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Entries in Reviews (1280)

Sunday
Sep202015

TIFF: An LGBT Winner "Closet Monster" 

Portions of this piece were originally published in Nathaniel's column at Towleroad

The Toronto International Film Festival closes shop on its 40th year tonight (imagine the stops they'll pull out for the 2025 festival!) and I'm probably on a plane as you're reading this. Given the breakneck pace of seeing so many movies there are more reviews to come from both Amir and Nathaniel (c'est moi). In other words TIFF will have something of a half life here at the blog and the Oscar charts must be updated Monday/Tuesday and so on. With the end of the big three fall fests tonight (Telluride, Venice, TIFF) it's officially on for Awards Season. Cue: marks, gunshot, running campaigning. The first prizes won't roll around until late November / early December of course.

And for many 2015 festival films winning distribution is the only thing worth campaigning for at this moment. If you're into LGBT cinema you should also check out the reviews of Desde Allá and Girls Lost. My favorite LGBT picture of the festival was Canada's own Closet Monster. More after the jump...

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Thursday
Sep172015

TIFF: French Sexy Time Movies

Nathaniel, reporting from TIFF, where the French still love la petite mort. Due to the graphic nature of these films the reviews of Gaspar Noé's 3D explicit sex movie Love and the French teens-gone-wild Bang Gang: a modern love story (which is about exactly what it sounds like it's about) are both hidden after the jump where naughty things must go... Think of the children!

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Wednesday
Sep162015

TIFF: Jake Gyllenhaal in "Demolition"

This review originally appeared in abridged version in Nathaniel's column at Towleroad

All throughout Demolition, which opened the 40th annual Toronto International Film Festival which closes this coming Sunday, new widower Davis Mitchell (Jake Gyllenhaal) is putting the title into action. His wife has just died, he is convinced he feels nothing about it, and he begins to tear things down and scatter their parts about. The general idea is ‘take something apart to see how it all fits together’ but he doesn’t bother with the fitting back together part.

He’s also demolitioning his own life, of course, in the process. This peculiar destructive streak starts out small with his morning routine. At first, in montage, this includes lots of preening and shaving (including his chest. *sniffle*) to turn him into a smooth starched and well dressed executive but it’s quickly abandoned. Cue: sexy scruff and increasingly erratic behavior. (Unfortunately we are not shown the return of the chest hair. Stingy move, movie!)

Everything has become a metaphor…”

…Davis intones in the middle of the picture to his confused and impatient boss and father-in-law (Chris Cooper), as an attempt to explain his new and frankly worrisome headspace. But he’s right. Everything is a metaphor in Demolition and thus, apart from Gyllenhaal’s work, the movie sparked polarized reactions. 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.


Sunday
Sep132015

TIFF: Did Dheepan deserve its Cannes win? 

Amir continues our coverage of TIFF '15 with a review of this year's Palme d'or winner, Jacques Audiard's Dheepan.

Whether Jacques Audiard’s latest film, Dheepan, benefits from the pedigree of its Palme d’or or becomes victim to raised expectations isn’t clear. What is already clear, however, is that the film’s reception has been truly baffling: on the one hand, the Cannes prize is one of the festival’s more curious decisions; on the other, the extent of vitriol that the film receives seems equally unwarranted. Dheepan is on the same emotional and stylistic wavelength as Audiard’s previous films, and it is about ten minutes -- admittedly a disastrous ten minutes — away from being on par with his best work...

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