Emmy Live Blog 2011

Arrivals and the Show, All Live-Blogged. Excuse Typos. Things Happen Fast

06:05 This does not bode well, the first arriving guest is a Nina Somebody from The Vampire Diaries who is quite possibly the most boring celebrity I have ever seen interviewed on the red carpet. She had so much airtime to say interesting or funny or quippy or diva things -- trust that you can spin those inane "who are you wearing? can you believe you're here at the emmys?""your career is hothothot" right now volleys whichever way you want. And it was all blah-blah-blah-blah-blah as if pre-recorded and lazily lip-synched to on the red carpet. And when Blake Lively is your aspirational figure that you'll have to work very very hard to deserve a like career. Wow. Let's move on. Please we must. But commercials.

Last year my Oscar dress was amazing. But tonight I wanted to be comfy."

06:15 Celebrities with personalities! Kat Deeley (sp) Lea Michele Taraji P. Henson. Sarah Hyland. Much better. Here's Lea braggin but her Oscar dress while wearing something she claims is comfy but in which she is clearly corseted like Scarlett O'Hara grabbing a bedpost. COMFY!

06:20 Sarah Hyland just had her I'M REALLY A NICE PERSON I SWEAR moment while explaining that she meant no harm when she did an impression of Lea Michele on an episode of Fashion Police. I've heard about this non-scandal but the real scandal is that E! is trying to pretend that that most famous of editorial poses -- elbow jutted out exagerrate contrapposto -- is LEA MICHELE's. I love my Rachel Berry but she wasn't even conceived yet when super-models started doing that. 

6:28 I really am not a Rainn Wilson fan but his carpet banter was funny. His TV crushes?

"The entire cast of Mad Men and the naked Dothraki girl who eats the stallion heart."

Hee.

6:30 Less funny was Paula Abdul's typical spaciness. She said "blueberries" when she meant "blue balls". Even if she'd gotten the word right, is that what you want to talk about on the red carpet?

6:38 Darren Criss's nose should be growing like Pinnochios. He hasn't really even thought about whether or not the Glee cast is graduating this year. Uh, yeah.

6:40 I just caught sight of what looks like a VERY unusual dress on Julianne Marguiles which will undoubtedly get her tons of attention. Will snap a photo as soon as I can. A giant white cylindrical cheese grater? 

6:49 DAMNIT. I was wrong. It is not thick plastic with circular cut-outs but regular old white fabric with big circular looking jewels. Less insane than expected and therefore much uglier. Christina Hendricks on the other hand is bang on beautiful. YUM YUM YUM. 

6:54 Charlize Theron's new "Dior Commercial" is crazy glam explosion and she is ridonculously hot. Like molten hot. If she had been around in Golden Age Hollywood she would have been an enormous star. But Hollywood doesn't understand In Movie Glamour anymore. Only red carpet glamour. Charlize should be looking that good IN a movie.

6:58 This happened awhile ago but I am still haunted...

I bet that's how Ryan kisses all the girls.

MUCH MUCH MORE AFTER THE JUMP

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TIFF Award Winners

The list as they came in [thanks to The Lost Boy]

BEST CANADIAN FIRST FEATURE Edwin Boyd, directed by Nathan Morlando (Paolo's review, Amir's review)
BEST CANADIAN FEATURE Monsieur Lazhar, directed by Philippe Falardeau
BEST CANADIAN SHORT FILM Doubles With Slight Pepper by Ian Harnarine
PEOPLE'S CHOICE MIDNIGHT MADNESS The Raid, directed by Gareth Huw Evans
PEOPLE'S CHOICE DOCUMENTARY The Island President by Jon Shenk
INTERNATIONAL CRITICS SPECIAL PRESENTATIONS The First Man, directed by Gianni Amelio
INTERNATIONAL CRITICS DISCOVERY SECTION Avalon directed by Axel Petersen 

And the biggie, the PEOPLE'S CHOICE AWARD, which often signifies Oscar attention in either Best Picture or Foreign Film categories is WHERE DO WE GO NOW? the musical from Lebanon which is from the director of Caramel. It was recently submitted for Oscar consideration for Best Foreign Language Film.

UPDATE: Here's the international trailer.

It's officially one to watch now, a very likely nominee if past awards are indication. Runners up in this category were Iran's very buzzy marital drama A Separation and Ken Scott's Starbuck. 

TIFF: "Himizu," "Lovely Molly," "...Nightmare" and "Union Square."

Paolo here, back with yet more TIFF films from the final weekend.

The first film today is Sion Sino's HIMIZU, using the backdrop of the March 11 earthquake to tell the story of fifteen year old Yuichi Sumida's (Shota Sometani) violent dreams and reality. One of his dreams puts him in the Fukushima rubble, where he finds a pistol inside a washing machine and when he wakes up, he checks his own washer to see if it's true. What ensues is school absenteeism, stalking from a lovesick and excitable girl, abuse from his father (who tells him he should drowned him in a river) and beatings from Yakuza loan sharks. 

At one point he has convulsions, a reaction to his unbelievably painful life. It's a raw and forceful performance from Sometani that might be ignored by larger audiences because of world cinema ghettoization. Sino's approach in telling Sumida's story meanders after the point when Sumida stands up to get revenge from these adults.

I feel snobby when I miss films from TIFF's Midnight Madness programme but fortunately, they play them again days after their premieres. Yesterday brought us LOVELY MOLLY from BLAIR WITCH director Eduardo Sanchez. It starts with the young titular character (Gretchen Lodge) explaning, teary eyed, that the actions that her body is committing is not really her. Her seemingly perfect marriage and childhood home disintegrate because of an incubus that haunts her. It is a competent horror film with the occassional excellent moment, especially those in which Lodge confronts her inner monster or becomes one. Lodge, in a debut performance, commits to the role with both eloquence and ferocity.

The transitions between regular film and video cam equipment are smooth.The scares aren't cheap but the intervals between them are far too long. While we're waiting for either the invisible ghost or Molly to attack, we're left with watching close-ups of furniture while eerie music plays on the background. The film can't rely only on great sound design to make its house look creepy. And why does the house have a security system but not proper lighting?

New Isabelle Huppert and Mira Sorvino movies after the jump.

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Open Thread (The Non DRIVE Edition)

What's on your cinematic mind? Besides DRIVE I mean. We'll talk about that in the morning so save your thoughts (or rush out to see it tomorrow so that you can have some!). I'm almost done with my review but fading fast ...sickness begone!.

What else is unspooling in your mental projector?