Archive for the ‘TIFF 2011’ Category

  • TIFF Review: The Raid

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    Drawn in by the people and city of Jakarta, director Gareth Evans made a decision several years ago to continue filmmaking in Indonesia after doing a short film there. This major career turning point was aided by his fascination with the style of martial arts (Pencak Silat) he found there which he felt would work well in feature length action films. Boy was he right – without a doubt The Raid (his second feature length action film which World Premiered at TIFF’s Midnight Madness last Thursday) contains some of the most brutal, teeth-gritting and sustained fight scenes I’ve ever seen.

    The story is somewhat nominal. A SWAT team attack an apartment complex that houses a dangerous drug lord and his cronies. As they move up floor by floor, they wipe out gang members and slowly secure the building. Until they are discovered and the gang fights back. That’s pretty much all there is to it. The set up is handled within 5-10 minutes and the shooting, stabbing and foot-to-face combat begins. Of course, there’s a few of the cops with specific characteristics (scared rookie, hardened veteran, soon-to-be first time father, etc.), but it really doesn’t matter. Even though the drug kingpin manages to get off a few good lines and crazy-eyed stares, this is not the kind of movie that has fans scrambling for early versions of the script on the Internet. It’s all about the visceral thrill of watching people beat the living crap out of each other in very unique as well as old-fashioned ways.

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  • TIFF Review: You’re Next

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    Adam Wingard and Simon Barrett professed, maybe a bit tongue in cheek, last night at its North American premiere that their intent with You’re Next was to make a tight little genre thrill ride that mashed together the opening scene of the original Scream with the slapstick of Home Alone. An unlikely combination to be sure, but it all comes together in such an entertaining package that by the yardstick of either comedic pratfall or a bloody deconstruction of horror tropes, has to be labelled a success. Reuniting the principle cast from Wingard’s previous film, A Horrible Way To Die, Joe Swanberg, AJ Bowen and Amy Seimetz are three of the Ten little Indians on an evening of bloody murder.

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  • TIFF Review: Headhunters

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    Flat out surprises like Headhunters is one of the main reasons I attend festivals; a gem that pops seeming out of the blue (at least to North American audiences) and sets the bar for quality genre thrills. The mechanics of a good crime thriller, Stanley Kubrick’s The Killing for instance, should involve communicating all of the pertinent details to the audience in ways both obvious and subtle and then using those details (and accompanying expectations) for the purpose of complete surprise. A good call-back, not unlike a stand up comedy routine, for further surprise can elevate a film from good to great. This glossy Norwegian film has all this and more. It takes its power suit wearing, mistress abusing, asshole – truly a hard protagonist to root for – and puts him through a river of shit of his own design, and has come out the other side as an audience favourite. Things are executed with a precise measuring of logic, reason and style.

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  • TIFF Review: God Bless America

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    Just in time for the 10th year anniversary of September 11, comes the ironically titled God Bless America. If Bobcat Goldthwait was in charge of the Idiocracy Doomsday Clock(tm), we will not have to wait until the year 3001, America is sitting at one-minute-to-midnight in the here and now. Case in point, his protagonist Frank is a down to earth, rather average white collar drone who seems to posses an abundance common sense at odds with everyone around him. Not just his social circles or family, but pretty much all aspects of mass culture in America. Contributing to his perpetual migraine are his inconsiderately loud neighbors whose parenting skills (and parking habits) leave a lot to be desired. His ex-wife and her husband seem hell bent, through laziness and cluelessness on turning his daughter into a materialistic and shrill whiner; all the while keeping her from visiting her father. TV and Radio are as unlistenable and obnoxious as his co-workers who repeat just about everything they say verbatim. In short, the reality TV, Fox News, TMZ, and radio shock-jock culture taken to the extremes by Mike Judge’s sci-fi farce pretty much exist today – everything in God Bless America has easily identifiable analogues – and the director has a perfect everyman (or sliding-scale genius) to voice his manifesto with what is wrong with his country.

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  • Mamo #216: Pound TIFF 2011

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    The Toronto International Film Festival 2011 has started, and Matt and Matt check in with their thoughts on the first two days. We are interrupted frequently because we’re just so gosh-darn popular. Has the festival returned to its most sociable roots? Awesome!

    To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo216.mp3

  • TIFF Review: We Need to Talk About Kevin

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    Instead of issuing birth control pills or contraceptives, one needs only to show Lynne Ramsay’s superb new film to high school classes as a deterrent to early pregnancy. For the eponymous child is a distillation of the collective fears and anxieties of the challenges of new parents: How to balance unconditional love with discipline and a healthy morality? These big questions are the unspoken crux of the relationship between two smart, educated parents that are born with the little boy from hell. The film itself seems to reside in hades, I suppose Tilda Swinton’s headspace after giving birth, and is in equal measure, soaked tomato juice, ink and bodily fluids and bathed in harsh red filters. There hasn’t been this much red in a film in some time and there is enough compulsive scrubbing on display to make Lady MacBeth blush.

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  • TIFF Review: Restless

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    “Things go a certain way. Then they don’t.” Almost a fitting description of the love story at the heart of Gus Van Sant’s Restless. The story of a suicidal Enoch (Henry Hopper, son of Dennis) who draws himself into chalk-outlines for morbid fun and his pixie-dreamgirl, Annabel (Mia Wasikowska – excellent), who is more serene than manic, luminously dying of brain cancer. The film charts their budding romance as fall turns to winter in Portland, Oregon and how both of them come to terms with death. The film might have just a bit too much quirk for the rather heavy subject matter, but for those willing or able to get emotionally invested beyond the directors self-awareness, things can, perhaps, be extrapolated to a universal human condition. Self denial, or at the very least, a healthy suspension of disbelieve is required of the viewer as much at the characters practice this at every turn. An awareness of the typical cliches inherent in this type of movie, and how Gus Van Sant both both embraces and subverts them are at times revealing. They are are onto something even as they often jerk the audiences chain. If not for the bittersweet blend of earnestness and sly self-awareness, Restless would surely fall into the tar-pit of sugary schmaltz that plagues Good Will Hunting and Finding Forrester. Call this film a curious hybrid of the directors ‘mainstream’ mode and more experimental ‘Death Trilogy’ (Gerry, Elephant, Last Days) mode, although it very much leans towards the former.

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  • Mamo #214: Previewing TIFF 2011

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    The Toronto International Film Festival 2011 is roaring towards us, and Mssrs. Brown and Price are joined by Mr. Mike Cameron for a roundable discussion of this year’s offerings. What’s good? What’s great? Let us (and the book) be your guide!

    To download this episode, use this URL: http://rowthree.com/audio/mamo/mamo214.mp3

  • Trailer: Twixt

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    To be fair, I’ve not ventured into any of Francis Ford Coppola’s neo-revival (Youth Without Youth, Tetro), but they’ve not seemed as ‘straight up genre’ as Twixt does. Somewhere between In The Mouth of Madness and 1408 the film is stacked to the gills with interesting actors: Val Kilmer (and his ex wife, Joanne Whalley), Bruce Dern, Elle Fanning (that’s her covered in blood in the above poster), Ben Chaplin and David Paymer. While this doesn’t look half as strong or nuanced as Shutter Island, I’m certainly willing to give it a shot despite the cheap cinematography and poorly put together trailer that seems to be cribbing voice-over from Throw Mama From The Train, “The Night Was…Humid.”

    A writer with a declining career arrives in a small town as part of his book tour and gets caught up in a mystery involving a young girl. That night in a dream, he is approached by a mysterious young ghost named “V.” Unsure of her connection to a murder in the town but nevertheless, he is grateful for the story being handed to him.

    The trailer is tucked under the seat.
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  • TIFF 2011: First Wave of Titles Announced

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    A number of the Row Three Staff make it an annual ritual to see between 30 and 50 films during the month of September when Toronto is taken over by its largest celebration of cinema from around the world, The Toronto International Film Festival, aka TIFF. So the first announcement of titles is interesting because it often goes back to what the festival was many moons ago: a Festival of Festivals, where best films from Cannes, Berlin and Sundance (amongst others) are offered to local audiences. Of course the festival has gotten bigger over the years (and much more expensive) and World Premieres are also par for the course, but this first announcement allows to see many of the ‘big titles’ (aka Special Presentations and Masters programmes) with guaranteed distribution will make their World, North American or Canadian debuts.

    A quick survey by director offers new films from David Cronenberg (A Dangerous Method), Lars Von Trier (Melancholia), Pedro Almodovar (The Skin I Live In), Francis Ford Coppola (Twixt), Fernando Meirelles (360), Alexander Payne (The Descendents), Nicholas Winding Refn (Drive), Steve McQueen (Shame), Sarah Polley (Take This Waltz), George Clooney (The Ides of March), Roland Emmerich (Anonymous), Todd Solondz (Dark Horse), Terence Davies (The Deep Blue Sea), and Luc Besson (The Lady).

    Other titles of interest is the former Soderbergh project starring Brad Pitt, Moneyball, as well as a lot of stuff from popular music, including Cameron Crowe’s Pearl Jam documentary, David Guggenheim’s U2 documentary and a feature film from Madonna simply titled W.E.

    Some interesting genre films, including the James Ellroy adaptation, Rampart, which has a loaded cast: Woody Harrelson, Sigourney Weaver, Robin Wright, Ned Beatty, Ben Foster and Anne Heche. South Korean thriller The Countdown exposes uses the underbelly of Seoul as a backdrop for a thirller. The Hugh Jackman and Olivia Wilde comedy, Butter, which also features Kristen Schaal. Noirish Killer Joe features Matthew McConaughey, Emile Hirsch, Thomas Haden Church, Juno Temple and Gina Gershon. And the B&W silent comedy favourite at Cannes, Michel Hazanavicius’s The Artist will be screening, as will Joseph Gordon-Levitt cancer comedy, 50/50 which also features Seth Rogen, Anna Kendrick, Bryce Dallas Howard, Phillip Baker Hall and Anjelica Huston

    In the more dramatic side of things, I’ve been quite anticipating Paddy Considine’s Tyrannosaur which features Peter Mullan as an angry, cynical alcoholic who has reached rock-bottom is surprisingly brought back into life by a complete stranger: a middle-class woman with a strong belief in Christ. Eddie Marsan is also in it. Also Tilda Swinton and John C. Reilley star in Lynne Ramsay’s We Need To Talk About Kevin. Ewan McGregor, Emily Blunt, Kristin Scott Thomas star in Lasse Halstrom’s Salmon Fishing in the Yemen. And from the directors of Persepolis comes another enchanting film adaptation of a graphic novel by Marjane Satrapi: Chicken with Plums follows the last days of a talented musician’s (Mathieu Amalric) life as he desperately seeks to replace his beloved instrumental, the violin.

    There are many titles, 50 in all so far, for those who wish to peruse over at the TIFF website.

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