick that I literally understood maybe 10% of what he was saying. An actual conversation was difficult and lots of head nodding transpired, but he was a sweet guy on his way to visit his sick older sister in Toronto.
Upon arrival and pick-up of the Press Screening schedule, I instantly noticed two things—the weather was delightful (haven’t felt a cool breeze in Orlando for a while) and the pickings were slim for evening screenings. I’m not sure about the reasons for the cutback, but many are grumbling over the paucity of film choices after dinner time if you don’t want to deal with the cost and effort of getting into public screenings. It was such a nice development last year for those of us that aren’t party animals, that it’s a shame it wasn’t continued.
The Opening Night Party was gigantic and packed (and fun) as always, but I must admit the food this year was a bit underwhelming. Someone obviously thought that beef stew and mashed potatos, sausage, chicken/seafood/ham and cheese crepes, and other fairly unappetizing grub all went with the war theme of the Opening Night film, Paul Gross’ PASSCHENDAELE. At least the desserts were impressive and as always, the alcohol was flowing. And while no one was really talking about the movie, everyone wanted to talk about Sarah Palin and the election as soon as they found out you were American.
And what’s the skinny on the films so far? I’ve yet to see a film from the U.S., but I’ve been mostly pleased with my choices. Using the 5-star system our Orlando press uses, here’s what I’ve checked out so far:
SAUNA (3-stars) - Tarkovsky meets Blair Witch in this creepy, evocative and well-shot 16th century tale of ghosts, demons, Swedes and Russians setting territory borders in a mysterious forest. As good as the build-up is, the ending is way over the top and ultimately disappointing. This horror entry from Finland is too gory for the art crowd, too poetic and arty for the midnight audience.
WALTZ WITH BASHIR (5-stars) - a stunning and powerful animated documentary from Israel about war, responsibility, and the nature of selective memory. As the filmmaker searches for information related to what really happened at the Sabra and Shatila refugee camp massacres in Beirut over 25 years ago, you’ll be mesmerized from the opening scene of wild dogs running in the streets. Perhaps not the crowd pleaser that PERSEPOLIS proved to be, but a novel and important work.
THE GOOD, THE BAD, THE WEIRD (not yet rated) - Only got to see the first half of this wild South Korean take on the spaghetti western by Kim Jee-woon (THE FOUL KING), but I loved it. Incredible action scenes, great characters and funny as hell, in all its cinemascope glory—I can’t to see the whole thing soon. When’s IFC releasing it?
HEAVEN ON EARTH (3-stars) - The latest from Deepa Mehta (WATER) is sure to stir things up once again with this well-acted drama of an Indian bride who comes to Canada for an arranged marriage, a mother-in-law from hell, and an abusive and controlling husband, not to mention an extended family all living under one (small) roof. Strong material, but the use of grainy B&W and the magical elements didn’t work for me.
O’HORTEN (4-stars) - Bent Hamer, director of FACTOTUM and KITCHEN STORIES, returns to his native Norway for this typically dry, Scandinavian-funny look at a retiring train conductor. After 40 years at the helm, 67-year-old Odd Horten’s orderly existence gives way to a bunch of quirky encounters and absurd situations. A lovely film that will put a smile on your face—someone in the audience giggled loudly through the whole thing.
EDISON & LEO (2-stars) - Co-written by the screenwriter of Guy Maddin’s THE SADDEST MUSIC IN THE WORLD, this is an ambitious, well-crafted but boring and ridiculous stop-motion animated feature about a thieving inventor (loosely based on Thomas Edison) who has a hairdo like Wolverine. Too violent and twisted for kids, most adults won’t care less. I kept thinking of DAVEY & GOLIATH for some reason, and that’s not a good thing.
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