MCN Originals Archive for September, 2014

The Torontonian reviews Good Kill

Written and directed by Andrew Nicoll and riddled with all the appropriate military jargon like “rules of engagement” and “painting the target,” his script compliments the disconnected horrors of these drone strikes by underlining the ironies of this cyclical, cynical conflict

Read the full article »

The Torontonian Reviews Sunshine Superman

BASE jumping—or building, antenna, span and Earth jumping—wasn’t a thing before Carl Boenish appeared, but because of him it’s now the liberating (read: insane) act of parachute-controlled freefall that was never really regulated or understood by the authorities as anything other than a liability.

Read the full article » 1 Comment »

Confessions of a Film Festival Junkie

It’s kinda official. To be honest I really haven’t noticed anyone taking notice of the fact that Toronto mayor Rob Ford hasn’t shown his face at the Toronto International Film Festival. Granted the local attendees don’t appear to be his constituency and there is a mayoral race coming up before the end of the year. In fact, there either was a debate scheduled (there are three others on the ballot) or one that went forward that Ford opted out of without extending much of a reason.

Read the full article »

The Weekend Report

The dog days of summer’s end box office remain doggy.

Read the full article »

The Torontonian Reviews NIGHTCRAWLER

Currently my favourite film at TIFF, Nightcrawler is so refreshingly original that it’s surprising to see it’s also screenwriter Dan Gilroy’s directorial debut. But it is, and that’s fantastic, because the film goes places and takes risks I wish were more common in North American cinema. The result is a memorable, even great first feature.

Read the full article »

Friday Estimates

Consider the Universe guarded for at least one… more… week.

Read the full article »

Confessions of a Film Festival Junkie: Toronto 2014 – Getting Started

Naturally my Canadian content level has risen in recent days and came into focus last week when Telefilm Canada hosted a pre-fest event for journalists and buyers in Los Angeles. Apart from product reels and a limited bar, the ‘do also had a healthy supply of TIFF’s program book … or rather tome. To the event’s credit it’s developed a rather good system of press and industry screenings that run parallel to the public showings. The veteran TIFFer can keep to the P&I projections with a couple of regular screenings tossed in to mingle with the hoi polloi.

Read the full article »

The Torontonian reviews Eden

Sure enough, the buzz is that Eden is the “Daft Punk” movie. It’s admittedly reductive to call it the “Daft Punk” movie in queues as the shorthand reference to what the film is about. Hansen-Løve is a name I respect more than that, but after seeing the film, though, I realize it’s the only salient thing.

Read the full article » 1 Comment »

DVD Geek: All That Jazz

Not only Bob Fosse but screenwriter Robert Alan Aurthur died too young, doubly reinforcing the vivid spiritual premonition of All That Jazz, Fosse’s transfixing 1979 show business musical that blatantly anticipated his own death (eight years later) and Aurthur’s, who died before the film was finished, with Roy Scheider (who died 31 years later but still much too soon) in the autobiographical role of the stage and film director who smokes too much, ingests too much and works until he drops, creating brilliant art every step of the way.

Read the full article »

Confessions Of A Film Festival Junkie: TIFF 2014 Opening Days

The first thing you notice, or, rather, sense about Toronto is there is no recession. In the midst of festival village and all around there is massive construction. A couple of natives (and former TIFF employees) told me they hadn’t seen this level of building activity in the downtown district for at least two decades. So it’s noisy. Traffic, human and vehicular, is very stop-start. And just to up the ante the festival got the city to agree to closing off about four blocks and turning the area around its Bell Lightbox into a temporary mall with art and live music events.

Read the full article »

The DVD Wrapup: Draft Day, Jackpot, Queen Margot, Tinto Brass, Love Streams and more

Anyone looking for the graphic 16th century violence missing from Age of Uprising can find it Cohen Media’s superb 4K restoration of Patrice Chéreau’s 159-minute version of Queen Margot. It also offers as much sex and nudity—gratuitous and otherwise—as “The Game of Thrones” and “Borgias.”

Read the full article »

MCN Originals

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