Festivals Archive for September, 2012

TIFF12 Review: Middle of Nowhere

Middle of Nowhere, Ava DuVernay’s quiet, reflective film, starts out with an interesting premise and builds from there with some strong performances and thoughtful cinematography that effectively evokes the desperation and sorrow of its protagonist, a young woman with a promising future who puts her life on hold when her husband is sent to prison….

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TIFF12 Review: Love is All You Need

Susanne Bier’s latest film, Love is All You Need, takes an accessible, easy-to-digest premise – at their children’s wedding, a man who’s closed himself off to love meets a sympathetic woman whose marriage is falling apart – and makes of it a much better film than it sounds on paper, thanks in no small part…

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Film Buyers Aggresssive At Toronto

Film Buyers Aggresssive At Toronto

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What’s Going On With Deal-Hungry Roadside Attractions-Lionsgate In Toronto?

What’s Going On With Deal-Hungry Roadside Attractions-Lionsgate In Toronto?

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IFC Converts Reluctant Fundamentalist

IFC Converts Reluctant Fundamentalist

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TIFF12 Review: To the Wonder

To the Wonder is like cinematic church, like receiving the communion wafer Bardem’s priest delivers to his faithful parishioners and to the tongues of men trapped in the steel cages of prison. We are the ones encased in the prisons of our own expectations and understanding of what cinema as a medium can be, and Malick is pushing and challenging those expectations, offering up through his films a different way to see and think about the life and beauty that surrounds us.

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The Torontonian Reviews: To The Wonder

To the Wonder was filmed in Oklahoma, but the suburban neighbourhood seen here is astonishingly close to what an updated 1950’s Waco, Texas might be. The subject matter is not exactly a drastic change, either: themes of love and family inform both of the films inherently. It’s generous to call this type of cinema “innovative” now, but at least in The Tree of Life audiences were treated to a veritable smorgasbord of beautiful music.

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When’s It Fair Use? Ascher’s Room 237 Vs. Warner And The Shining

When’s It Fair Use? Ascher’s Room 237 Vs. Warner And The Shining

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Tom Carson Would Have You Know That One Of TIFF12’s Movies With The Longest Running Time Is “Clogged, Interminable Bull—-“

Tom Carson Would Have You Know That One Of TIFF12’s Movies With The Longest Running Time Is “Clogged, Interminable Bull—-“

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Digital TIFF: Toronto Shows 13 Films In 16mm; 37 In 35mm; One 70mm; 79 HDCAM And 232 DCP

Digital TIFF: Toronto Shows 13 Films In 16mm; 37 In 35mm; One 70mm; 79 HDCAM And 232 DCP

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Tribeca Films Buys How to Make Money Selling Drugs

Tribeca Films Buys How to Make Money Selling Drugs

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TIFF12 Review: At Any Price

Bahrani’s films are studies in character and heavy on symbolism: the former Pakistani rock star who’s selling coffee from a Manhattan push cart, moving his cart around the city in an endless sisyphean cycle in Man Push Cart; the Latino street orphan laboring in the rough-and-tumble grind of a questionable auto-repair/chop shop in the Iron Triangle area of New York City, in the shadow of Yankee Stadium in Chop Shop; the old man who’s decided to commit suicide, who tries to persuade a friendly cab driver to drive him to the mountain from which he intends to leap to his death in Goodbye Solo. Here, Bahrani’s clearly worked to open his storytelling up to paint on a broader canvas, but he’s still using the meticulous brushstrokes that have always defined his films.

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Canucks Say Hero Ambassador Not Served Well By Argo

Canucks Say Hero Ambassador Not Served Well By Argo

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The Torontonian Reviews: End of Watch

It’s a good thing the chemistry between Peña and Gyllenhaal is excellent, as the two are side-by-side on screen for the film’s entire duration. When the stakes are low, Taylor and Z crack jokes (mostly racial) and recount chestnuts (mostly graphic) with each other. But when lives are on the line, the pair command attention with their laissez-faire police tactics and level-headed cool. On the road, between these ups and downs, the two also wax poetic about life: working with the LAPD, their relationships at home, and the prospects of the future. These police cruiser conversations are engaging and thoughtful; at times bordering on profundity.

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Toronto: IFC Films Nails Neil Jordan’s Byzantium

Toronto: IFC Films Nails Neil Jordan’s Byzantium For $2 Million

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Christopher Walken Sez He Is Not A Psychopath

Christopher Walken Sez He Is Not A Psychopath

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The Torontonian Reviews: Storm Surfers 3D

Storm Surfers was shot natively in 3D, and for once a film is better for it. The added dimension instills a greater sense of scale, reminding us of the inherent danger to this thrilling sport. Thankfully, none of this ever feels shoehorned: water spits at the screen like it would while boating; waves in the foreground seem touchable. This isn’t a gimmick, because the filmmakers have used the medium with legitimate intentions.

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TIFF12 Interview: Tamara Podemski

Five years ago, Tamara Podemski got heaps of notice and won a Special Jury Prize at the Sundance Film Festival for her terrific performance in Sterlin Harjo’s Four Sheets to the Wind. A graduate of Toronto’s prestigious and highly competitive Claude Watson School for the Performing Arts (Sarah Polley was a classmate), Pademski’s strikingly lovely and multi-talented; with her Sundance breakthrough, she seemed on the verge of the sort of breakthrough that can happen for a young actress when she gets noticed at Sundance.

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Roadside Picks Up Sarah Polley’s Telluride-Toronto Doc Sensation, Stories We Tell

Roadside Picks Up Sarah Polley’s Telluride-Toronto Doc Sensation, Stories We Tell And – Polley On How The Search For Her Parentage Came To Be

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Malick’s Wife Makes Odd Comment About Post-9/11 At TIFF To The Wonder Screening

Malick’s Wife Makes Odd Comment About Post-9/11 At TIFF To The Wonder Screening

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Festivals

Sunny Kim on: The Daily Buzz Podcast from Sundance

allgemeine kreditversicherung aktiengesellschaft on: Cannes 2014: Opening Day

http://www.abelduarte.com/ on: Cannes 2014: Opening Day

Alex on: Sundance Reviews: Cutie and the Boxer, Fallen City

10 More Clash of Clans Strategies, Tactics, and Tricks ... on: Never Let Me Go actors Carey Mulligan & Andrew Garfield

Stella's Boy on: Wrapping TIFF 2014

David Poland on: Wrapping TIFF 2014

David on: Wrapping TIFF 2014

movieman on: 31 Weeks To Oscar: Telluride, Toronto & New York

PatrickP on: 31 Weeks To Oscar: Telluride, Toronto & New York

Quote Unquotesee all »

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