With the Cinecast on break for this week, you can get a bit of your Rowthree podcasting fix by heading over to The Director’s Club Podcast where yours truly sat in to talk with Jim Laczkowski and Matt Marko about all things Lars Von Trier. The focus is mainly on his stylistic Europa (aka Zentropa) and his spiritual masterpiece, Breaking The Waves, but the entire gamut, from feature films, TV projects and screenplays are covered. Also, an extended conversation on how not to watch Spielberg’s E.T., some chat about Aaron Sorkin’s The Newsroom, and a little more love for Oliver Stone’s Savages.
It’s that time again, so begins the onslaught of end-of-the-year lists for everything! Keeping with tradition I thought I would start this post a month early and celebrate those fine individuals whom have most entertained me in 2010. The year will go down as one of my all-time favorites, when the time comes for the official top ten films list, I will be struggling to whittle down from my short list of 26 films and counting. It has been a solid year for American and Canadian movies, and unlike years past, the most anticipated tent-pole pictures of the year lived up to the hype (Inception, Shutter Island, 127 Hours, The Social Network, etc.). Feel free to share your favorites in the comment thread, but for now, without further ado, my pivotal players of 2010:
Bruce McDonald: God bless you, Bruce McDonald. I am ashamed to admit, I was late coming to the party. With the exception of Pontypool which I did actually see in a timely manner, and which I loved like all else who have loved it, I have been something of a snob towards Canadian cinema most of my life and as a result have missed the bulk of your output. Due in part to Pontypool being still affectionately fresh in my memory, and to my piqued interest in the concert doc concept of the trailer, I decided to catch This Movie is Broken, admittedly not expecting much, and not even all that familiar with the music of Broken Social Scene; I came out a believer. It is one of my favorite concert documentaries of all time, and I am now a fervent fan of BBS, with you to thank. Shortly after, Trigger premiered at TIFF and I was one of the first to get a look at it; this too, rocked my world. This two-punch of Toronto stories has inspired me to watch your back catalogue, and last week I finally caught your Magnus Opus, Hard Core Logo, which has now firmly cemented my love for you, and I wait feverishly for the sequel that is in the works.