This ridiculously fun a, Amblin-esque popcorn muncher from Finland was a big hit at last years Toronto International Film Festival with the midnight crowd. Much of the Finnish cast from Jalmari Helander’s previous exercise in dead-pan holiday fun, Rare Exports return and are mixed in with a slew of Hollywood character actors Samuel Jackson, Ted Levine, Jim Broadbent, Ray Stevenson, Felicity Huffman, and Victor Garber to achieve maximum results on a limited budget. And in English, too. It is a shame that Big Game doesn’t have set release dates on this side of the Atlantic yet, but UK folks get a chance to see it on May 8th.
When Air Force One is shot down by terrorists leaving the President of the United States stranded in the wilderness, there is only one person around who can save him – a 13-year old boy called Oskari. In the forest on a hunting mission to prove his maturity to his kinsfolk, Oskari had been planning to track down a deer, but instead discovers the most powerful man on the planet in an escape pod. With the terrorists closing in to capture their own “Big Game” prize, the unlikely duo must team up to escape their hunters. As anxious Pentagon officials observe the action via satellite feed, it is up to the President and his new side-kick to prove themselves and survive the most extraordinary 24 hours of their lives.
Note: I interviewed both Jalmari Helander and his young star, Onni Tomilla, at TIFF over at Twitchfilm.
This Sundance selected documentary on Amina Arraf, a pretty Syrian-American revolutionary who’s having an online affair with Montrealer Sandra Bagaria, looks interesting. Arraf launched the provocatively named blog, “A Gay Girl in Damascus.” back in 2011, as the Syrian uprising gains was gaining momentum. Amina’s subsequent abduction that sparked an international outcry to free her. Playing out like a detective story, The Amina Profile involves American intelligence agencies, major global media outlets, and a host of activists and sympathizers. But what started as a love story becomes the tale of an unprecedented media and sociological hoax, infotainment, deceit and betrayal.
Carrying forward the ‘texting and social media’ on screen aesthetically is as much of interest to me here, as the socio-political aspects. Sundance has a way of picking their docs in a larger hit-to-miss ratio than their features. Even if there seems to be a fair number of talking heads here, I’ve got my eye on this feature from Sophie Deraspe.
The Sundance Film Festival runs from January 22 to February 1, 2015. The Amina Profile has multiple screenings over the festival.
Your romantic evening doesn’t go as you expected. Actually, it ends in an argument and you storming out of the restaurant. You go home, get blitzed and in a moment of alcohol induced anger, you put a hit on your ex only to wake up hours later, figure out what you’ve done, instantly regret it and then head over to his place to save his life.
It doesn’t sound like much of a plot but the crowd funding video for Dane Clark and Linsey Stewart’s I Put a Hit on You went viral, proof that perhaps this concept of doing stuff you regret while drunk is something a lot of people have experienced though I expect the Craigslist market for hitmen is rather limited.
The concept for Clark and Stewart’s movie is perfect for a single location shoot. Once the set-up is out of the way, it takes all of 10 minutes, I Put a Hit on You moves to Ray’s apartment and pretty much stays there as Ray (Aaron Ashmore) and Harper (Sara Canning) try to sort out the mess she has created. While trying to figure out how to survive the night, the pair also delve into their relationship problems in a dramedy that mostly works.
We all have kryptonite. I have more kryptonite than most. If the movie involves dancing, cheerleading, drumlines, high school drama, Shakespeare, modern interpretations of Shakespeare, or re-telling fairy tales, I’ve probably seen it or want to see it. I simply can’t help myself. This is my candy and I love to bite into a new bar. Rarely is that new bar completely fulfilling. Even rarer, like, white elephant rare, is when that piece of candy happens to be Canadian. I’m pretty sure the last one was How She Move (review) and that was a long, long time ago.
What first caught my attention about After the Ball is director Sean Garrity. A few years ago Garrity really impressed with a great little thriller titled Blood Pressure so when I saw his name attached, I didn’t look any further. I knew I had to see this. Imagine my surprise when I read the description to find that After the Ball is basically Cinderella meets “Twelfth Night” set in the fashion industry.
Portia Doubleday stars as Kate, a talented fashion grad who is trying to get a job in the world of haute couture. She’s talented but her family name is problematic. Her father owns a consumer friendly fashion line that, in the past, has been known to steal couture designs and re-package them for the mall crowd. Defeated, Kate returns home and decides, against her initial floundering, to take on a job at the family business. She squares off against her terrible step mother and two despicable (and dumb) step sisters, gets fired, returns in disguise and falls in love with the in house shoe designer – played by, no less, Marc-André Grondin.
Truth be told: if you haven’t seen a J.C. Chandor movie, you’re missing out. Like, seriously missing out. That doesn’t however, mean that you should skip A Most Violent Year. Actually, that means that you should see A Most Violent Year as soon as possible and then head back and check out the director’s previous work.
Also written by Chandor, A Most Violent Year sounds like the most boring movie ever about the most dry industry ever. Oscar Isaac plays Abel Morales, the owner of a heating oil company in the early 80s when people, instead of having deals with the electric or gas company for their heating, they negotiated heating oil prices with the providers directly. Life has been good for Morales. He’s risen through the ranks from driver to owner, married a beautiful, smart woman, and he’s just about to close the biggest deal of his life.
But all is not well at Standard Oil: the company is under investigation for fraud, the bank has pulled out of their real estate deal, trucks of oil are being stolen right from Morales’ nose and to make matters worse, now Morales’ seemingly perfect home life is starting to show cracks. It’s definitely a violent year for Morales but not in sense you might imagine.
Officially, the Whistler Film Festival kicks off tonight with the gala screening (and Western Canadian Premiere) of The Imitation Game but Colleen (adead.horse), Dale (Letterboxd) and I (Letterboxd), will be in Whistler on Thursday and, if time permits, checking in throughout the festival. Failing that, expect a wrap show sometime on Sunday.
Sixteen days ago, the Toronto After Dark Film Festival drew to a close with a resounding gasp. The Babadook ended the genre-themed film festival with outstanding strength, uniting many in the belief that this was one of the festivals strongest years to date. While that may be true, it simply isn’t quite good enough. This year, the festival had some truly standout films that blew audiences away. At the same time, the festival lows were shocking to say the least.
Opening the festival with a laugh and a shriek was the New Zealand flick Housebound. This was, without a doubt, one of the most well-balanced horror comedies in years. Beautifully written, this Kiwi production takes dry wit and simple scares to new highs. Unpredictable, Housebound zigs when you think it’ll zag, taking you to places just adjacent to where you expected to go. The tension is palpable, yet beautifully broken with a well-timed and flawlessly crafted laugh. This is the redeemer of horror comedies, in line with the perfect balance of films like Shaun of the Dead. It’s a simple recipe expertly crafted, and was the perfect film to open the 9th annual Toronto After Dark Film Festival. Would you like to know more…?
Easily the biggest surprise and possibly my overall favourite film of this year’s Toronto After Dark film festival was Alfonso Gomez-Rejon’s (director of several American Horror Story episodes) take on the 1976 early slasher The Town That Dreaded Sundown. Though that little film from 1976 has its supporters and certainly has some choice moments, it seemed like an odd pick for a revisit. The original as directed by Charles B. Pierce (director and star of the head-shakingly bad Boggy Creek II – And The Legend Continues – best known for being one of MST3K’s victims) is an awkward melange of horror/docudrama/slapstick comedy that tries to tell the actual events of a masked serial killer who terrorized Texarkana in 1946. And yet…There were some well-realized moments of genuine horror and interesting filmmaking. For his first feature, Gomez-Rejon seems to have focused on those positive aspects and has built a compelling, moody, surprising and absolutely gorgeous film.
Of particular note is the way he composes his frames. More than once during the film, I found my eyes roaming about the square footage on screen, trying to pick up all the little details and contrasting different colour combinations. I’m sure I missed some clues lurking in the background, but the simple pleasure of being pulled into this lovingly created canvas and wanting to savour each little corner, shadow and object was more than enough. If that sounds like a bit of an overstatement, it’s partly due to having very few expectations regarding not only the story but the level of filmmaking. It’s not that I thought the movie was going to be bad (the trailer is quite handsome actually), but from its opening tracking shot that pans down from a Drive-In screen playing the original film (and which continued through the parking lot filled with many of the films primary characters) it was obvious that Gomez-Rejon had very strong stylistic ideas for the film – all of which actually help move the story forward and engage the audience.