By MCN Editor editor@moviecitynews.com

TIFF ’11: Midnight Madness Titles

Toronto – The Midnight Madness programme walks on the cinematic wild side at the Toronto International Film Festival® with a riveting roundup of supernatural slayers, crossbow killers, corpse smugglers and a re-imagined Bonnie and Clyde for the 21st century. Programmed by Colin Geddes, the international lineup features nine world premieres and is one of the most highly- anticipated announcements on the radar of genre geeks around the world.

“Ravenous cinephiles will devour the roster of chillers, action thrillers and pitch-black comedies that fill this year’s slate,” said Colin Geddes, TIFF Programmer. “Martial arts assassins, cops and robbers, escaped lunatics and vampire ballerinas will take over Ryerson Theatre every night at midnight, and deliver the shocking and rocking experience that our loyal audience flocks to take part in, helping make these screenings so memorable.”

The Midnight Madness selection includes films from Bobcat Goldthwait, The Blair Witch Project director Eduardo Sanchez, Japanese cult director Katsuhito Ishii, and marks the return of a director-duo discovered in the program in 2007, Julien Maury and Alexandre Bustillo.

The Day Douglas Aarniokoski, USA    World Premiere In a post-apocalyptic future, an open war against humanity rages. Five survivors wander along rural back-roads, lost, starving and on the run. With dwindling food stocks and ammunition, an attempt at seeking shelter turns into a battleground where they must fight or die. Starring Ashley Bell, Dominic Monaghan and Shannyn Sossamon.

God Bless America Bobcat Goldthwait, USA    World Premiere Loveless, jobless and possibly terminally ill, Frank has had enough of the downward spiral of America. With nothing left to lose, Frank takes his gun and decides to off the stupidest, cruellest and most repellent members of society with an unusual accomplice: 16-year-old Roxy, who shares his sense of rage and disenfranchisement. From stand-up comedian and director Bobcat Goldthwait comes a scathing and hilarious attack on all that is sacred in the United States of America.

The Incident Alexandre Courtes, France    World Premiere George, Max and Ricky are in a rock band and waiting for their big breakthrough. Between small gigs and rehearsals they work in the kitchen of a high-security asylum for good pay at minimum risk – they have no physical contact with the inmates. One night just before dinnertime, a big storm shuts down the security system, the doors open and the lunatics break loose. Help is on its way and should soon arrive… they just have to survive until it does.

Kill List Ben Wheatley, United Kingdom    Canadian Premiere Eight months after a disastrous job in Kiev left him physically and mentally scarred, ex-soldier-turned-contract-killer Jay is pressured by his partner Gal into taking a new assignment. As they track their prey, they descend into a disturbing world that is darker and more depraved than anything they experienced on the battlefield.

Livid Julien Maury and Alexandre Bustillo, France    World Premiere The directors of 2007’s Midnight Madness hit A L’Interieur (Inside) return with a twisted gothic nightmare. A young woman and her friends break into a decrepit mansion looking for treasure, only to unlock a dark secret of unspeakable horror ready to dish out bloody punishment for their greed.

Lovely Molly Eduardo Sanchez, USA (synopsis needed)    World Premiere When newlywed Molly Reynolds returns to her long-abandoned family home, frightful reminders of a nightmarish childhood begin seeping into her new life. She soon begins an inexorable descent into evil that blurs the lines between psychosis and possession. From the director of The Blair Witch Project.

The Raid Gareth Evans, Indonesia    World Premiere Deep in the heart of Jakarta’s slums lies an impenetrable safe house for the world’s most dangerous killers and gangsters. Until now, the run-down apartment block has been considered untouchable to even the bravest of police. Cloaked under the cover of pre-dawn darkness and silence, an elite swat team is tasked with raiding the safe house in order to take down the notorious drug lord that runs it. But when a chance encounter with a spotter blows their cover and news of their assault reaches the drug lord, the building’s lights are cut and all the exits blocked. Stranded on the sixth floor with no way out, the unit must fight their way through the city’s worst to survive their mission. Starring Indonesian martial arts sensation Iko Uwais.

Sleepless Night Frederic Jardin, France/Belgium/Luxembourg    World Premiere When Vincent, a double-dealing cop, steals a big bag of cocaine from some drug dealers they counter by kidnapping and threatening to kill his son if the bag isn’t returned – fast. The swap is to go down at their headquarters in a big nightclub on the outskirts of Paris, but Vincent gets caught in a spiral of deception and betrayal and must fight his way through packed dance floors and dark corridors of the labyrinth-like club.

Smuggler Katsuhito Ishii, Japan    World Premiere After his dreams of becoming an actor go nowhere, 25-year-old Kinuta does nothing but gamble every day. Broke, framed and now neck-deep in debt, he is recruited as a smuggler – an underground mover of everything from dead bodies to illegal goods – but one cargo triggers the rage of a psychotic gangster hellbent on revenge. By acclaimed cult director Katsuhito Ishii of Shark Skin Man and Peach Hip Girl and Funky Forest fame.

You’re Next Adam Wingard, USA    World Premiere From the director-writer team that brought TIFF audiences A Horrible Way To Die in 2010 comes a new experiment in tension. A family comes under a terrifying and sadistic attack during a reunion getaway. Barricaded in their secluded country home, they have to fight off a barrage of axes, crossbows and machetes from both inside and outside the house. Unfortunately for the killers, one of the victims proves to have a talent for fighting back.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon