Mira Nair & "Looper" to open Venice & Toronto

The festival season is finally within a short breath, or a month depending on your emotional disposition this summer. It feels like the announcements of the films to open Venice and Toronto is long overdue, and I've been waiting for something grand at least when it comes to Venice. The past two years of "Black Swan" and "The Ides of March" could certainly have played host to far lesser films. Cannes too has opened rather fortunately these past two years, dealing in calm, relaxed, but spectacularly affectionate films. Unfortunately the opener for Venice this year does seem at all in keeping with the trend of strong dramatic fair, that is if we're going on simply the name value of Mira Nair.

Perhaps not immediately recognized, the Indian director is most recently known for the massive critical flop of "Amelia" back in 2009. The announcement of opening the festival with her latest film, titled "The Reluctant Fundamentalist", doesn't at all come as a pleasant notion. It kicks off the festival on a rather downtrodden note, if anything, and I'm fairly certain we'll be getting plenty reviews to that effect once late-August arrives. I could very well be wrong and operating on an assumption based on past knowledge of her work, but the title alone hints at something rather boorishly self-confident.

TORONTO: "Moneyball", "Anonymous", "Twixt", "Rampart"

So, it seems as if I've been neglecting the greater festival of the month, as Toronto's been going on and I've been pretty much ignoring it. I just wanted to take the time to get caught up on what the general opinion has been on these films. Nothing of the same scale as my Telluride and Venice posts, as I just don't take Toronto as seriously. There's something that's simply lacking in the Canadian powerhouse, as if it's just free of emotion or relevance. Take the first four films I've heard plenty about in the past few days. Only one of them is something I was genuinely interested in, and despite everything still am.

First there's "Moneyball", which has been getting the lions share of the buzz this week. Many are lining up in approval of that one, and I must admit my maintained skepticism. It frankly looks soft, and very much the same thing we've seen before. It's about underdogs, and what better way to paint that than with sports? In any case, critics love the film, for the most part anyway. I can't wait to knock it down a peg, but I'll be doing better things by the time it comes my way. I can't see immediately how the Academy will react to it, but they very well may take it out of lack of a better option.

Toronto Days. Toronto Nights: "The King's Speech" Wins!

Before Toronto, The King's Speech was already being talked up as a possibility for a Best Picture nomination. Now, it's a lock as well as a frontrunner in the race. The Toronto International Film Festival finished up recently, awarding the Cadillac People's Choice Award to the British drama starring Colin Firth and Geoffrey Rush. The film played spectacularly throughout the festival, and critics clearly adore it. I look forward to the opportunity to see it this Saturday. It's easily one of highlights of my week, and I look forward to seeing and reviewing it for you a week from now.

Toronto Days. Toronto Nights: Conviction

These days, I'm getting more used to Hillary Swank films disappointing than succeeding, and Conviction looks to continue that trend. I pointed out from the beginning that this film looked like absolute Oscar bait, just from the trailer. It was pushing to the front every cliche from past winners, and it just wasn't working to its advantage. You can't blame the actors for anything other than signing onto the script, because they're usually pretty good in their roles. However, the roles just aren't good enough for them.

Brad Brevet (Rope of Silicon): "Beginning in 1980 with the bloody murder of Katharina Brow, Conviction tells the true story of Betty Anne Waters (Hilary Swank) and her pursuit of a law degree in an effort to free her brother, Kenny (Sam Rockwell), of a wrongful murder conviction. Directed by Tony Goldwyn (The Last Kiss), Conviction is a rather simple film, but the emotional impact of the story comes through in the end after what is a rather mundane and cliched story of the innocent man in jail and the person working hard on the outside to get them out. At no point does this seem like new territory, but outside of being about ten minutes too long it's a decent film despite its rather traditional dramatic nature."

Ray Bennett (Hollywood Reporter): "Goldwyn and screenwriter Pamela Gray have a fine grasp of classic storytelling and while the pace never slackens, they always find time for the small but important touches that add to a film's depth. Swank and Rockwell are very effective as siblings locked at the hip and their scenes together smack of a real shared history. Driver adds some important pepper to the proceedings and Juliette Lewis makes a vital impression in two scenes as a bedraggled, not very bright witness."

Toronto Days. Toronto Nights: Hereafter

Last night, the trailer for Clint Eastwood's Hereafter finally hit the internet, and while may people had split opinions of what they saw, I felt that this could be a return to form for Clint. It seems I was wrong. I'm just another less-than-humble moviegoer, and who am I to question one of the greatest filmmakers of all time. However, I must wonder if Clint Eastwood may be suffering from Murtaugh syndrome. Maybe, he's just too old for this business. As usual, the reviews are split, which doesn't bode very well for Eastwood's latest.

Kirk Honeycutt (Hollywood Reporter): "Clint Eastwood continues his search for challenging stories that delve into extreme reaches of the human condition in Hereafter, a globetrotting inquiry into the nature of the afterlife. The film also marks an unexpected turn in the screenwriting of Peter Morgan, away from his survey of political personalities in such films as The Queen and Frost/Nixon and into metaphysical speculation. The film never is less than intriguing, right from its tour de force opening sequence, and often full of insights into why people long for answers, sometimes with great urgency. By now Eastwood has established a reputation for the unexpected, so his admirers -- 'fans' no longer seems the right word -- plus anyone curious about the subject matter certainly will line up when Warner Bros. releases the film domestically Oct. 22. The film should do very well in Europe next year as well."

Brad Brevet (Rope of Silicon): "It's fairly obvious how these plot strands will all come together, but the journey along the way could have been much more revealing. As it turns out it is all very uninteresting and quite trivial. Marie can't shake her visions, Marcus hunts down psychics looking for answers and George strikes up a relationship with a young woman from Pittsburgh (Bryce Dallas Howard) while keeping his brother (Jay Mohr) at bay as he continually pressures George to go back to making money as a psychic. Truthfully, it's all a bit of a snooze."

Mark Adams (Screen Daily): "Clint Eastwood does not resort to any clever editing to tell the three parallel stories, instead opts for a linear style switching between each storyline in 10 minute bursts, and allowing each of the characters to develop gradually. He does a great job in reflecting the socio-economic circumstances of each character (Marie is wealthy and glamorous, Marcus has a tough housing estate life and George lives modestly and along and works in a local factory) and with no fuss of grandstanding elegantly weaves the parallel storyline together."

Right now, it's unclear which way this film will go, but I'm going to go out on a limb and say it won't be snagging a Best Picture nomination.

Toronto Days. Toronto Nights: Made in Dagenham

It's remarkable how spectacular this year has been for lead actresses. This year's Best Actress race is going to be one of the tightest ones in years, as we already have plenty nipping at the category's door. Now, Sally Hawkins is making another attempt at making the cut, after being horrendously shot down two years ago. Her new film, Made in Dagenham, follows the a bunch of female factory workers as they try to fight for equal pay. Critics are so far agreeable with the film, and they love Hawkins' performance.

Ray Bennett (Hollywood Reporter): "Period authenticity is nailed within the film's sunny design and sharply drawn characters, with the U.K.'s class structure and male-oriented industries depicted without fuss. It was a simple fact that women were required to do the same work as men but for far less pay. When the machinists at Ford's huge plant in Dagenham, near London, objected to being classified as nonskilled workers in order to keep their wages down, they not only objected but also took action with game-changing impact. Screenwriter William Ivory gives just enough backstory to provide heft for the characters, and Cole draws sprightly performances from the cast without making the women into caricatures. Hopkins plays in a minor key satisfyingly, and Hawkins is as upbeat as she was in Happy-Go-Lucky but with a wariness and steeliness that should win over those who were put off with the chatter of the teacher she played in that film."

Toronto Days. Toronto Nights: Let Me In

At this point, I am tired of continuously hearing about this film from reviews, posters, trailers, and clips, and I just want to see it already. Two or three months ago, we really felt like this film was the worst thing in the world. Now, everybody is raving about it being just as good, and possibly better than the original. It's an unbelievable outcome, and I doubt there will be a soul out there who isn't surprised by this film's success. However, I don't think there will be anybody who is disappointing with it either.

Michael Rechtshaffen (Hollywood Reporter) "While he faithfully recreates a number of sequences and shifts the positions of others, Reeves also incorporates some new stuff that, for the most part, heightens rather than diminishes the original's understated intensity. Sure, we probably could have lived without the glowing vampire eyes, and the religious overtones come on a tad strong, but the tweaks are otherwise skillfully employed, favoring unique camera p.o.v. over CGI excess. That's particularly true of a terrifying car crash sequence that takes place entirely from inside the out-of-control vehicle. Echoing the prevailing horrific/mournful vibe is Michael Giacchino's masterful score, which is simultaneously bone-chilling and achingly poignant."

Worst Previews: "The remake of Let the Right One In is much better than the original as far as violence, quality, acting, music and camera work. Unfortunately, it is almost a shot-for-shot remake that adds very little. Yes, it's one of the best horror films around and I would recommend it to anyone and everyone. But beware, if you have seen the original, this one will bore you. If you haven't, run to the theaters and make sure to watch Let Me In first. It is far more superior."

Well, we seem to have conflicting opinions going around about this movie. While people are saying it's fantastic and better than the Swedish film, they're also saying that it's a little too similar for people who've seen the original. I'm still eagerly looking forward to Let Me In, and I want to know what you think of all this.

Toronto Days. Toronto Nights: Super

By now, the dark superhero satire has been done way too much, and I'm really getting sick of it. Kick-Ass already came out this year, and I liked that well enough because it was enjoyable for the larger portion of it. The fact that it wasn't successful, but they're still going through with a sequel, says volumes about how much faith people have in the film. However, James Gunn's Super just seems like a half-assed attempt to capture that fire, and I don't think it will succeed. It really hurts to say it, because Ellen Page is in the film, and I absolutely love her. She's phenomenal in most everything, and according to the reviews, that hasn't changed.

Peter Sciretta (/Film): "There are moments of brilliance, surrounds by moments of bad sketch comedy. The highlight of the film for me is Ellen Page, who is just hilarious as the psychotic sidekick who is just looking to fight crime (even where/when it might not exist). Super also has some good character-based emotional moments which I’d better expect in a Jason Reitman film, but feel a bit out of place and unearned in this movie. I wish I liked this movie more than I did (that’s not to say I didn’t like it…). Comic Book and Rainn Wilson fans will definitely want to check out this movie, although I feel it ranks closer to Defendor than Kick-Ass on the spectrum of cinematic costumed vigilantes."

Alex Billington (First Showing): "Wilson stars as Frank D'Arbo, a simple religious man whose wife, played by Liv Tyler, leaves him for a drug dealing kingpin, played effortlessly by Kevin Bacon. He has a vision one night and is "touched by the finger of God" (literally) and decide to become The Crimson Bolt, a masked crime fighter beating up drug dealers and line-butters with a pipe wrench. Along the way he meets comic book fanatic Libby, played amazingly by Ellen Page, who becomes his sidekick Boltie. It's a fun story, it's a great cast, it's a bit better than Defendor, it's crazy violent and overly realistic (so that's what happens when you beat someone with a pipe wrench!), but it didn't really take the comedic vigilante concept to the next level like I was really hoping this would."

Toronto Days. Toronto Nights: It's Kind of a Funny Story

Well, so much for optimism, as it rarely brings good things. In terms of the Toronto International Film Festival, it appears critics are taking a strictly serious look at things, and leave no stragglers alive. It seems that the mental-hospital dramedy, It's Kind of a Funny Story is being crashed against at all angles. I was hoping this would be a welcome refresher, but it seems I was wrong.

Kevin Jagernauth (The Playlist): "It's Kind Of A Funny Story finds Boden and Fleck swimming into populist waters with middling results. Gone is the keen observation and deeply felt realism that made their two aforementioned features so moving. Perhaps the wide array of characters muddled their focus, but the film ultimately plays it safe to the point of pulling any teeth the material could potentially have bared, right out. It's Kind Of A Funny Story is kind of a disappointment. [C]"

Drew McWeeny (HitFix) "Gilchrist is the main problem. He's simply too bland to carry the film, too anonymous in his teenage angst. The film is shot to look like an indie version of the story, but it's cut like a studio movie through and through. All the big beats are there except for an ending that I'm almost sure they must have shot before dumping it, making sure to end everything with one big wet soppy hug. It's all empty ephiphany, unearned and insignificant. If you've ever seen any movie in this genre before, you'll be able to tick off each familiar beat as it happens. It's shameless, and a major disappointment, my first of the festival so far."

Toronto Days. Toronto Nights: Easy A

I have been all over the board with my anticipation for this film, from absolutely hating the idea of it, to eagerly anticipating it as one of the rare enjoyable high school comedies of the modern age. Where 70-year-old men go around quoting Casablanca and Citizen Kane, most 14-to-19-year-olds quote Mean Girls. Easy A looks like it's in the same sort of vein, and a healthy reprieve from the serious content of Toronto. We only have one review right now, but it's from a more than credible source.

Kirk Honeycutt (Hollywood Reporter): "If, as the old comic apocryphally said on his deathbed, dying is easy but comedy hard, then how is it every so often a film comes along that makes comedy look so easy? Such is the case with Easy A, a high school romp that turns a stale genre upside down with sly wit and sharp satire. Certainly much of the credit goes to Bert V. Royal, a playwright and sometime TV writer who has crafted a smart screenplay that introduces a classical theme into contemporary youth culture. And director Will Gluck keeps the screen busy and vibrant without the current fad of attention-deficit, run-and-gun editing."

2010 Festival Schedule

As we enter the final round of this year's festival circuit, lets take a quick look at the festivals for the next month or two. Hopefully a few of them will make it to awards season.

Venice Film Festival: September 1-11
Top Films: Black Swan, Somewhere, The Tempest, Machete

Toronto Film Festival: September 9-19
Top Films: Miral, Conviction, The Illusionist, The King's Speech, Let Me In, Hereafter, Another Year

New York Film Festival: September 24-October 10
Top Films: The Social Network, Hereafter

London Film Festival: October 13-28
Top Films: 127 Hours, Never Let Me Go

The Toronto Film Festival Line-Up!

The list of films showing at the Toronto Film Festival has been announced and can be seen below. It offers plenty of films up for Oscar consideration, so it will be something to look into.

GALAS
The Bang Bang Club
Barney’s Version
Black Swan
Casino Jack
The Conspirator
The Debt
The Housemaid
Janie Jones
The King’s Speech
Little White Lies
Peep World
Potiche
The Town
The Way
West is West

SPECIAL PRESENTATIONS
Another Year
Beginners
The Big Picture
Biutiful
Blue Valentine
Brighton Rock
Buried
Conviction
Cirkus Columbia
Dhobi Ghat
Easy A
Henry’s Crime
The Illusionist
In A Better World
I Saw the Devil
It’s Kind of a Funny Story
Jack Goes Boating
L’Amour Fou
The Legend of the Fist: The Return of Chen
Lope
Love Crime
Made in Dagenham
Miral
Never Let Me Go
Norwegian Wood
Outside the Law
Rabbit Hole
A Screaming Man
Submarine
That Girl in Yellow Boots
Tamara Drewe
The Trip
Trust
You Will Meet a Tall Dark Stranger