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Wednesday
Sep162015

TIFF: Journalists at War. "Truth" vs "Spotlight"

On the first day of TIFF last Thursday I saw four consecutive movies from different countries and of different tones entirely that all had a surprise pregnancy reveal scene/shot during their stories. Festivals are funny like that providing you with unexpected throughlines. But sometimes you fully expect the comparisons, if not a schedule that has you watching two similar movies back-to-back. That happened to me with James Vanderbilt's Truth and Thomas McCarthy's Spotlight. Both are journalism pictures with A list casts and both will be gunning for awards honors at year's end. Spotlight is better positioned already with stronger reviews but Truth definitely has its pleasures. While watching them Truth felt more popcorn entertaining but Spotlight is stickier, staying with you afterwards.

Truth vs. Spotlight in 8 categories after the jump...

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Wednesday
Sep162015

HBO’s LGBT History: Middle Sexes (2005)

Manuel is working his way through all the LGBT-themed HBO productions.

Last week we looked at the surprisingly touching, inclusive and politically relevant Rosie O’Donnell documentary All Aboard! (it seems not a lot of you were as enthused as I was). This week we change gears by looking at perhaps the most boring HBO LGBT entry yet, Middle Sexes - Redefining He and She, a documentary on gender variance that is as entertaining as those educational tapes you’d be forced to watch in high school when your teacher couldn’t be bothered lecturing.

It’s disappointing given its exhaustive approach to the material and the many opportunities it offers in engaging narratives and insightful conversations about those living outside of the gender binary.

Middle Sexes - Redefining He and She (2005) (YouTube)
Directed by: Antony Thomas

If sexual diversity is natural, why is it so threatening?”

Oh that the doc could have taken up this question with the inquisitiveness of most of its talking heads. [More...

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Wednesday
Sep162015

TIFF: Kate Winslet Goes Couture in 'The Dressmaker'

Glenn here. I'm not in Toronto (booo!), but I did get to see this homegrown film recently so let's talk about The Dressmaker. This is a film that makes a lot better sense when the end credits roll and you realize that director Jocelyn Moorhouse co-wrote the screenplay with her husband, none other than P.J. Hogan. It makes sense because The Dressmaker, despite the refinement suggested by its prestige audience-courting title, is kinda crazy. It is a buoyantly excessive feat of far-fetched camp that isn’t as good as its highly-stylized cinematic cousins of the early 1990s such as Strictly Ballroom, The Adventures of Priscilla Queen of the Desert, and Hogan’s own Muriel’s Wedding, yet which nonetheless has enough of a unique voice to work as a very Australian piece of crowd-pleasuring fluff. It’s the cinematic equivalent of Betsy Johnson designing an haute couture line for Dior. [more...]

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Tuesday
Sep152015

TIFF: "Room" is a Total Knockout

Nathaniel popping in from TIFF for a short note from a simply delirious high before an attempt at desperately needed sleep. I've just seen Lenny Abrahamson's Room (adapted for the screen by the novelist herself Emma Donoghue) and it is incredible. I lost track of how many times I teared up and I kept realizing my face was freezing into long-held expressions of wonder or terror. And it's funny at times, too. Both halves of the story, 'inside and outside' you might call them, are entirely compelling. A

At the Premiere
The audience gave the director a long standing ovation tonight and stood right back up minutes later when he brought out the film's stars Brie Larson and Jacob Tremblay, who deliver one of the most symbiotic screen duets in memory. He is only eight years old but was seven when they filmed the picture and his work is easily on par with Quvenzhané Wallis's much ballyhooed turn in Beasts of the Southern Wild in terms of completely natural and riveting child performances. Brie Larson, as we already knew from Short Term 12, is a wonder with child actors, and she's just as Oscar-worthy this time in a complicated haunting role.

I spoke with the director at the after party briefly to congratulate him on how cinematic it was (somehow I expected something more stage-bound) and he asked if I'd read the book ("no") and that I should. He did worry a little about people reading the book directly beforehand and having a "double image" in their mind when watching. Donoghue, for her part, is thrilled with the film version. She said something along the lines of 'I don't want to denigrate my own craft, but there are some places only the cinema can go' on stage tonight.


Oscar Chances: Let's just say they'd better. This is not just an actor's film or a literary rooted triumph. The sound, cinematography, editing, design and music are all beautifully handled. As for Jacob Tremblay, if he's Oscar nominated he'll become the youngest male actor ever so honored* 

*this is an estimate. Justin Henry (Kramer vs Kramer, 1979 Best Supporting Actor) was 8 years and 270 days old  and Jackie Cooper (Skippy, 1931 Best Actor) was 9 years and 20 days old when they were nominated, so unless Jacob's birthday (unknown at this writing) was some time ago and he's already close to 9, he'll take the record away from them. It's the lead role but with child actors they nearly always push them supporting: think Tatum O'Neal in Paper Moon who is in 93% of her movie but we'll see.


Tuesday
Sep152015

Review: The Perfect Guy

Tim here. I have a fun game: describe the plot of The Perfect Guy to somebody. Better yet, see how much of the plot they can guess just from the title: Leah (Sanaa Lathan) is dating this really swell guy Dave (Morris Chestnut), but he absolutely refuses to commit, so she dumps him. Mere seconds later, or so it seems, she's met-cute with an even sweller guy, Carter (Michael Ealy) one who's so handsome that the whole movie seems to melt whenever he flashes his smoldering eyes and quiet smile, and who impresses the ever-loving hell out of her friends and family without even the smallest effort. He is, you might go so far as to say, the Perfect Guy.

Ah, but he has a violent streak, and when he takes it out on some hapless shmuck in front of our heroine, she decides to get out while the getting's good. And this turns the Perfect Guy into a Perfect Psychopath, and there will be much anguish and suffering, and much brow-furrowing from the wise but helpless cop (Holt McCallany) who wishes that the system wasn't so rigged against women in trouble, but is personally powerless to do anything but suggest in elliptical terms how she can take the law into her own hands.

So far, so clichéd, but that's not the game.

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