Check out all The Substream coverage for the Toronto After Dark Film Festival 2011, including the quite excellent print reviews by Mamo!’s Matt Brown.

p.s. Kurt’s written review of Love is here.

Without Toronto After Dark it is unlikely that there would be a RowThree.com for y’all to hang out, talk about a wide breadth of cinema goings on and enjoy a plethora of podcasting profundity. Row Three was formed when Andrew, Kurt and John hung out in the third row (literally) of The Bloor Cinema and took in films like Funky Forest, Aachi & Ssipak, Mulberry Street and Behind The Mask. In between screenings and over copious amounts of micro-brew, we talked about starting a website that favoured user discussion and community and a general vibe of ‘shooting-the-bull’ over the typical film-nerd comic book movie casting items and/or regurgitated pop-culture focused press releases. So it is always with interest and fondness that we hold this particular genre festival which is now going strong in its sixth year of operation. Incidentally, John, who, these days mainly operates behind the scenes on the site, because he started up a similar festival in Sasktown, Dark Bridges – which sees its sophomore year festival starting tomorrow!

Narcissistic nostalgia notwithstanding, Toronto After Dark has announced its full line-up today! The second round additions are pretty darn good, thus assuring that the temporary change of venue to Toronto Underground Cinema should see a showering abundance of genre trick ‘r treating this October. Locals will get a chance to see Ti West’s follow-up to House of the Devil: The Innkeepers on the big screen, as well as Lucky McKee’s controversial Jack Ketchum adaptation, The Woman. Also, weird comic book mayhem with VS (described to me by programmer Peter Kuplowski as the marvel-superhero deconstruction equivalent to the DC-universe breakdown, Watchmen.) Also, I’ve seen the little indie vampire tale Midnight Son, and it is a work of maturity and quality in a genre that sorely needs it. Further quality titles include slick mountain chase film, A Lonely Place to Die (Kurt’s Review) and indie Science fiction epic, Love (Kurt’s Review).

For the Full Line-Up, it’s all tucked under the seat.

Official Selections of it’s 2011 film line-up are as follows: Monster Brawl – “It’s the Ultimate Fight of the Living Dead”; Exit Humanity, a zombie saga set against the back-drop of the Civil War; DeadHeads – a zombie/buddy/road-trip/comedy/adventure/horror; Redline – an intense, trippy, Japanese ANIME set in the world of car racing; The Theatre Bizarre – an terrifying horror anthology from such genre legends as Tom Savini and Richard Stanley; Father’s Day – a new, sick and twisted story from Astron-6 and Troma, in the vein of Hobo with a Shotgun and other exploitation/grindhouse films;

Love – a time-travel sci-fi drama in the vein of The Fountain, Solaris and 2001: A Space Odyssey and , about the power of human connection and interaction, powered to the soundtrack of Angels & Airwaves; and finally, The Divide, a apocalyptic descent into despair, madness and human depravity as residents of a New York City apartment building take refuge in the basement after a nuclear attack, only to face something more horrific, each other.

Closing Gala Film, the scary supernatural tale and festival circuit hit, THE INNKEEPERS, from acclaimed horror filmmaker Ti West (HOUSE OF THE DEVIL)! Fans will be also be delighted to hear that Toronto After Dark has programmed the Sundance sensation THE WOMAN, an outrageous new horror film from Lucky McKee (MAY), about a suburban family that decides to ‘domesticate’ a woman found living in the wild!

The festival is also thrilled to announced two more WORLD Premieres, bringing the total at Toronto After Dark 2011 to a record three! First off, WAR OF THE DEAD, a thrilling new war movie with an undead twist, will delight both zombie and action movie fans with its masses of undead hordes terrifying a group of soldiers trying to complete a secret mission during World War II. While fans of dark and edgy superhero films like KICK-ASS will go nuts when they get to be the first in the world to catch sight of VS which sees a despicable super-villain (James Remar best known as DEXTER’s dad) forcing a group of young costumed crusaders into playing a series of impossible-to-win games where the penalty for losing is… death!

Vampire lovers should sink their fangs into MIDNIGHT SON, a dark and gritty look at a young man’s descent into the world of drinking blood, while dark sci-fi fans should check out THE CORRIDOR, an award-winning new film about a disturbing energy force discovered in a remote forest by a group of friends on their winter vacation, and the dark implications it has for them all!

Those looking for more light-hearted fare should check out the Canadian Premiere of MANBORG, an hysterically lofi but fun homage to cult sci-fi action films of the 80s like ROBOCOP and the THE TERMINATOR. Meanwhile festival circuit hit crowd-pleaser SOME GUY WHO KILLS PEOPLE adds healthy doses of black comedy to its serial killer horror, and features a wonderful, eclectic cast that includes cult film icons Karen Black and ROCKY HORROR’s Barry Bostwick!

Finally, for pure adrenaline-rush seekers, Toronto After Dark has booked the supernatural horror film ABSENTIA, possibly the most chilling new horror film of the year, and the award-winning new mountain climbing dark thriller, A LONELY PLACE TO DIE, which has drawn favourable comparisons to another thrilling and chilling film from Britain, that wowed fans a few years ago, THE DESCENT!

Director: David Slade (Hard Candy, 30 Days of Night)
Screenplay: Melissa Rosenberg, Stephenie Meyer (novel)
Producers: Wyck Godfrey, Greg Mooradian, Karen Rosenfelt
Starring: Kristen Stewart, Robert Pattinson, Taylor Lautner, Ashley Greene, Peter Facinelli, Elizabeth Reaser, Kellan Lutz, Nikki Reed, Jackson Rathbone, Bryce Dallas Howard, Billy Burke, Charlie Bewley, Xavier Samuel, Daniel Cudmore, Christopher Heyerdahl, Dakota Fanning, Cameron Bright, Noot Seer, Michael Sheen, Graham Greene, Tinsel Korey
MPAA Rating: PG13
Running time: 124 min.

Let’s speak frankly, shall we? The Twilight franchise is not now, nor will it ever be, the all encompassing beast that is Harry Potter. Regardless of how much money the studio throws into the marketing machine, it’s wasted time, effort and dollars because as proven by the previous two films and now with the third instalment The Twilight Saga: Eclipse, they’re never going to win everyone over. The reasons why are too many to argue (and mediocre films are only one of them) and quite frankly, they don’t matter. Author Stephenie Meyer’s stories were never going to appeal to everyone, the key demographic has always been the hopeless romantic (and even some of those take issue with the story) and the films based on those stories clearly haven’t won over a large chunk of the population so why bother trying? The fan base is large enough, and ever growing, that the nay sayers are drowned out, even if they yell as loud or louder than the supporters.

As clear from my thoughts on the previous two films, I am a fan and as one, I came to love these characters long before there ever was a Twilight (review) film and the movies have been a sort of icing on the cake. Some bits of the icing have been sweeter than others but Eclipse is, for this fan at least, the sweetest. By this point in the story, Bella is back with Edward and happier than she’s ever been but Victoria, the rogue vampire who has been responsible for much, though not all, of Bella’s heartache, has a new plan of attack. She’s building an army and brining them to Forks in an effort to wipe out Bella in retribution for the loss of her own mate but to do so, she first needs to dispatch the pesky Cullens who have adopted Bella as one of their own.

In the foreground, we have Bella fighting her own battle; a much more personal one which pits her between two men she loves. On the one hand we have the sparkly, brooding Edward and on the other the also brooding, constantly shirtless Jacob. Early on in the film, Bella quotes Robert Frost’s “Fire and Ice” and it’s a fitting, if obvious, parallel. Yes, “To say that for destruction ice, Is also great, And would suffice” pretty much sums things up. Edward means destruction of a sort but for Bella, he also offers a sort of salvation.

Eclipse is a great improvement on the previous two films. Though there’s quite a bit of magic in Twilight, David Slade’s film is the most ambitious. Slade and cinematographer Javier Aguirresarobe (returning to the franchise for the second time) capture the story with style and a sense of understanding of the overall story that was lacking in New Moon (review). It’s a dynamic film with gorgeous visuals and a colour pallet that ranges from blinding white to rich warm hues and the many (many) close-ups do a great deal to elevate the intimacy of the story.

This time around, there’s also a familiarity and comfort with the story which comes through in both the script and the performances. There’s no prancing through the forest in ridiculous outfits or cringing runs up the side of the mountain and though some of the dialogue still elicits giggles, they’re part of the charm of this franchise which has always been a bit too sweet. Here there’s a great deal of good looking action, vampires that move fast but don’t look ridiculous in the process and humour. Lots of humour. Also on the rise, are intimate moments, something which was almost completely lacking from New Moon; writer Melissa Rosenberg seemed intent on cramming as many make out sessions as she could into this instalment something which I and the other fans appreciate (this gauging from the crowd reaction during the screening).

The performances aren’t much better this time around with brooding being a popular approach by both of Bella’s romantic interests but Robert Pattinson has it down to a sort of art while Taylor Lautner just makes it look like he’s squinting. Can’t knock the kid too much, he was pretty good in New Moon but here, he’s flat as a board or more accurately, as his abs so frequently on display show, a washboard. The biggest improvement here is Kristen Stewart who finally gets the opportunity to use some of her acting abilities as her character moves beyond scared, conflicted heroine into one we can cheer for. Mostly gone are the shaking and lip biting replaced instead with a Bella who is much more sure of herself and her place in this world, a point which is reiterated by her monologue near the end of the film. The one consistently great performer of the franchise is Billy Burke as Bella’s father and here he returns with his brand of fatherly cool; I really wish he had more screen time and yes, I’ll be prepping Team Charlie attire for a future instalment.

No, Eclipse isn’t likely to win any Oscars (though it’ll take home plenty of MTV awards and anything else voted on by fans) but it’s a solidly made, entertaining movie. Though there is quite a bit of action to keep the casual fan mildly entertained, there’s also much more romantic drama that will bore them to tears. Slade’s entry into the franchise continues to cement the notion that the Twilight franchise is a fan only affair and we fans are more than happy to bask in the sparkly glow.

Director: Gary Winick (13 Going on 30, Bride Wars)
Writer: Jose Rivera, Tim Sullivan
Producers: Ellen Barkin, Mark Canton, Eric Feig, Caroline Kaplan
Starring: Amanda Seyfried, Gael García Bernal, Christopher Egan, Vanessa Redgrave
MPAA Rating: PG
Running time: 113 min.

It was clear from the trailer that Letters to Juliet wasn’t going to be high art, a timeless romance like Gone with the Wind or Atonement (review). It was a trailer that crammed the entire film into its two minute and thirty one second running time complete with stolen looks, half hidden smiles and Taylor Swift. The sort of thing designed to sweep the romantics off their feet and it must have worked because it caught my attention.

Sophie and Victor are in love and engaged. She’s a fact checker for The New Yorker. He’s a budding chef getting ready to open his first restaurant. They’ve planned a trip to Italy. For her, it’s a pre-wedding honeymoon. For him it’s a business trip (with a little fun on the side), meeting and schmoozing with suppliers. After a day together driving across the Italian countryside tasting cheese, olive oil and wine, they decide to part ways for a few days. He to work, she to see the sites. “Win win” Victor says. During an excursion to Juliet Capulet’s home, she spots a woman taking away the letters that hopeful romantics leave behind, uncovers Juliet’s secretaries, responds to a 50 year old letter and a short week later, is met by a handsome Brit who has returned to Verona with his grandmother on a wild goose chase searching for an old love – all thanks to Sophie’s letter. The rest of the film, as you may guess, is one car ride after another as Sophie accompanies Charlie (the grandson) and Claire in search of her Lorenzo.

Letters to Juliet could easily have been a disaster of unparallelled proportions. It’s a film where nothing really happens. There’s little action and even the most talented director would have a hard time building any sort of chemistry around three people in a car, three people who hardly talk and that, when they do, spew the cheesiest lines you could ever dream up. Open up a Harlequin and you’re likely to find some of this stuff in there. Then there’s the contrived story that starts to fall apart as soon as you start thinking about it; pepper in enough meaningful, half hidden looks and furrowed brows to rival Twilight (review) and you sort of get the idea. Yet, with everything going against it, Letters to Juliet manages to work.

Blame it (or more accurately, credit) the cast that takes these paper thin characters and works them not into something believable, but tolerable, too-perfect people who are so sweet you can’t help but like them. It all starts with Gael García Bernal who steals the show as the self centered Victor. Yeah, he’s an ass but a hysterically likable one (you’ve never seen Bernal like this – unless you’ve seen Rudo y Cursi). “Kings”star Christopher Egan plays the outwardly cold but inwardly romantic Charlie with charm. I’m willing to bet he’s the next big thing out of Australia and though he’s no Sam-action-superstar-Worthington, he reminds me of a young Heath Ledger in everything from his looks and mannerisms to his acting; he’s definitely one to watch. As for the ladies, Amanda Seyfried continues to bear the torch of someone who makes even the most benign film interesting while Vanessa Redgrave marks her talents with small actions. At one point she hugs Sophie, twisting her hair into a lose knot – a small, almost careless action that adds meaning to the embrace and confirms that Redgrave is as sharp now as she ever was.

In the end, it’s the combined performances that make Letters to Juliet enjoyable. It’s impossible not to smile at the sweetness and get lost in wondering “what if?” It’s a fairy tale romance complete with prince charming, white horse (ok – so it’s brown) and a happily ever after. For some this combination will prove lethal, an overload of sugar with no spice while others, myself included, will see an opportunity to escape into a girlish dream if only for a few hours.

If you watched any Canadian television in the 90s, you’ve probably heard of Sook-Yin Lee. The West Coast artist/musician/vj/dj has been in the limelight for years with stints both in front and behind the camera but her first full length feature is really getting her a lot of attention.

Year of the Carnivore has been making its way through the festival circuit since it first played TIFF last year and gaining a bit of love. It’s a quirky story of a girl in search of romance or more accurately, trying to find herself (and her sex life). It’s an unabashed story of women’s sexuality and for that, I give it props even if it did rub me the wrong way (my review from VFF expands on my thoughts). It’s a troubled film and one with a tad too much quirk for my liking but it’s impossible to fully hate a film when it features such a great performance from Cristin Milioti; she’s just too charming to dislike.

Big kudos to QE for the hookup on the trailer which pretty much captures the wackyness of the feature; it’s a pretty good indicator on what you can expect. The film will open in Vancouver, Toronto and Montreal on June 18th.

NSFW trailer tucked under the seats.

Last year, Film Independent announced a partnership with Banana Republic and Vanity Fair called “Project:Involve.” The idea behind the project is to provide filmmakers from culturally diverse backgrounds with funding and mentorship to create a short film. The theme of the competition was “City Stories” and there wer two major limitation: tell your story in under three minutes and the film has to be shot in the French New Wave style. One of the film makers selected for last year’s competition was Jarrett Lee Conaway.

Conaway recently shared his short, a romance titled Foolishly Seeking True Love, with the world at large and boy, am I happy he did. It’s a sweet, charming and beautiful looking story that left me smiling. Take a 3 minute break from the Oscar chat to check out this great up-and-comer.

Film is tucked under the seat!

Directed by TV regular and first time feature film director Allen Coulter, the film stars Pattinson and Emilie de Ravin (of Brink and “Lost” fame) as a young couple trying to keep their budding relationship strong amidst various family problems. The film also stars Chris Cooper (as Ravin’s over protective cop father) and Pierce Brosnan (as Pattinson’s uncaring father).

I haven’t been tracking the production that closely but am impressed that the studio managed to pump out a trailer so soon (the film isn’t scheduled to open until March 12, 2010) but what’s most impressive is that it actually looks promising. I’m not sure how well I guy Pattinson’s accent (I had a slight problem with it in the past) but the trailer suggests a promising drama. And no, not just because of the fangirls.

Trailer tucked under the seat.

It’s sad to see movies go downhill. You know what I mean, the ones that start off with great promise and then end badly. Some take their time to show their true colours while others take a while but one thing’s for sure, it’s always disappointing to see it happen. It’s even more disappointing when the movie in question starts off as well as Puck Hogs.

Warren P. Sonoda’s mockumentary about a recreational hockey team on their last legs starts off with a bang. It’s funny, it’s smart, it’s a bit crude and reminiscent of the often dumb, dry and sometimes genius comedy that has made “The Trailer Park Boys” such a huge success, but once the film moves past the opening ten minutes, it quickly devolves from funny to amusing to downright painful. It was a great relief to finally see Gyan, the “filmmaker”, return to make his final statements on hockey.

I’d love to say that the film features some redeaming qualities be it great performances (sadly, outside of Daniel Kash as the Russian goalkeeper Sergei no one is particularly memorable) or great music (most of it seems badly out of place) or production design (it’s painfully clear there was little money to work with) but I could find little worth praising. I should have walked away partway through when I completely lost interest but I mustered through, mostly hoping that it would get better but it never did.

Overall, Puck Hogs is a sad little film, one that suggests a budding filmmaker but which feels more like a student film than the product of a filmmaker with as much experience and talent as Sonoda. A huge disappointment.

See VIFF screening schedule for show times.

Glenn Gould was a genius. A child prodigy turned world class pianist, he broke social boundaries and pushed the classical music establishment. He was well spoken, flamboyant and charming but what of the man behind the long coat, scarf and hat? Though the media often (if not always) chose to concentrate on Gould’s eccentricities, much was never revealed of the man behind the myth.

Over the years, documentaries and even feature films (some more straight forward and accessible than others), have tried to shed some light on the inner workings of Glenn Gould and Genius Within: The Inner Life of Glenn Gould follows in that tradition using a combination of interviews, archival footage and Gould’s personal notes to shed some light on Gould’s life outside the public eye.

For the most part, Michèle Hozer and Peter Raymont’s documentary is a success, incorporating little seen footage and interviews with the people closest to Gould, from lovers to friends as well as scholars who have spent a better part of their lives studying the Canadian icon. Hozer and Raymond take a straightforward approach following Gould’s life and filling each major achievement with footage and background information that provide a more complete view of the man and the events that influenced his various projects.

The Gould connoisseur may find few new tidbits of information but for those curious about the life of one of the greatest musicians of the 20th century, Genius Within: The Inner Life of Glenn Gould is a must see film, one that both entertains and wets the appetite for more.

On a side note, if Hollywood ever decided to make a biopic on Gould, I would nominate Ethan Hawke to take on the role of Gould. The two share an uncanny resemblance.

This isn’t your average love story. It may involve a boy and a girl and a boy falling for a girl but it’s done in a way I’ve never seen before, at least never seen work. Meet Jara. During the week he’s a security guard at a big grocery store, by day he sleeps, takes care of his nephew and listens to heavy metal, during the weekend he’s a bouncer at a night club. He’s a big guy and at first glance, you’d likely turn the other way and run but on closer inspection, we see a kind face and eyes that reveal the soul of a big teddy bear. But what makes Adrián Biniez directorial debut Gigante, a Berlin Prize Winner, special is the way in which the romance evolves.

You see, Jara doesn’t meet a girl, date a girl and then fall in love instead, he spots a young woman who works on the store floor and becomes infatuated to the point where he begins to follow her. At first, you can’t help but chalk up the interest to curiosity but as the film slowly unfolds and Jara’s stalking activities escalate, a bell goes off. Amazingly, due in part to the direction and the performance from Horacio Camandule as Jara, the film never feels creepy and instead, I found myself rooting for Jara to succeed in his quest to finally speak to the girl.

The combination of Miniez’s carefully constructed story which develops Jara as a real person rather than a clichéd romantic hero and Camandule’s quietly captivating performance keep the film light and sweet rather than weighed down by creepy subtext. That’s not to say that it’s all sugar sweetness as some of Jara’s activities cause harm both to himself and others around him but it’s all par for course in his search for love and frankly, it’s difficult to look at Jara and not want to see him succeed in finding love.

Often funny, sometimes sad and all around entertaining, Gigante is a film that defies expectation. With every step forward, Jara takes two back and just when you think he’ll never get the girl, the unexpected happens. A surprisingly sweet story of love unlikely romance this is the best kind of romance.

See VIFF screening schedule for show times.

Two women, sisters, living on a farm in Manitoba, their closest neighbour is 18 miles away. The two are etching out a meagre living from their farm when a stranger arrives. Though Maggie, the eldest, turns him away, David refuses to leave and instead makes himself at home in the barn. She insists he only stay for a day or two but he slowly warms up to them and begins a secretive relationship with Rose, the younger of the McGregor sisters. In the cover of night, the two run off and Maggie follows after them but when she discovers that David is a wanted man, the situation becomes even more dire than before and Maggie finds herself fighting against time and her romantic feelings for David in a race to save her sister.

Danishka Esterhazy’s Black Field is a story of tragic romance, sisterly love and survival. Shot in Manitoba, Esterhazy uses the prairie setting to her full advantage, filling time and space with breathtaking visuals that immerse the viewer while mirroring the inner workings of the characters. At times we see glimpses of the barren land, a clear visualization of the emptiness in the sister’s lives and when Maggie is in transit, searching desperately for her sister, the camera follows her through creepy, tangled pathways that are constantly pushing her back.

It’s a simple story but one that is built with expertise, unfolding in an ending that is likely to surprise. The film relies heavily on the talent of Sara Canning (of TV’s “The Vampire Diaries”) and she provides an emotionally charged performance that is, unfortunately, not met by her co-stars both of whom deliver flat performances with atrocious accents that should have been dropped from the film altogether.

The film is notable for both its visuals and Canning’s performance but also for its score composed by Joe Silva which, in the opening credits alone, beautifully sets up the sorrowful story. It makes a quiet appearance from time to time throughout the film but it never feels intrusive or overbearing; it’s simply beautiful.

Though not without its problems, Black Field is a gorgeous film which delivers a remarkable story of survival with an ending which will leave you pondering Maggie’s motivation and though conclusions may vary, the films’ strengths don’t: it will impress.

See VIFF screening schedule for show times.

A beautifully told, classic coming of age tale through the eyes of a mature, cultured 16 year old growing up in suburban London in the 1960’s, Jenny (Carey Mulligan). Attending an all-girls school, she is by far the most inspired of her peers, the biggest dreamer. Though the dreams of her stern parents have their little girl studying at Oxford next year (and Jenny has the credentials and talent to see it through) her greatest joys come from listening to her Juliette Greco albums, as oppose to playing her cello, and speaking French instead of her dry school-book Latin. With Jenny’s cross into womanhood playing out for the duration of the film, this familiar struggle is an on going battle between her institutional obligations, and the new world she is carefully escorted into as she seeks her path in life.

 David (Sarsgaard), an older, intriguing gent swoops in in his sporty Bristol roadster claiming to be an innocent “music lover” offering help to get her cello home safely as the girl is standing in pouring rain after orchestra practice. And with this first meet, Jenny is left smitten. A string of encounters through the quiet English town lead to the man to the living room of Jenny’s parents. It is here he charms the couple into allowing him to date Jenny. With this, she is taken to a world she thought only lived by her favorite French movie stars, where a lady is dressed in white furs and elbow-length gloves, conversations consist of fine art and decadence, smoking promotes status and your martini is what ultimately defines you. Already a lover of Jazz, and eager to get into fabulous dresses and dance for nights on end with David and his exciting friends, Jenny arrives home to her mother describing it as the best night of her life. Jenny’s mother, a slave to housework sighs in reflection of her own wasted youth.

With her own Jean-Paul Belmondo parked in front of the school everyday she becomes the talk of the school, professors disapproving, peers drooling for details.

Although handsome, playful and respectful, (and Jenny believes him to be the man of her dreams), he is a dark horse. It isn’t until a birthday trip to Paris that she learns the truth David’s crooked success in the shady world of art dealing. But Jenny is now deep in their circle; frequenting auctions, galleries, supper clubs, jazz dens and elite boutiques, it’s an intoxicating and delicious trap, and when David proposes to marry her with no support from his best friends, her investigation of David begins. 

With Nick Hornby’s script set in the sixties, the character of Jenny, her uncensored dialog, honest and naïve mannerism and all around bold persona make her the poster child in a time of revolution. And you get a killer soundtrack!  She represents everything going on with feminism at the time, women challenging a man’s world and a man’s mind. Refusing the traditional roles for women of that time by pursuing a life she wants and eventually realizing that that world isn’t made or broke on a man’s influence. She makes her final decision, and it is ultimately a redemptive one.

Hornby’s characters are wonderfully colorful, ranging from the seductive, hedonist beatnik-types of David’s world; most memorable is his best friend Danny, (Domenic Cooper) identical to Jude Law’s jazz-snob ‘Dickie Greenleaf’ in the noir-thriller Talented Mr. Ripley; to the repressed, working class parents of Jenny, living in a grey world, in which guilt and pressure consumes any chance of pleasure or play. But nobody tops David, an incredibly complex and tortured “gentleman”. As mentioned by Sarsgaard in person at the Q + A, David is a child.Though groomed and intriguing, with a quick wit to match that of any experienced playboy, his blind use of games and baby talk prove him to be a weight in Jenny’s determined path to blossom to her fullest.

With a concept ripped right from the sappy, weepy girl-group anthems of the era, the story matures from its angsty and innocent beginnings found in any Shangri-Las or Spector-produced pop song to a learned, experienced narrator, examining her own worth and finding a road in life where wisdom and independence brings far greater rewards.  A required viewing for any young girl approaching that leap from the nest, especially the ones who seem to be invincible on their path to success!

Somewhere in my mind, I took note of the fact that noted designer Tom Ford had left behind the fashion world for film. There had been rumblings of his debut A Single Man, being good but it wasn’t until the film’s turns at Venice and Toronto that the rumblings turned to shouts.

The subject of a bidding war between the Weinstein Company, Summit and Miramax (a war the Weinstein’s eventually won), A Single Man recently played to an adoring crowd at Toronto where the film received a standing ovation and much praise. The story of an English professor trying to move on with his life after the death of his lover, the film stars the fabulous Colin Firth as the professor and Matthew Goode as his lover with Julianne Moore and Ginnifer Goodwin thrown in for good measure.

Firth has already taken acting kudos at Venice for his performance and all signs suggest that he may be a shoe-in for Oscar consideration. If the trailer for the film is any indication, I expect the film may also be looking forward to some awards love come early next year. It’s a gorgeously cut trailer which tells very little of the story but suggests a somewhat magical world full of love, beauty and tragedy.

I expect that with the awards buzz, the Weinstein Company will look to get the film out for distribution before the end of the year. I can’t wait for the opportunity to see it.

Trailer is tucked under the seat.

Since its original run at Sundance and SFIFF, the film has continued to make appearances through various festivals but it has yet to find an American distributor and considering it’s been floating around for well over a year, it seems unlikely the film will be picked up for theatrical distribution any time soon. Though reviews have been predominantly positive, it looks like the only people excited for the film are Twihards who will latch on to anything even remotely associated with the saga. In this case, that fixation may prove helpful.

I’m hopeful this won’t get buried away somewhere and then quietly dumped onto DVD.

Trailer is tucked under the seat!

The first teaser for the film has surfaced and it doesn’t simply suggest that this is something to watch out for, it squarely cements Reitman’s newest effort as a must watch. Perhaps the trailer is misleading (Thank You For Smoking had a fantastic trailer and though the film was good, it wasn’t great) but Clooney’s feel good speech accompanied by images from his life doesn’t necessarily say much about the story but it clearly outlines what we can expect: a smart, well written drama about a man putting his life in order.

Up In the Air opens on December 4th.

Teaser trailer is tucked under the seat!

C. D. Payne’s novel features a 14 year-old boy name Nick. He’s going through puberty, is obsessed with girls and sex and then he meets Sheeni. To gain her attention, he creates a bad ass alter ego named Francois Dillinger who says and does everything Nick doesn’t.

The film, also titled Youth in Revolt, is adapted from the book by screen writer Gustin Nash who made a minor splash last year with Charlie Bartlett (our review), directed by Miguel Arteta and stars Michael Cera in the title role of Nick. The real surprise here is that for the first time, that I’ve noticed at least, Cera seems to be extending a little further than awkward/quirky teen. Though Nick fits Cera’s usual schtick, Francois seems a whole lot more direct and a bit of a douche which should prove interesting. Along with Cera, the film features a great cast of actors including Zach Galifianakis, Steve Buscemi, Justin Long, Fred Willard and Ray Liotta.

The trailer seems interesting enough and as Eirk Davis at Cinematical notes, it’s a bit Fight Club-esque. I’m simply a sucker for teen movies so this one is definitely on my radar.

Youth in Revolt opens on October 30th.

Trailer is tucked under the seat!

The story of a man who’s obsession with a woman he sees from his window turns into a bit of a mystery in which said woman takes more than just his heart, Eccentricities of a Blonde-Haired Girl looks like classic Oliveira: a little theatrical, a little languid and very beautiful.

For those not familiar with Oliveira’s work but looking for a way in, this may be the film for you. Unlike the majority of the filmmaker’s other works, this is a short film clocking in at just over 60 minutes. If you’re even mildly curious, I recommend starting here. And if you happen to miss it at TIFF, the film has also been announced as a selection for the upcoming New York Film Festival which runs from September 25th to October 11th.

Sadly, this trailer is subtitle free but it also doesn’t feature much more than the characters seeing each other for the first time and shopping for a ring; I assume no one needs a subtitle to take in where the story is going.

Trailer is tucked under the seat!

The film premiered at TIFF last year and Kurt foresaw the film would open early in 2009 but for some reason, reviews perhaps?, it was shelved and forgotten until today when a sexy discombobulated new trailer appeared. With acting and directing contributions from a long list of talented folk (Park Chan-Wook, The Hughes Brothers, Faith Akin, Mira Nair, Yvan Attal, Shunji Iwai, Wen Jiang, Joshua Marston, Andrei Zvyanginstev, Brett Ratner, Shia LeBeouf, Blake Lively, Natalie Portman, Hayden Christensen, Anton Yelchin, Orlando Bloom, Christina Ricci, Chris Cooper, Kevin Bacon, Robin Wright Penn, Maggie Q, Ethan Hawke, John Hurt, Scarlett Johansson, Natalie Portman and Olivia Thirlby) this is bound to have a little something for everyone.

The trailer is not exactly eye popping but it certainly looks nice and I have love for much of the talent involved so I’m game. I still haven’t seen Paris, je t’aime but I may have to check it out before being sucked into this one.

New York, I Love You is scheduled for limited release on October 16th.

Now, who’s working on a Vancouver, I Love You?

Trailer is tucked under the seat!

To download show directly, paste this link into your downloader:

http://www.rowthree.com/audio/AfterTheCredits-Episode66.MP3

Dale (Digital Doodles), Colleen and Marina talk about a few movies we’ve seen over the few weeks we’ve been MIA from recording.

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Show Notes:

:01 – Bumper
:04 – Opening Music: Blackalicious‘ “Powers”
:19 – Introduction
1:01 – (500) Days of Summer
10:06 – Harry Potter and the Half-Blood Prince
20:00 – Brüno
24:06 – The Hurt Locker
28:27 – Public Enemies
30:49 – SDCC
37:47 – Closing remarks
40:42 – Closing Music: Blackalicious‘ “You Move” featuring Life Savas

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Written by Campion, the film is a drama based on the three-year romance between poet John Keats and Fanny Brawne, a romance which was cut short by Keats’ death at the young age of 25. Not only does the film look fantastic but the casting of the brilliant Ben Whishaw as Keats and up-and-coming Australian actress Abbie Cornish as Brawne is, in and of itself, a win but the prospect of seeing these two talents on screen together is exciting and the trailer certainly suggests there is a whole lot to be excited about.

At the moment, Bright Star doesn’t have a release date but it is scheduled to play TIFF and if all goes well, I hope a release will follow shortly thereafter. For now, feast your eyes on the beautiful trailer.

Director: Marc Webb
Screenplay: Scott Neustadter, Michael Weber
Producers: Mason Novick, Jessica Tuchinsky, Mark Waters, Steven J. Wolfe
Starring: Zooey Deschanel, Joseph Gordon-Levitt, Clark Gregg, Minka Kelly, Rachel Boston, Matthew Gray Gubler, Chloe Moretz
MPAA Rating: PG-13
Running time: 95 min.

The trailer for Marc Webb’s feature film debut (500) Days of Summer clearly states: “This is not a love story.” Is the disclaimer really necessary? Can’t we simply have a story about two people in a relationship and not immediately assume it’s a love story? It’s not necessary but the line hints at what we can expect from the film and the type of comedy Webb and writers Scott Neustadter and Michael H. Weber have in store and in that respect, it fits perfectly because the film is not a love story in the way which we’ve come to expect. It is, however, a relationship story and the two, love and relationships, don’t always go hand in hand.

Tom is a boy, a closet architect who spends his days writing bad greeting cards, hanging out with friends and recovering from relationships. Summer is the new girl at the office. She’s cute, she’s funny and she loves The Smiths. The two date. Things end badly. Post script. The end. The basics may be run of the mill but the details aren’t. You see, unlike the typical relationship story Hollywood tends to dish out, it’s not the girl who falls madly in love only to be left behind but rather the boy who goes through the suffering. He loved too quickly, she wasn’t interested in a long term relationship and for that, she’s apparently: 1) a dude and 2) a bitch. But what does one do when the story doesn’t fully work but the execution asks, no forces, you to enjoy yourself?

Walking away, it’s hard not to be enamoured by the film because Webb creates a beautiful, highly endearing and entertaining universe for his equally endearing and quirky characters to inhabit. Musical numbers, huge chalk boards, apartments the size of small houses, bad 80s pop songs, bad 80s pop songs karaoke; I couldn’t help but tap my foot and smile but when the relationship heads south, I couldn’t follow. Not completely at least. I couldn’t feel sorry for Tom for the same reason I have a hard time feeling sorry for all the female characters that have followed the same path: it was never meant to be, I know what you’re thinking: where would we be if we never followed our heart? If we let things go when they don’t easily work? Whatever happened to persistence? Fine. Sure. Fair argument but when is enough moping enough? When do you move on to the next relationship? For Tom the answer seems to be the same as it is for everyone else: in time.

Essentially what we have a romantic comedy in reverse. Tom is the clingy, too quick to fall in love character we’ve come to expect from “the girl” while Summer is the breezy non-romantic we’ve come to expect as “the guy”. The role reversal doesn’t endear the film to my heart but I can’t help but think that it has fooled many. That’s not to say (500) Days of Summer doesn’t have merits. On the contrary it has much going for it, not least of which is the fact that this relationship feels authentic. As much as the universe they inhabit and the character themselves feel put on and exaggerated, Tom and Summer’s relationship, how it grows, hot it falls apart and how it is eventually resolved, feels thoroughly authentic.

Don’t be fooled by the statement that this is not a love story. (500) Days of Summer is not a romance in the sense that we have come to expect, all fairy tales and happy endings, but it provides a realistic relationship which happens to involve romance; if one sided.
It’s not perfect but (500) Days of Summer is a charming, tightly constructed, highly entertaining relationship dramedy well worth a look if only to observe Webb, Gordon-Levitt and Deschanel’s effective pendulum swing from drama to comedy and back.

Ironically, the one character that seems to know what he wants and what he is, is actually the most creepy. Jason Patric is often known for more pretty-boy roles from Speed 2 to Narc, but here he inverts his carved good looks into a something borderline evil. He is cruel to others, and takes pleasure in the cruelty. A doctor of some sort (god forbid a gynecologist) one scene, early in the film, has him casually tossing the plastic model of an infant from a maternity model in his office while talking on the phone. The scene ends with him football-punting the child offscreen. But that little nugget of insight pales in comparison to the scene below where Patric regales the story of his best sexual encounter to his ‘buddies’ (Aaron Eckhart and Ben Stiller) while in the sauna. Silence follows. AWK-WARD!!! This is only one of many great vignettes (and I’ve left out the real punchline in the locker room after Patric’s monologue) in Your Friends & Neighbors, a film that was overshadowed in the Rated-R adult arthouse zone by Todd Solondz more visually graphic Happiness which was release in the same month. Neil Labute, lately, has been making more straight up studio pictures like Lakeview Terrace, The Wickerman remake (if that can be called ‘straight-up’ with Nic Cage’s batty performance) and Nurse Betty, but his one-two punch of yuppie awfulness directed from his own stage plays (In the Company of Men and Your Friends & Neighbors remains his most vital film work.

Every month the First Weekend Club announces a DVD selection along with a special guest – someone involved with the film who will participate and interact with fans in the forum. We here at Row Three also love a great discussion and what could be better than chatting up a storm with the star, director or producer of that film you just watched? Yeah, I thought that might get you a bit excited.

This month’s selection is Sarah Polley’s Away from Her staring Gordon Pinsent, Stacey LaBerge and Julie Christie. For those who haven’t seen it, now would be the time to check out Polley’s fantastic feature directorial debut while those of us who have seen it may want to re-visit the film to part take in some discussion with this month’s guests Gordon Pinsent and Kristen Thomson.

Out of Cannes comes news that Corbijn has signed on to direct the film adaptation of Martin Booth’s novel “A Very Private Gentleman.” It’s the story of an assassin who spends some time in an “idyllic Italian town” before his final assignment but rather than staying under wraps, he makes friends and falls in love and all hell breaks loose because of it. Sounds vaguely familiar… and starring as the assassin: none other than Mr. George Clooney.

Movies about assassins hiding out in small towns aren’t really my cup of tea (with a few exceptions) but Clooney certainly helps sweeten this deal though I’ll happily admit that I was on board at Corbijn’s name (though this isn’t exactly what I’d expected from the director but I guess few have the will to say no to Clooney’s prowess).

And for goodness sakes people, if you haven’t seen Control yet, what the hell are you waiting for?

A few years ago writer Donna Woolfolk Cross published a novel titled “Pope Joan” which chronicled the life of Johanna von Ingelheim, a woman who supposedly disguised herself as a man and, in the 850’s, reigned as Pope for approximately three years between the papacies of Leo IV and Benedict III. The story has long been considered legend but Cross weaves a captivating story and I was thrilled to hear that the film was being adapted for the screen. There have been a few setbacks (legal issues with John Goodman and Franka Potente dropping out of the title role) in the production but it looks like things have finally come together and now we have the first trailer for the film.

So it’s not really much of a trailer but it is a teaser and the first we’ve seen of the film which is being directed by Sönke Wortmann, and though it doesn’t give you much to go on, I’m sure you can figure out who the caped figure is. The film, a German production, stars Johanna Wokalek as Joan, David Wenham (of 300 and Lord of the Rings) as Gerold her confidant and Goodman as Pope Sergius. Let me say this about the casting: I didn’t have any idea what Joan would look like but Wokalek looks perfect in the role.

I’m hopeful that the casting is enough of a sell for someone to pick this up for North American distribution but I’m not holding by breath; I have a feeling we may not get a chance to see this on the big screen which will be a real shame since it looks gorgeous.

Pope Joan is scheduled for release in Germany on October 29th.

Additional images from the production are tucked under the seat!