Tim's Toons: Kahlil Gibran's The Prophet

Tim here. To the right kind of viewer (e.g. the kind writing this review), Kahlil Gibran's The Prophet is THE animated event of 2015. Which does not, unfortunately, turn out to mean that it is THE best animated film of 2015, or even in the running for that title. But let us not accentuate the negative; it's still a special and enormously idiosyncratic little movie, and its failures are honorable.

The film is a long-simmering passion project for producer Salma Hayek, one of the many ardent fans to accrue to Gibran's 1923 English-language collection of essays (Gibran was Lebanese, as was Hayek's grandfather). When, exactly, she decided that the adaptation needed to be done in animation is anyone's guess, but it was exactly the right choice: the book consists primarily of a series of spiritual lessons in the form of prose poetry, with the ghost of a narrative connecting them. The film by necessity fleshes out that narrative considerably and literalizes it, but the meat of the film is still those essays: eight out of Gibran's original 26, each handed off to a different luminary in the world of international animation.

Those eight sequences are easily the best reason to see The Prophet.

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The Alluring Patricia Neal in Hud

Continuing our celebration of 1963 here's Murtada on that year's Best Actress.

Patricia Neal is first introduced 8 minutes into Hud. She walks into the center of the frame and takes hold of it as she gazes at Paul Newman parking his car.

He parked right on my flower bed”.

The way she is framed ensures the audience knows she’s important to the story. The way Neal tosses off that line, we know Alma’s not to be messed with. [More...]

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Team Experience: 2015's Best Emmy Nominees

Andrew here with some more Emmy treats.

In anticipation of Sunday's big night for TV, the television lovers at The Film Experience are bringing to you a special Team Experience top 10 list.Sure, each year a handful of Emmy nominees leave us scratching our head in confusion, but we wanted to celebrate the citations that the voters got right this year and compiled our list of favourite nominees. Unlike usual Team Experience top 10s, though, we're offering you a look at each of our individual top 10s.

Nathaniel always points out how interesting individual ballots in awards tends to be more dynamic than the final tally and to celebrate the wide range of nominees in the prizes still to be handed at Sunday's ceremonies. So, we disregarded the already decided on categories from the Creative Awards ceremonies and from the 26 categories to be decided on Sunday, our twelve person team each submitted their favourite of the nominees.

Unsurprisingly, our individual ballots were full of Actresses. Go below the jump to see them all.

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Victoria's single take is incredible, but it's not "better" than Birdman's

Sebastian here, not at TIFF, but now taking your donations to get me there next year...

Frederick Lau and Laia Costa in VICTORIA

Ever since its premiere at the Berlinale earlier this year, Sebastian Schipper's Victoria has been compared to Alejandro González Iñárritu's Birdman. The US poster even leads with a quote from Variety's Guy Lodge: "Fly away, Birdman — there’s a new one-shot wonder in town."

Victoria was shot in one take, which lead many to compare it (usually favorable) to the Best Picture winner. It's an odd comparison to make, though, since Iñárritu's film wasn't shot in one take, and never pretended to be, either. (The fact that Douglas Crise and Stephen Mirrione weren't even nominated for Best Editing is one of the stranger oversights in The Academy's recent history.)

Both films share in their production an elaborate, fairly - though not entirely - unique effort with a high degree of difficulty to pull off. But so does Boyhood. Or Mad Max: Fury Road, for that matter. That doesn't mean they're doing the same thing, and it certainly doesn't mean that one of them is "better" at it than the others.

As tempting as it may be for some to use Victoria's impressive technical achievement to get in one more jab at the much (and in this writer's view unfairly) maligned Oscar winner, it really doesn't do either of them justice.

VICTORIA had its North American premiere at TIFF this week and is being rolled out to US theaters next month, starting with New York and Los Angeles on October 10. Full release schedule here.

Jane Got A Gun might have a happy ending

Here's Murtada telling the tale of Jane. 

       

Say you are Natalie Portman. You just won an Oscar then took some time off to raise your young family. You are ready to come back to work. You decide to take charge of your career and produce a movie. You find a hot script by a young talented writer. It’s a revisionist western, a genre you haven’t tried before. You choose to work with an acclaimed female director because you want to tell more stories about women and employ more women. To co-star you choose one of the most respected actors of your generation. Great intentions all around. Then everything falls apart just as filming is supposed to start.

That’s the saga of Jane Got a Gun. On the first day of shooting director Lynne Ramsay left. Despite a now settled lawsuit no one knows why but differences with producers and financiers are suspected. The leading man, Michael Fassbender, leaves too as Ramsay was the main reason he signed on. He’s replaced by Bradley Cooper. Then Jude Law. Then Joel Edgerton who was supposed to play the “baddie” is promoted to the lead. Ewan McGregor is hired for Edgerton’s part. Producers scramble to find a director while the cast and crew are waiting on set in New Mexico. Finally Gavin O’Connor (Warriors) is hired. He brings with him his writer (Anthony Tambakis ) and they do a major re-write alienating the original writer (Brian Duffield). Somehow everyone gets to work, the movie is shot while PR experts are in damage control mode.

Months later the movie is set for release for February 2015. Then it’s delayed to September 2015. And a month before release the studio behind Jane goes bankrupt. The film is one of many caught in the crosshairs of Relativity’s recent Chapter 11 filing. Others include the Nicholas Hoult- Felicity Jones starrer Collide and Jim Sheridan’s The Secret Scripture with Rooney Mara and Vanessa Redgrave.

But it looks like there’s a happy ending for Jane after all. The Weinstein Company has picked it up for distribution and will release in Europe this November and in the US next February.

And it’s also nice to see Natalie Portman continue creating opportunities for women behind the camera. She directed her first movie A Tale of Love and Darkness based on Amos Oz's autobiographical book. The movie played Cannes and Toronto to mixed reviews. One of her upcoming projects is On the Basis of Sex, a biography of Supreme Court Justice Ruth Bader Ginsburg to be directed by Marielle Heller (Diary of a Teenage Girl).

Are you glad to finally see Jane get a break?