TIFF: Oscar Talking Points and Personal Favourites

Amir here, wrapping up my coverage of the Toronto International Film Festival.

I have to apologize for my absence yesterday on TIFF's closing weekend. A broken laptop charger prevented me any access to the internet. As you already know, David O. Russell's Silver Linings Playbook snatched the coveted People's Choice Award. In keeping with my tradition of not watching films with set public release dates at the festival, I passed on the film in my original planning. And yesterday, when people lined up for the film’s honorary additional screening, I was in a different theatre watching my favourite actress Julianne Moore playing a rock star in What Maisie Knew. 

More including Oscar buzz and a Festival jury of one after the jump...

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TIFF: Charmed by Ewan McGregor and "Frances Ha"

Toronto International Film Festival reports. Amir is already on the scene...

Amir here. The first couple of days at the festival have been so fantastic, surreal even, that I fear there’s no way to go from here but down. There’s been quite a lot of star gazing: Ryan Gosling, Snoop Dogg Lion, Selena Gomez, Abbie Cornish and the impossibly gorgeous Greta Gerwig. I also happened to run into the super lovely Ben Whishaw and most significant of all, had a one on one interview with William H. Macy for The Sessions. It was an amazing experience as Macy’s long been one of my favourite actors and to get to meet him in person was more than I could ask for. (The interview is forthcoming.)

The most unexpected of my encounters with the celebrities, however, happened at the screening of Noah Baumbach’s exquisite Frances Ha. Those of you following me on twitter have already seen my picture with the man in question but the story went as such: prior to the film, my friends and I were discussing which celebrities we most wanted to see and my pick was Ewan McGregor, who’s in town for the premiere of The Impossible; he's probably my favourite actor working today. Then, as we settle in our seats in the theatre, I look to a few rows ahead and lo and behold, McGregor – who is in no way involved with the film and is only there to see it – is sitting there, just chatting with a friend.

And then this happened...

me and McGregor!

Having worked behind the scenes at TIFF for so many years, I’ve seen a good share of celebrities but this was something truly special.

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Review: "Compliance"

Compliance is the kind of film I always hope to love. Ambitious, confrontrational, and very well acted films that rely on theme and character and ideas are jawdroppers for me in a way that explosions, stunts, and visual effects innovations almost never are. But ambitions and soulful actors can only take you so far when fundamental flaws get in their way.

It's best to see Compliance cold (as I did) with no knowledge of its subject matter. Unfortunately it's almost impossible to talk or write about without giving its game away which is why it's a tough sell (it's made $111,000 in limited release) though it's gripping enough should you buy a ticket. So read on at your own risk...

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Anne vs. Amy. Oscar Chart Updates!

If anyone can threaten the widely held assumption that Anne Hathaway will win the Supporting Actress Oscar come February for dreaming that dream in time gone by in Les Misérables, isn't it Amy Adams in Paul Thomas Anderson's The Master? In the heat of August, Anne seems to have this thing sewn up. But August is August. It ain't February.  

Actress Wars 2012: Anne vs. Amy

Though we haven't seen either performance yet, it's worth noting that Oscar wars are rarely won by a stand alone acting achievement. They can be, sure, but more often than not they're fought with a fluctuating combo of deft campaign tricks, strong timing, media drum beatings, general feelings for the film that houses said performance, barely acknowledged collective memories of past triumphs and defeats, preconceived notions of what the actors in questions are capable of, and other films  -- particularly brand new ones or "snubbed" but beloved efforts -- that contribute to or detract from the "It's Her/His Time" argument.

So, let's discuss ANNE & AMY (&, yes, STREEP) with a fancy battle chart...

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Yes, No, Maybe So: "The Trouble With the Curve"

Longtime Clint Eastwood collaborator Robert Lorenz (producer or first assistant director on many Clint features) rousted Clint out of the director's chair and in front of the cameras for a father/daughter baseball scouting drama The Trouble With the Curve. Or is it a comedy? Let's break down the trailer with our usual system.

YES

• Always up for a father/daughter drama... and Eastwood gave that relationship all sorts of interesting edges and nuances and softspots in Million Dollar Baby. Plus in the interest of selling Gran Torino 2 with all those shots of Clint "Get Off My Lawn!" Eastwood maybe we're not seeing some of the meat of the central relationship in the trailer.
• Amy! Just saw her in Into the Woods in Central Park. She got majorly swallowed up in her wig (so big that from my bad seat I could barely notice her face) but I like that even if she might not have limitless range she is able to adapt her screen persona for drama, comedy, and musicals. That's a type of range -- the movie star type of range which is nothing to scoff at.
• Hei John Goodman!

NO and maybe so after the jump...

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