Sarah Cronin and Pamela Jahn report on the London Film Festival as it enters its final few days.
A slick thriller with hints of B-movie horror, Norwegian director Morten Tyldum’s Headhunters is an entertaining adaptation of Jo Nesbø’s bestselling crime novel. Aksel Hennie plays Roger Brown, a man who – on the surface, and despite his insecurity about his height – seems to have it all: beautiful wife, stunning home, flashy car. But none of this is really paid for by his job as a renowned headhunter. Instead, Roger is also an art thief, whose wealthy, high-powered clients are all potential victims, including Clas (Nikolaj Coster-Waldau), an extremely successful executive with chiselled good looks and an inherited Rubens. While some of the early twists in this classic heist film might be predictable, the film soon shifts into some unexpected directions, as Clas turns out to be a terrifying opponent who mercilessly hunts Roger down, completely upending his life.
Some of the plotting does not hold up to close scrutiny, and sympathising with Roger is a stretch (he’s a womaniser as well as a thief), but it’s a well-executed, well-acted film that has enough going on to make it a fun watch. Occasionally gory, sometimes silly, it’s a cut above the usual crime caper. SC
Sleepless Nights Stories
Jonas Mekas’s latest offering is a weird and wonderful mix of short-film montage, essay and film diary that emerged out of a jet lag-induced insomnia. In 20-odd episodes, inspired by the tales of One Thousand and One Nights, the tireless Mekas strolls through the night, meeting old friends and random acquaintances and listening to their stories. Many of the people who appear in front of his shaky digital camera are prominent artists, including Patti Smith, Harmony Korine, Louis Garrel, or a lovelorn Marina Abramovic, who shares her inner feelings with the 88-year-old filmmaker. The more stories, both intimate and eccentric, the film reveals, the more it becomes clear that there is more than one Scheherazade at work here. The episodes, which are introduced by sometimes hilarious, sometimes philosophical, sometimes plain weird intertitles, build a series of devices to avoid desperation and death. But most importantly, what becomes manifest is the fact that sleepless nights don’t pass without a certain amount of alcohol. Mekas drinks, his friends follow suit and the camera totters, suggesting that you are better off picking up a glass of wine (Mekas prefers red) before going into the screening too, to be able to fully chime in with the admirably free spirit conveyed on screen. PJ
One of the most talked about films at this year’s festival, Steve McQueen’s Shame could have been a great movie. His follow-up to the acclaimed Hunger, it stars Michael Fassbender as Brandon, a man who is pathologically addicted to sex, filling his need with an endless stream of pornography and prostitutes. His (outwardly) tightly controlled, orderly life begins to unravel when his sister, Sissy, played by Carey Mulligan, appears at his immaculate, minimalist flat, begging for a place to stay. While Fassbender puts in a terrifically compelling performance, Mulligan is given much less to work with – her character is the ditsy, manic-depressive blonde, needy and demanding, desperate for attention, leaving endless messages for men that she’s slept with, not understanding that all they wanted from her was sex. While she has a few great scenes – and one in particular, already notorious – her character is a cliché that’s been seen and done before. Predictability is the problem with the film as a whole. The nearly wordless opening and closing scenes that bookend the film are incredibly powerful, but there are times when the dialogue is frustratingly flat, and the depiction of corporate New York and its club scene are too reminiscent of the early 90s and American Psycho. There is real tension in the tormented relationship between Brandon and Sissy, while his uncontrollable, violent outbursts are a shock, but the screenplay just isn’t quite strong enough to make the whole a truly remarkable film – what’s frustrating is that it comes so close. SC
Walking Too Fast
Following hard on the heels of Florian Henckel von Donnersmarck’s The Lives of Others, slow-burn Czech psychological thriller Walking Too Fast offers an equally compelling, if less original, glimpse into lives under a communist regime before the fall of the Iron Curtain. Set in Czechoslovakia in the early 1980s, the film draws heavily on the story of its predecessor: troubled agent Antonín Rusnák (Ondrej Malý;) is a loyal, and consequently savage, henchman of the official state security service, whose brutal façade starts to crumble as he develops an obsession with Klára, the young lover of the persecuted dissident Tomáš, whom Antonín attempts to force into emigration. Antonín’s motive, however, is less an urging romantic desire than a desperate attempt to overcome his inner struggle and despair, which makes his character thoroughly unlikable but, at the same time, more interesting and powerful. In fact, his gradual transition from faithful servant to ruthless maverick, who, in his pointless attempts to win Klára over Tomáš, gradually starts to fight on all fronts, is where the film is most gripping. Although the pace lags slightly towards the end, Malý; delivers a solid performance as the cold-blooded spy going astray, and thanks to the chilling electronic score and apt cinematography director Radim Špaček has crafted a film that is both absorbing and subtly unsettling in its own right. PJ
The debut feature from writer-director-editor Mark Jackson, Without was a personal highlight at this year’s LFF. It features an outstanding performance from newcomer Joslyn Jensen as an unstable young woman who’s secretly coping with a terrible loss. Joslyn takes a job on an island off the coast of Washington State, caring for Frank, an elderly man in a near-vegetative state who’s confined to a wheelchair. The set-up – it’s just the two of them, alone, in a remote house in the woods – suggests a thriller, but the suspense and mystery really revolve around her perilous emotional state. There are lots of (sometimes disturbing) comedic moments in the film, but as it unfolds, Joslyn’s charming, seemingly innocent character begins to evolve into something deeper and darker. Her transformation is mesmerising; her treatment of Frank at times shocking. The director hints throughout the film at her reasons for taking the job, but never gives away too much at once, leaving it to the audience to try and piece together the rest of the puzzle.
Jessica Dimmock and Diego Garcia’s cinematography is superb; much of the film is shot with a shallow depth of field, lending a rich, soft-focus look to the visuals, while the warm hues contrast with the darkening tone of the film. It’s a remarkable, original feature that will hopefully get the recognition that it deserves. SC
Gus Van Sant’s latest film seems like an unlikely choice for the director: a very twee romance about two adolescents who fall in love while coming to terms with both life and death. Enoch (played by Henry Hopper), struggling to cope with the loss of his parents in an accident, likes to crash funerals dressed in gothic attire. His best friend is Hiroshi, the ghost of a kamikaze pilot (why, I have no idea); they like to play Battleship together, but the pilot always wins. Annabel (Mia Wasikowska) is dying from a brain tumour, although she keeps this information to herself when she first meets Enoch at the funeral home.
It’s a classic teen love story, complete with the tragic but uplifting ending and added quirkiness. The problem is that the evolution of their romance is so sickeningly sweet it’s exasperating to watch, while their world is made up of elements from a nostalgic past that lends a painfully contrived air to the film (perhaps trying to recreate Harold and Maude for today’s generation, but failing). She reads books on Darwin and birds, they play Operation, and Enoch toys with a slinky while waiting in the hospital for news from Annabel. They’re completely removed from reality, and the result is that the film has little resonance, or anything believable to say about weighty subjects like love and death.
But despite the film’s serious flaws, I think it will have an audience: it’s the perfect sleep-over movie for tween girls who are too cool for the stuff that passes for romance in Hollywood, and not yet cynical enough to reject screenwriter Jason Lew’s blatant tugging on the heartstrings. SC
Restless is released by Sony Pictures in the UK on 21 October 2011.
For his 39th film, Frederick Wiseman has taken a close look behind the scenes of the famous Parisian cabaret club, which, since its foundation in 1951, offers a burlesque show billed as celebrating both beautiful women and the art of the nude. After a first glance into the dressing rooms, a gently moving camera follows a couple of catchy on-stage performances. However, much as in La Danse, in which Wiseman observes the dancers and choreographers of the Paris Opera Ballet as they break the most complex movements down into their component parts, the director’s primary interest here remains in revealing the hard work needed for choreographer Philippe Decloufé and his ensemble to revive and sustain the success of the show. Wiseman records the long, tiring hours of practices, staff meetings and heady discussions about lighting design and budget constraints, and costume-fitting sessions followed by more rehearsals and repetition. Working precisely with the curiosity of an anthropologist and the eye of an aesthete, Wiseman manages once again to achieve what any ordinary observer would fail to do: making the boredom of routine work captivating. Enriched by footage of the ensemble’s most compelling on-stage acts and moments of casual beauty, Crazy Horse is a vibrant, fascinating celebration of dance as a multi-faceted art form. PJ
Nominated for the Sutherland Trophy at this year’s LFF, She Monkeys is an intriguing debut from Swedish filmmaker Lisa Aschan about the intensely competitive relationship between two young women teetering on the cusp of adulthood. Emma dreams of joining the local equestrian acrobatics team, practising diligently in her sparsely furnished bedroom in the house that she shares with her precocious seven-year-old sister Sara and their father (we never learn what’s happened to their mother, although her unexplained absence is clearly a disturbing factor in their lives). When Emma succeeds in making the equestrian team, she’s befriended by the attractive, worldly Cassandra. It’s soon clear who is in control; Cassandra is a bully, and the prank that she plays on a young man who’s interested in Emma is painfully cruel. But a fatal moment of vulnerability on Cassandra’s part leads to a twist in their power struggle, and the discovery that Emma is perhaps not as innocent and vulnerable as she first seems.
It’s an original retelling of the coming-of-age story, but what makes She Monkeys so remarkable are the performances delivered by the non-professional actresses, Mathilda Paradeiser, Linda Molin and Isabella Lindquist, who is simply astonishing as Sara, a child far too young to be grappling with her sexuality. It’s a compelling, disquieting watch that earned Aschan the top narrative prize at the Tribeca Film Festival. SC
Colonial Report from the Dominion of Canada (above the 49th Parallel)
Toronto International Film Festival: It’s All about the Stars, but There Are Good Movies Too
Although a major city in Our Fair Dominion, Toronto bears the distinction of being the biggest, most pathetic provincial backwater to blight the massive landmass that is Canada – a country in which the majority of the population resides along a 100-kilometre strip just above the Canada-U.S. border, from, to borrow a line from ‘America the Beautiful’, ‘sea to shining sea’. That said, together with Montreal, Toronto is home to some of the more culturally significant events and organizations in the country.
This is the eternal dichotomy and a truly salient example of the two solitudes that have been an endless trademark of life here in the colonies. In La Belle Province, the divide between French and English is more obvious, but Ontario is quite another thing, as the real base of power remains rooted in the most repressive, pole-up-the-ass Presbyterianism – the reigning capital of which was and still is the city of Toronto.
This, of course, is what makes Toronto such an unlikely centre of culture in the Dominion. One of Canada’s true literary giants, Scott Symons, devoted his life and writings to exposing this dichotomy – railing against the country’s old-money establishment residing in Toronto’s leafy, affluent and decidedly ramrod-up-the-rectum enclave known as Rosedale.
Symons referred to these power brokers as the ‘Bland Men’ of Toronto. I, however, prefer Symons’s more colourful description of what rules Toronto. In his great novel Civic Square, Symons coined the indelible phrase The Smugly Fucklings. (Symons always regretted adhering to his publisher’s advice and NOT sticking to The Smugly Fucklings for the novel’s title.)
Symons, without a doubt, hit the nail on the head. Toronto, and by extension much of English Canada, is in the hands of the Bland Men, the Smugly Fucklings. What distinguishes them from the usual dyed-in-the-wool new conservatives of Canada (our own version of America’s woeful Tea Party) is that they are educated, erudite, purportedly liberal and imbued with a desperate need to be cooler than cool. Parading through the city with haughty, smile-bereft faces, their buttocks clenched within an inch of their lives and adorned in the fashion ‘styles’ of Hugo Boss – these are the gatekeepers of all culture for the Great Unwashed of Our Fair Dominion.
Is it any wonder then that the question I am asked most by ‘normal people’ about my experience at the Toronto International Film Festival is not, ‘Have you seen any good movies?’ but rather, ‘What movie stars did you see?’
Toronto is a city so desperate for acknowledgment that it is the centre of the universe that it will do anything to ensure this status. The residual effect is that culture of the highest order is on display in this city ruled by the Bland Men. It exists because of those who merely purport to be on the cutting edge. In fact, I suspect they desperately want to be the thing they’re most afraid of and it is precisely this lip service to alternative culture that inadvertently offers world-class events. The Smuglies have no idea how truly un-hip they are, but it is their desire to be seen as NOT what they are that gives so many of us a reason to hate Toronto, but at the same time, to not completely abandon it because we’d otherwise be bereft of culture.
And so it was, and so it remains, that the Toronto International Film Festival is one of the premier cultural events in the world. On one hand, it is a glorified junket for the American studios, while on the other, it offers hundreds of movies you might never see anywhere else. It is at once a film festival where the Great Unwashed of Toronto pathetically crowd around the police-patrolled barricades protecting the various red carpets – hoping that they might possibly snatch a glimpse of Brad Pitt or Madonna – and where the rest of us, thanks to the wide variety of motion pictures assembled by The Men Who Would Be Kings of Cool, are kept hidden for days on end in the dark, our eyes glued to the screens and dining at the trough of great cinema.
* * *
TIFF 2011 proved to be a pretty banner year for me. Between North American and world premieres of a wide variety of pictures, I was one happy fella.
Of course, there were many dubious inclusions that seemed to be on display for their star-appearance quotient, but thankfully, the accent was on the pictures themselves.
Here then, are a few highlights and lowlights of the 2011 Toronto International Film Festival.
* * *
A Dangerous Method (2011) *
When David Cronenberg is good, he is very, very good. When he is bad, he’s cerebral. A Dangerous Method is dour, dull and decidedly humourless, though the first few minutes do suggest we’re in for a hootenanny of the highest order. The score, oozing with portent over a twitching, howling, clearly bonkers Keira Knightley, thrashing about in a horse-drawn carriage as it hurtles towards Carl Jung’s Swiss nuthouse, initially suggested a belly flop into the maw first pried open by such Cold War wacko-fests like The Snake Pit or Shock Corridor. Alas, Cronenberg seems to have abandoned his pulp sensibilities and instead appears to be making an Atom Egoyan movie. Sorry David, Atom Egoyan makes the best Atom Egoyan movies. Cronenberg’s unwelcome return to the cold and clinical approach from his pre-Eastern Promises and A History of Violence oeuvres quashes all hope for a rollicking good wallow in lunacy. Come on, David, we’re dealing with psychoanalysis and sex here. A little oomph might have been in order.
Lord knows Cronenberg’s dealt deliciously with both before – most notably in The Brood. It starred a visibly inebriated Oliver Reed, crazily cooing about ‘the Shape of Rage’ amid spurts of horrific violence laced with a riveting creepy tone. Most notably the movie provided us with the indelible image of a semi-nude, utterly barmy Samantha Eggar adorned with monstrous pus sacks dangling from her flesh, licking globs of gooey, chunky afterbirth from a glistening mutant baby expunged from one of the aforementioned pus sacks.
No similar shenanigans are on view in A Dangerous Method. It’s pretty much a Masterpiece Theatre-styled period chamber drama with Carl Jung (Michael Fassbender) jousting with his mentor-rival Sigmund Freud (Viggo Mortensen) and Jung spanking Keira Knightley, a daft want-to-be-psychiatrist with Daddy issues. Sadly, no proper views of open palms connecting with buttocks or slap imprints on said buttocks are afforded to us.
We do, however, get an abundance of yammering.
* * *
The Deep Blue Sea (2011) ****
Keira Knightley is used much better here than in Cronenberg’s A Dangerous Method. Oops, wait a second, I mean Rachel Weisz. OK, well, if Keira Knightley HAD been in this movie, I suspect she WOULD have been put to rather better use here, but she’s not, so she isn’t. I am indeed referring to the Knightley doppelgä;nger, or rather, the doppelgä;nger of Rachel Weisz, or rather, I mean…
OK, fuck it! In the parlance of Monty Python: ‘Start Again!!!’
Terence Davies coaxes an astonishing performance from Rachel Weisz in The Deep Blue Sea, a heartbreaking, sumptuous and tremendously moving adaptation of Terrence Rattigan’s great play of the same name. Rattigan’s theatrical explorations of class and sex have made for rich film adaptations, most notably The Browning Version, Separate Tables, The Winslow Boy and The Prince and the Showgirl. Rattigan, given the discriminatory criminalisation of homosexuality in England (his frequent collaborator, the closeted director Anthony Asquith, was the progeny of the man who signed Oscar Wilde’s arrest warrant) chose to primarily reflect on gay issues and culture by utilizing a critical dramatic look at the often troubled lives of straight couples.
Nowhere is this more powerfully rendered than in The Deep Blue Sea, which Davies has adapted with considerable homage to the play’s tone and themes while using the source as a springboard for his own unique approach to affairs of the heart. (While Davies oddly reduces the role and importance of the play’s one clearly gay character, one suspects he did this to focus more prominently on the trinity of its central characters.)
Davies might well be one of the most important living British filmmakers. Working in a classical style with indelible compositions, creating a rhythm through little, no or very slow camera moves and infusing his work with a humanity seldom rivalled, Davies recognizes the importance of cinema as poetry – or rather, using the poetry of cinema to create narrative that is truly experiential. (I doubt any audience member will forget the haunting underground tracking shot during the Blitz – as evocative to the eye, ear and mind as anything I’ve seen.) I’d go so far as saying that Davies might well be the heir apparent to film artists like Alexander Dovzhenko and Sergei Paradjanov – exploiting the poetic properties of cinema in all the best ways.
Here we feel and experience the tragic tale of Hester (Weisz), who leaves her much older, though loving husband, the respected judge Sir William (Simon Russell) when she meets the handsome, charming Freddie (Tom Hiddlestone), a former RAF pilot who allows her the joys of sex for the first time in her life. Alas, Freddie’s a bit of a rake and soon tires of domesticity, and Hester is driven to seriously contemplating suicide. Sir William wishes desperately to have her back. The eternal dilemma is that Freddie doesn’t love Hester as much as she’d like, nor does Hester feel as much love for Sir William as he does for her.
The triangle is played out with Davies’s trademark style and a welcome return to pubs thick with smoke and filled with songs sung by its inebriated denizens. Harking back to Distant Voices, Still Lives, the songs here are not so much a counterpoint to the drudgery of the characters’ lives as something indicative of an overwhelming malaise born out of repression and class.
Davies dazzles and moves us with his humanity and artistry. It doesn’t take much to give over to his stately pace, and when we do, we’re drawn into a world that can only exist on a big screen, while at the same time providing a window on the concerns of days gone by that are more prevalent in our contemporary world than most of us would care to admit.
* * *
Keyhole (2011) ****
Full disclosure: I produced Guy Maddin’s first three feature films, lived with him as a roommate (I was Oscar Madison to his Felix Unger – Neil Simon’s The Odd Couple sprang miraculously to life on the top two floors of a ramshackle old house near Winnipeg’s Little Italy district), continue to love him as one of my dearest friends and consider his brilliant screenwriting partner George E. Toles to be nothing less than my surrogate big brother.
Most importantly, I am one of Maddin’s biggest fans and refuse to believe I am not able to objectively review his work. Objectively, then, allow me to declare that I loved Keyhole. What’s not to love? Blending Warner Brothers gangster styling of the 30s, film noir of the 40s and 50s, Greek tragedy, Sirk-like melodrama and odd dapplings of Samuel Beckett’s Endgame and Jean-Paul Sartre’s No Exit, it is, like all Maddin’s work, best designed to experience as a dream on film. Like Terence Davies, Maddin is one of the few living filmmakers who understands the poetic properties of cinema, and this, frankly, is to be cherished as much as any perfectly wrought narrative.
This is not to say narrative does NOT exist in Maddin’s work. If you really must, dig deep and you will find it. That, however, wouldn’t be very much fun. One has a better time with Maddin’s pictures just letting them HAPPEN to you.
The elements concocted in Keyhole to allow for full experiential mind-fucking involve the insanely named gangster Ulysses Pick (Jason Patric as you’ve never seen him before – playing straight, yet feeling like he belongs to another cinematic era), who drags his kids (one dead, but miraculously sprung to life, the other seemingly alive, but not remembered by his Dad) into a haunted house surrounded by guns-a-blazing.
Populated with a variety of tough guys and babe-o-licious molls, Ulysses is faced with ghosts of both the living and the dead, including his wife Hyacinth (Isabella Rossellini – gorgeous as always and imbued with all the necessary qualities to render melodrama with joy and humanity), her frequently nude father (the brilliant Louis Negin – perhaps one of the world’s greatest living character actors, who frankly should be cast in every movie ever made), chained to his bed, uttering the richly ripe George Toles dialogue and Udo Kier (the greatest fucking actor in the world), whose appearance in this movie is so inspired I’ll let you discover for yourself the greatness of both the role and Udo himself.
Keyhole is, without a doubt, one of the most perversely funny movies I’ve seen in ages and includes Maddin’s trademark visual tapestry of the most alternately gorgeous and insanely inspired kind. For movie geeks, literary freaks and Greek tragedy-o-philes, the movie is blessed with added treats to gobble down voraciously.
Like all of Maddin’s work, it’s not all fun and games. Beneath the surface of its mad inspiration lurks a melancholy and thematic richness. For me, what’s so important and moving about the film is its literal and thematic exploration of a space. Strongly evoking that sense of how our lives are inextricably linked to so many places (or a place) and how they in turn are populated with things – inanimate objects that become more animate once we project our memories upon them – or how said places inspire reminiscence of said objects which, in turn, inspire further memories, Keyhole is as profound and sad as it’s a crazed laugh riot.
Of all the pieces about the movie that I bothered to read, I was shocked that NOBODY – NOT ONE FUCKING CRITIC – picked up on the overwhelming theme of PLACE and the SPIRIT of all those THINGS that live and breathe in our minds. It was the first thing to weigh heavily upon me when I first saw the movie. It has seldom been approached in the movies – and, for my money – NO MORE POIGNANTLY AND BRILLIANTLY than rendered by Maddin, Toles and their visionary young producer Jody Shapiro.
All the ghosts of the living and the dead (to paraphrase Joyce), the animate and inanimate, the real and the imagined, these are the things that haunt us to our graves, and perhaps beyond. And they all populate the strange, magical and haunting world of Keyhole – a world most of us, whether we want to acknowledge it or not, live in. We are all ghosts and are, in turn, haunted by them.
* * *
i am a good person/i am a bad person (2011) ***1/2
A dervish derives inspiration from God and does so with complete and total devotion, honouring the Creator with continuous, strenuous forms of physical manipulations, such as exercise or dance that involve literal whirling at breakneck speeds. Influenced by both John Cassavetes and Mike Leigh, Canadian filmmaker Ingrid Veninger is also developing an approach to her humanist form of dramatic cinema that is clearly all hers.
In fact, Veninger might well be cinema’s only living equivalent to a whirling dervish. Like a dervish, she honours her Creator (cinema), her prophets (Cassavetes, Leigh and others), then whips her creative concoction into a frenzy – literally living and breathing cinema – producing film from within herself, her devotion and life itself.
With her previous work and second feature as a director (she’s written, produced and acted in so many more), Modra, a personal dramatic exploration of her Slovakian roots, Veninger was on the cusp of embarking upon the film festival circuit. This got the dervish whirling. She wrote a script about a filmmaker taking a trip to Europe to present her film on the film festival circuit. She cast herself as the filmmaker Ruby, and her own real-life daughter, talented young actress Hallie Switzer (female lead of Modra) as Ruby’s daughter Sara. With ace cinematographer Ben Lichty and sound recordist/boom operator Braden Sauder, Veninger and Switzer blasted across the pond from Canada to Europe and made a movie. The screenplay, already workshopped and in final draft, accompanied the group who knew that as long as the structure of the story was adhered to, there would potentially be room for rewriting depending upon the exigencies of production.
The movie, i am a good person/i am a bad person, is funny and heartbreakingly moving, and while full of ‘realistic’ touches, it never descends into Canadian Cinema Dreariness 101 and is, in fact, imbued with a sense of scope to allow its tenderness and intimacy to shine in all the ways they should in movies.
The world is, of course, replete with father-son pictures, but mother-daughter relationships – in terms of numbers and quality – pale in comparison. This is a film that contributes admirably to this relatively rare tradition.
Ruby is a loveable scatterbrain. Her film, a crazed, seemingly political avant-garde celebration of – ahem – the penis, is set to premiere overseas at the – ahem – Bradford International Film Festival in dear Old Blighty. Eighteen-year-old Sara is dragged along on the trip to be her mother’s assistant, though one gets the feeling that deep down, Mom craves some one-on-one quality time with her burgeoning daughter.
Sara is decidedly serious – in general, but especially on this trip – and Mom’s carefree spirit is driving her up the wall. Mom, not totally oblivious to this, is still intent on having a good time. Things in Bradford reach a bit of a head and it’s decided that Sara will go to Paris on her own to visit with relatives and Ruby will forge on to a screening at the Arsenal Cinema in Berlin. As mother and daughter each face personal challenges, it also becomes glaringly apparent how much they need and love each other.
I suspect it might not be too much of a spoiler to suggest that hard decisions are wrought and events inspire more than a few tears from even the most hardened viewers. Those who stick with the seemingly freewheeling spirit of the picture are rewarded a thousandfold during the extremely moving finale.
Filmmakers of all stripes will, I think, get a kick out of the sequences shot in Bradford and Berlin. How many times have filmmakers heard the rather embarrassed words from festival directors – as Ruby does in the film – ‘It’s a much smaller house than expected, but they’ll no doubt be a spirited bunch.’
It’s also worth mentioning that i am a good person/i am a bad person is full of humour – gentle bits of human comedy and full-on Bridesmaids-style blowjob and scatological humour. Strangely, this doesn’t temper any of the sentiment, but in fact, enhances it. And unlike Bridesmaids, i am a good person/i am a bad person NEVER overstays its welcome. The picture is taut, trim, hypnotic and passionate.
Kind of like a whirling dervish.
* * *
Drive (2011) *1/2
This is exactly the kind of movie I hate seeing at major international film festivals – especially at TIFF. It clearly feels like a glorified press junket screening with its star trotted out every which way and the picture opening theatrically on thousands of screens one week after its festival screening, while the festival is still on at that. That said, I don’t usually mind if the movie is any good, but Drive most certainly isn’t.
Fast cars and existential male angst make for great bedfellows – or rather, they MADE for great bedfellows. The 1970s were full of them, the tent posts being Monte Hellman’s Two Lane Blacktop, Walter Hill’s The Driver and Richard Sarafian’s Vanishing Point. Drive comes closest to Hill’s nutty car chase thriller, but lacks that picture’s drive (as it were) and pulp sensibilities blended with art-house-style chic. Nicholas Winding Refn, who delivered up a compelling one-man-show with Bronson, falls too in love with his good taste. Besides, how could Refn even hope to compete with The Driver when it features cop Bruce Dern referring to the title character played by Ryan O’Neal and uttering in full-on noir-speak: ‘I’m gonna catch me the cowboy that’s never been caught. Cowboy desperado!’
Aside from choice scumbaggery from Albert Brooks and Ron Perlman as the gangster villains in Drive, we get too many eyefuls of Ryan Gosling staring soulfully at pretty much everything and everyone – adorned, no less, in a ridiculous Scorpion jacket.
Gosling plays a movie stunt driver who doubles as a heist getaway driver and who falls in love with his dewy-eyed, perpetually open-mouthed and equally soulful neighbour. He agrees to help out her recently released jailbird husband to pull a heist that goes horribly wrong and predictably leads to the aforementioned bad guys, who coincidentally are backing a stock car Gosling will be racing. It’s fine when a genre picture keeps it simple and stupid, but the plot of Drive is, well, just plain stupid.
The car chases are proficiently handled, but have none of the urgency of the true greats; some of the violence is satisfactorily shocking, but the movie – loaded with pretension and fake portent – seems even more disingenuous than, say, a Michael Bay movie.
At least, we all know Bay is a knothead. Refn clearly has more going on upstairs, but he’d have been far better off playing things with the same kind of relentless pulpiness he brought to Bronson instead of a preciousness that just drags the movie down to Dullsville.
* * *
Here are a few capsule rewrites of some of the films I covered daily during TIFF 2011 on The Daily Film Dose website.
50/50 (2011) ****
50/50 is a comedy about cancer. The incongruity of this might seem off-putting, but the fact remains that rendering cancer dramatically with humour seems to be the best medicine (artistically speaking and otherwise). 50/50 does so with utter perfection. It’s the laughs, the human comedy, the on-screen knee-slappers that are the very elements which render the drama with so much poignancy and yes, pain. Adam (Joseph Gordon-Leavitt) is a public radio reporter with talent, commitment and a bright future. When he is diagnosed with cancer his life quickly unravels and everything he holds dear begins to dissipate – including his chances of survival. Before you get the impression this is a total downer, allow me to say two words: SETH ROGEN!!!!! One of the best young actors in the business, he plays Adam’s mega-pot-ingesting (‘natch) best buddy and offers friendship, company, support, endless laughs (for Adam, but by extension, the audience) and dope (a most convenient painkiller for cancer victims). Director Jonathan (All the Boys Love Mandy Lane) Levine’s exquisite direction covers the excellent screenplay by Will Reiser with the assured hand of an old pro. That said, Levine’s only in his 30s and this is his third feature film. One can only wonder what the ‘kid’ is going to generate when he actually IS ‘old’.
You’re Next (2011) **1/2
You’re Next is an energetic home invasion horror thriller crisply directed by filmmaker Adam Wingard, who delivers up the scares and gore with considerable panache. The picture is chock-full of babes including a mega-kick-ass heroine – an Aussie chick whose character, it is revealed, was raised in a survivalist compound Down Under. (I kid you not! An Aussie Survivalist Babe!!!) The killers wear ultra-creepy animal masks (like those really cute lifelike ones you can buy for your kids at Zoo gift shops) and dispatch their victims with considerable aplomb.
The first two-thirds of the movie proceed like a rabid bat out of hell. An affluent couple (the female half played by the still delectable Re-Animator babe Barbara Crampton) are celebrating their 35th wedding anniversary in a country mansion and have invited their kids and assorted significant others to join them. The characters share bloodlines straight out of some lower-drawer Albee or O’Neill play and the conversation round the dinner table plays out with plenty of funny, nasty sniping. Great stuff! Then the killing starts! Even greater! And then, a boneheaded plot twist one sees coming from miles away. Uh, this is not great! Not good! Not even passable! Thankfully, the carnage continues, but for this genre geek, the movie never quite recovers from a twist that was probably meant to be clever, but instead feels like a red herring that isn’t one at all, but the real thing that we’re supposed to be knocked on our butts by – NOT! Never fear, though, there’s still that Aussie survivalist babe. Now THAT is original!
Carré blanc (2011) ****
Harking back to great 70s science-fiction film classics like The Terminal Man, Colossus: The Forbin Project, A Boy and His Dog, Silent Running and THX 1138 – when the genre was thankfully bereft of light sabres, Wookies and Jabba the Hut, when it was actually ABOUT something – Jean-Baptiste Léonetti’s debut feature film Carré blanc is easily one of the finest dystopian visions of the future to be etched upon celluloid since that time. The tale rendered is, on its surface and as in many great movies, a simple one. Philippe (Sami Bouajila) and Marie (Julie Gayet) grew up together in a state orphanage and are now married. They live in a stark, often silent corporate world bereft of any vibrant colour and emotion. Muzak constantly lulls the masses and is only punctuated by announcements occasionally calling for limited procreation and, most curiously, promoting the game of croquet – the one and only state-sanctioned sport. Philippe is a most valued lackey of the state – he is an interrogator-cum-indoctrinator – and he’s very good at his job. In fact, with each passing day, he is getting better and better at it. Marie, on the other hand, is withdrawing deeper and deeper into a cocoon as the love she once felt for Philippe is transforming into indifference.
In this world, though, hatred is as much a luxury as love. Tangible feelings and simple foibles are punished with torture and death. Indifference, it would seem, is the goal. It ensures complete subservience to the dominant forces. Love, however, is ultimately the force the New World Order is helpless to fight and it is at the core of this story. If Philippe and Marie can somehow rediscover that bond, there might yet be hope – for them, and the world. It is this aspect of the story that always keeps the movie floating above a mere exercise in style (which it is in large part). Love becomes the ultimate goal of Léonetti’s narrative and thanks to that, he delivers an instant classic of science fiction. The best works in this genre ARE about individuality and the fight to maintain the incommutability of the human spirit, which might, after all, be the only thing we have left – not just in future times, but now.
God Bless America (2011) ***1/2
Frank is a very kind person. He kills people. But they deserve it. Played with pathos and deadpan humour by Joel Murray, Frank is a hard-working American. He’s been diagnosed with a fatal disease. His wife has left him. His daughter is a shrill brat who won’t visit him on custody days because he ‘forces’ her to do arts and crafts, visit the zoo and play in the park (instead of being glued to video games). After work he stays home. Alone.
Home is a man’s castle, but not this man, not this home. His neighbours are poster children for strangulation at birth. Night after night, Frank cranks the volume on his TV to drown out their Neanderthal conversation, a cacophony of verbal and physical abuse, wham-bam sexual activities and constant caterwauling from their genetically stupid infant. What he endures on TV is precisely what indoctrinates the feeble minds of America. Channel-hopping to reality TV, a white trash ‘hose’ digs a blood-soaked tampon from her vagina and flings it at another. An endless parade of wags dump on the disenfranchised and insist: ‘God hates fags’ while images of Barack Obama as Adolph Hitler and news reports of homeless people burned alive buttress ‘Bowling on Steroids’ or the reality TV star Chloe, a nasty teenage girl who treats everyone like dirt. On his drive to work, the car radio is an aural assault from Tea Party types.
At the office he has to listen to his simpleton colleagues moronically regurgitating everything he endured on TV the night before. A tiny bright spot turns dark when the receptionist openly flirts and files a sexual harassment complaint. He loses his job, returns home and turns on his TV to drown out his Jello-brained neighbours.
There is, however, a solution. Frank, you see, is a Liberal – a Liberal with a handgun. He does what all Liberals must do when civilization is on the brink, This is a mere 15 minutes into God Bless America and at this point I laughed so hard I ruptured myself. From here, the movie doesn’t let up for a second – especially once Frank begins a spree of violence against intolerance with a gorgeous, sexy teenage girl. They’re a veritable Bonnie and Clyde – fighting for the rights of Liberals who are tired of the mess America is in.
Director Bobcat Goldthwait makes movies with a sledgehammer, but it’s a mighty trusty sledgehammer. He has developed a distinctive voice that began with the magnificently vile Shakes the Clown, and with this new film he hits his stride with crazed assuredness. Some might take issue with the way he lets his central characters rant hilariously – well, beyond the acceptability of dramatic necessity – but I have to admit it’s what makes his work as a filmmaker so unique. He creates a world that exists within his own frame of reference, which, at the same time, reflects aspects, and perspectives that hang from contemporary society like exposed, jangled nerves. God Bless America fights fire with fire. It’s the American Way! Even for Liberals.
The Eye of the Storm (2011) **
I have no doubt that Nobel Prize-winner Patrick White’s novel – which this dreary movie is based on – is not without merit, but if your idea of a good time is watching a harridan spewing vitriol, then by all means feel free to partake of Fred (The Chant of Jimmy Blacksmith) Schepisi’s rendering of The Eye of the Storm. For close to two hours we get to watch Charlotte Rampling chastise her spoiled adult children (the ubiquitous Geoffrey Rush and the wonderful, but wasted Judy Davis). With Mom close to horking out her final globs of life, the kids have made the trek to Australia from Blighty and Gay Paree respectively to ensure their inheritance will rightfully fall into their laps. We watch as this trio trudge through the turgid drama and seldom feel anything but contempt for all of them and wonder why it is we’re being dragged through this sludge at all.
Don’t get me wrong. I’m a sucker for screen harridans. Mind you, I usually prefer them when they’re slugging it out with each other in melodramas like Robert Aldrich’s Whatever Happened to Baby Jane – not dour British-Australian co-ventures we’re supposed to take seriously. One of the more sickening subplots in The Eye of the Storm involves Geoffrey Rush having his knob plunged and polished by one of Rampling’s caregivers – a comely young thing that (for God knows whatever reason) is genuinely charmed by him. We are also afforded endless flashbacks via Rampling’s dementia. In one of them, she seduces the buff young stud sniffing around Judy Davis. I know how this must sound ever so – ahem – appetizing, but I can assure you it is more than enough to induce major chunk-blowing.
Every year, it seems we get more and more movies like this – dull chamber dramas full of rich, old people with Commonwealth accents who crap on each other (and by extension, us) for two fucking hours, and we’re supposed to actually feel something for these miserable, privileged twits. I suppose they keep getting made because there’s always money available for such pictures. They’re relatively cheap to make, attract major actors, carry a veneer of respectability, are often based on acclaimed literary properties and can be directed for a song by filmmakers well past their prime. And, of course, they get programmed into major international film festivals.
Killer Elite (2011) *
What this lame duck action thriller is doing in a major international film festival like TIFF is beyond me. It’s the sort of movie that suggests festivals are little more than a junket opportunity for bad movies that need all the help they can get and/or an excuse to parade a bunch of stars into town. Though inspired by a not-so-manly-titled book called The Feather Men, it has chosen to rip off its title (sans the word ‘The’) from a solid Peckinpah action picture from the 70s starring James Caan and Robert Duvall. The Killer Elite is far from Sam’s best work, but I’d argue one frame of it beats this noisy, jack-hammering and ultimately leaden, meandering macho-man movie.
What will keep Bloody Sam from rolling in his grave is that this is, at least, not a remake of his movie. Basically we’ve got two old buddies – Jason Statham and Robert De Niro – who work as soldier-for-hire assassins. After a dull, contrived opening action set-piece, Statham’s character decides it’s time to retire. De Niro doesn’t. He’s kidnapped and used as ransom for Statham to take another job. The target is Clive Owen (sporting a stupid-looking moustache) as a rogue British operative. Cat and mouse ensues. The idea of an action movie starring these three thrills me to bits. Unfortunately, they’re wasted in an action movie directed by someone who clearly has no idea how to direct action – another contemporary genre picture with lots of bluster, far too many close-ups and/or boneheaded herky-jerky camera moves and attention-span-challenged editing.
W.E. (2011) ***
The King’s Speech gave me pathological haemorrhoids. Thankfully my piles receded after seeing Madonna’s W.E. This vaguely feminist fairy tale crossed with fashion porn is a wildly stylish, dazzlingly entertaining and sumptuously melodramatic flipside to the aforementioned horrendous Oscar-baiting nonsense. Instead of Colin Firth spluttering with nobility as King George VI in television director Tom Hooper’s painfully earnest snooze-fest we get an exuberantly acted reverie into the life of Wallis Simpson (Andrea Riseborough), the snappily dressed American divorcee who wooed King Edward VIII (James D’Arcy) into her boudoir, forcing him to abdicate for the woman he loved and thus allowing his stuttering, half-wit brother to mincingly don the Crown of Jolly Old England, hoist Blighty’s sceptre and eventually provide inspiration for the aforementioned haemorrhoid-inducer of a movie.
The love story in W.E. is told rather goofily through the eyes of Wally (Abbie Cornish) – named thus by her Wallis Simpson-obsessed mother. Wally is married to a philandering, alcoholic, abusive psychiatrist (Richard Coyle) and spends her days wandering through Sotheby’s public viewing of Wallis and Edward’s soon-to-be-auctioned worldly goods. There she meets the dreamy Evgeni (Oscar Isaac), a brilliant Russian musician moonlighting as a security guard. He’s an olive-skinned, high-cheekboned Fabio with a Slavic accent and a great Jason Statham dome. He tinkles the ivories with passion and reads Rainer Maria Rilke. He’s a catch! Instead of immediately plunging herself onto Evgeni’s schwancen, she mopes about wondering why her hubby dinks around on her while sticking herself with hypodermics full of progesterone – hoping that she’ll get herself a bun in the oven. And then there’s Sotheby’s. There, she ogles Wallis and Edward’s finery and slips into dollops of their passionate love story – even occasionally getting visits from the ghost of Wallis, who dispenses Miss Lonelyheart’s advice.
OK, I bet you’re thinking this all sounds kind of stupid. Well, it probably would be, but Madonna’s insane, passionate direction yields a movie experience that is pure romance. Via cinematographer Hagen Bogdanski, Madame Ciccone allows the camera to glide and whirl its way through the dress and décor of the filthy rich with such abandon that she creates a magical world that we’re very happy to be a part of. Many critics are pouncing on Madonna for this movie. In this day and age, when it’s harder and harder to finance a movie and next to impossible to get a movie directed by a woman off the ground, an easy target is someone who is as rich, famous and powerful as she is. There’s a reason she’s rich, famous and powerful. She has exceptional style, savvy and talent. Most of all, making a movie about Wallis and Edward and focusing on Wallis is – dare I say – something we’d ONLY see from a female director. So it’s Madonna. Why the fuck not? W.E. is one of the most entertaining movies I’ve seen all year. I feel like a virgin all over again.
Killer Joe (2011) ****
At one point during William Friedkin’s Killer Joe, an unexpected roundhouse to the face turns its recipient’s visage into a pulpy, swollen, glistening, blood-caked skillet of corned beef hash. Said recipient is then forced at gunpoint to fellate a grease-drenched KFC drumstick and moan in ecstasy while family members have little choice but to witness this horrendous act of violence and humiliation. William Friedkin, it seems, has his mojo back. We’re in Jim Thompson territory here as we delight in a tale of a white trash family living in a trailer park, who hire the services of a hitman to knock off a relative for insurance money. It’s nasty, sleazy and insanely, darkly hilarious. This celluloid bucket of glorious untreated sewage is directed with Friedkin’s indelible command of the medium and shot with a terrible beauty by ace cinematographer Caleb Deschanel. Friedkin, the legendary director of The French Connection, The Exorcist and Cruising, dives face first into the slop with the exuberance of a starving hog at the trough, and his cast delivers the goods with all the relish needed to guarantee a heapin’ helpin’ of Southern inbred Gothic. This, my friends, is the kind of movie they don’t make anymore. Trust William Friedkin to bring us back so profoundly and entertainingly to those halcyon days. Oh, and if you’ve ever desired to see a drumstick adorned with Colonel Sanders’s batter, fellated with Linda Lovelace gusto, allow me to reiterate that you’ll see it here. It is, I believe, a first.
* * *
My capsule reviews above were all published in longer-form at Daily Film Dose along with several pieces by my colleague Alan Bacchus.
All in all, this proved to be a most satisfying edition of the Toronto International Film Festival. In addition to all of the above I managed to squeeze in over 20 movies in 10 days. Other titles I saw included Jonathan Demme’s final trilogy of Neil Young concert movies (Neil Young Life), a satisfying picture with All Neil All the Time and a stunning set-piece in honour of the victims of the Kent State Massacre; a moving and entertaining documentary on one of our great songwriters (Paul Williams Still Alive); Lars von Trier’s staggering Melancholia; Steve McQueen’s well-directed, but overrated Shame, a dramatic exploration of sex addiction that’s high on style, but lacks humour; a great Willem Defoe performance as a man tracking the Tasmanian tiger in the not-so-great The Hunter and a wretched low-budget post-apocalyptic thriller taking one slice out of the lives of non-cannibalistic survivors called The Day.
The city of Toronto and its major international film festival may well be too smug for their own good, but all is well in the colonies when so many great movies are on view.
From the Dominion of Canada, I bid you: Bon Cinema!
A Deviant View of Cinema – Features, Essays & Interviews