In Contention

Tag: festivals

  • 9/14 Oscarweb Round-up

    Danny Biyle• Anne Thompson wraps up this year’s Toronto/Telluride corridor. [Thompson on Hollywood]

    • Jeffrey Wells, meanwhile, recaps the Toronto fest. [Hollywood Elsewhere]

    • David Poland thinks Toronto’s “car wreck for expectations” might be a good thing. [The Hot Blog]

    • Peter Scieretta reports on a release date for “The Wrestler”: December 19. [/Film]

    • James Rocchi chats it up with David Poland via podcast in Toronto. [Cinematical]

    • Oscar-winner Kevin Costner defends his Hollywood legacy — and he damn well should. [The Times]

    • Patrick Goldstein spends some time with Toronto “smart shoppers” Tom Bernard and Michael Barker, co-chiefs of Sony Pictures Classics. [The Big Picture]

    • Kevin Kelly talks to filmmaker Danny Boyle, fresh off his People’s Choice win in Toronto for “Slumdog Millionaire. [Spout Blog]

    • Geoffrey Macnabb welcomes Mickey Rourke back to the top with open arms. [The Independent]

  • TORONTO: ‘Good,’ ‘Me and Orson Welles,’ ‘Every Little Step,’ ‘The Loss of a Teardrop Diamond,’ ‘The Hurt Locker’

    Christian McKay in Me and Orson WellesListening to the conversations of the other critics in the various theaters, it becomes very clear that this year’s fest has been something of a disappointment, the first in a long, long time.

    At least one critic pointed out to me that Oscar and TIFF divorced this year, which has been mentioned ad nauseum and is probably a pretty fair assessment of the situation. A lot of the press are heading home today and tomorrow as the festival begins that slow march toward the end, always exiting with a whimper and never a bang.

    These last couple of days I have screened some interesting films: a noble failure, a superb documentary, a fine war film that is still not the great film we need about Iraq.  I will get to them as I can, but for now, some quick catching up…

    (Reviews after the jump.)

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  • 9/11 Oscarweb Round-up

    Mickey Rourke in The Wrestler• James Rocchi gets “Hurt Locker” director Kathryn Bigelow on the record. [Cinematical]

    • Ditto Anne Thompson. [Thompson on Hollywood]

    • David Poland has considerable praise for John Malkovich’s work in “Disgrace.” [The Hot Blog]

    • Anthony Kaufman reports Toronto as a shot in the industry’s arm. [Wall Street Journal]

    • A.O. Scott from that of sobering realism. [New York Times]

    • Patrick Goldstein gets some choice quotes out of Darren Aronofsky and Mickey Rourke.  [The Big Picture]

    • David Germain makes sure you’re aware that Rourke is in the midst of a career comeback. [Associated Press]

    • Danny Wood corners Javier Bardem in Madrid for a little “Vicky Cristina Barcelona” talk. [The Independent]

  • ‘Che’ and ‘Hurt Locker’ find distributors in Toronto

    It looks like IFC Films, not Magnolia Pictures (as originally expected), has picked up the much-discussed “Che” at the Toronto International Film Festival.  Here’s Anne Thompson on why.  Meanwhile, Kathryn Bigelow’s Iraq film “The Hurt Locker,” which is stunning critics all over the place, was scooped up by Summit Entertainment.

    How interesting is it that no major stuio grabbed these films and they are staying in the independent mindset of smaller factions?  I love it!

  • 9/10 Oscarweb Round-up

    Spike Lee• Journos continue to catch up with the two-week-old narrative: Toronto isn’t an Oscar playground this year.  [Entertainment Weekly]

    • Anthony Breznican, thankfully, tries to come at it from a slightly different perspective. [USA Today]

    • James Rocchi sits down with Darren Aronofsky for some choice words in Toronto. [Cinematical]

    • Jeffrey Wells is in the tank for Kathryn Bigelow’s “The Hurt Locker.” [Hollywood Elsewhere]

    • David Poland cranks out a beaming assessment of “The Hurt Locker” as well, with some great words for “Slumdog Millionaire” on the side. [The Hot Button]

    • Noah Forrest sits down with Neda Armian, producer of “Rachel Getting Married.” [Movie City News]

    • Gill Pringle kicks back with Seth Rogen across the pond. [The Independent]

    • Always looking for fresh angles, Michael Cieply comes at Toronto from the perspective of its music showcases this year. [New York Times]

    • In a poorly headlined (if you ask me) Oscar forecast, David Germain rounds up awards quotes from heavies such as Christian Bale, Tom Cruise and Leonardo DiCaprio. [Associated Press]

    • Spike Lee sets his aimless sights on the Duke, in case you don’t get the point the first time early on in “Miracle at St. Anna.” [New York Post]

    • Has James Franco signed on to an Oscar trajectory with the Gus Van Sant-produced “Howl?” [The Hollywood Reporter]

    • Who the hell honestly thinks Rod Lurie was attempting to tell the actual Valerie Plame story, and therefore, “distorted” anything?  Stupid… [Spout Blog]

    • Anne Thompson reports from party central in Toronto. [Thompson on Hollywood]

  • Thompson on Smith action

    You know, I really like that Anne Thompson’s interview skills are enjoying the podcast/video treatment.  She always asks the right questions and can get a good quote with the best of them.  But this first person stuff is freaking me out.  Maybe this is what people want.  It gives the whole “Kevin Smith is talking to ME” vibe, which, there’s something to be said for that I guess.

    Anyway, I’m actually looking forward to “Zack and Miri Make a Porno” more than I was a few weeks ago.  But hearing Smith talk about his films can endear anyone, regardless of how terrible some of them have been.

    And hearing Anne say “dildos” and “erect penises” made me spit out my Dr. Pepper:

  • TORONTO: Martin Landau and Ellen Burstyn talk ‘Lovely, Still’

    Martin Landau and Ellen BurstynWhen Chris Cooper accepted his Oscar for Best Supporting Actor in 2003, he pointed out that his co-star Meryl Streep had a great deal to do with his victory.  “We made great jazz together,” he said.

    “It’s easier when you like the person,” Martin Landau says, smiling.  “I’ve had to work with actors I could not stand, women I was not attracted to, and that is where the craft comes in.  But with Ellen, we know each other, we work the same way, we were trained in a similar manner and we both found a connection to the material. It was very easy, very enjoyable coming to work each day.”

    The chemistry between Burstyn and Landau in the Nik Fackler’s “Lovely, Still” is quite remarkable as we watch two lonely old souls looking for a connection, someone to love, to be with, to care for. The story veers off in an entirely different direction than the audience expects, however, which only adds to the stunning impact of both their performances and the picture itself.

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  • ‘Lovely, Still’ clips

    Variety’s Anne Thompson has scored a few clips from Nik Fackler’s “Lovely, Still,” already generating stellar notices at the Toronto Film Festival.  Could Martin Landau and/or Ellen Burstyn become formidable acting contenders int his year’s Oscar race?

  • TORONTO: ‘Che,’ ‘The Wrestler’

    Benicio Del Toro in CheTwo masterpieces, one right after the other.  This was the day I had been waiting for.  I caught Steven Soderbergh’s “Che” today, all four hours and 20 minutes of it.  It’s a glorious achievement from a brilliant mind, one of the few directors who seeks to challenge himself constantly.  “Che” is audacious and bold filmmaking because not everyone will like it or even understand it perhaps.  Soderbergh digs deep into the mind of a brilliant man and allows us a lucky glimpse.

    Moments after the film ended, with barely a moment to regroup, I saw Darren Aronofsky’s “The Wrestler” — and now I understand what all the fuss is about.  If Mickey Rourke is not nominated for Best Actor for an Academy Award, there really is no justice.  But Hollywood can be quite the unforgiving town…

    (Reviews after the jump.)

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  • Fox Searchlight picks up ‘The Wrestler’

    This morning’s poll wasn’t even an hour old before Anne Thompson reported that Fox Searchlight won a bidding war for Darren Aronofsky’s “The Wrestler.”  Hell, I didn’t even get a chance to vote in it myself.

    Here’s what she has to say:

    In the first major buy of the Toronto International Film Festival, Fox Searchlight won an intense all-night bidding war for Darren Aronofsky’s The Wrestler, which days before had won the Golden Lion at the Venice Film Fest. Searchlight acquired U.S. rights for about $4 million.

    After the packed screening of The Wrestler at Toronto’s Elgin last night, buyers huddled on the street and eventually, made their way to the Four Seasons Hotel to make their bids and pitch their release plans. An Oscar-campaign for Mickey Rourke’s rough-and-tumble, vulnerable performance as a wrestler on the ropes was an essential component of the deal. Most distribs were offering a Monster-style Oscar-qualifying late-year platform with a wider release in January.

    Frankly, I’m somewhat surprised.  “The Wrestler” isn’t in the Searchlight wheelhouse, exactly.  Not that versatility is the issue, but I honestly expected Sony Classics or Miramax to dive in deeper.  But this adds to a new narrative coming out of Toronto: Fox Searchlight is walking out of the fest with a hell of a one-two punch in this and Danny Boyle’s “Slumdog Millionaire.”  And the studio has proven time and again that it knows how to usher films to Oscar pastures.

    Boy did this race change in the course of a week.  We’ve got a new poll up now, so tell us how you feel about this acquisition.

    Here’s some footage from the film with Aronofsky and Rourke talking their process. I love that Aronofsky told it like it was to Rourke, RE: the actor’s washed-up career:

  • OFF THE CARPET: Indies on the march

    (from left) Evan Rachel Wood and Mickey Rourke in The WrestlerMaybe mid-way through the Toronto Film Festival, two things are strikingly clear: Darren Aronofsky has the goods with “The Wrestler” and Danny Boyle’s streak of successful versatility at the helm continues with “Slumdog Millionaire.”

    Both films, which enjoy pre-Toronto success at Venice and Telluride respectfully, are also evidence that surprises will happen this time of year.  And with an uncharacteriztically level playing field in Toronto this year, we should be thankful they are getting a fair shake.

    One of them is set for distribution, however, while the other is waiting out a buyer.  But will “The Wrestler” find a home and see a release in 2008 or will an awards-heavy distributor pick it up and save it for a rainy day in 2009’s awards season?

    Both options are on the table, it’s just a matter of who bites first, and what they bring to the table.

    On the horizon, everyone is awaiting their post-Toronto peeks at films like “Australia,” “Revolutionary Road,” “Milk” (landing a trailer this week) and “The Soloist.”  David Fincher’s 20 minutes of footage from “The Curious Case of Benjamin Button” may have been caught off guard by over-zealous bloggers in Telluride, but the damage may not have been as considerable as some may have thought.

    Speaking of “The Soloist,” chatter is making its way out of the Paramount camp that Robert Downey Jr. is outstanding as LA Times columnist Steve Lopez and hopes are high for a Best Actor nomination.  And as far as “Milk” is concerned, prognosticators may have the wrong idea going in as to which supporting performance has the awards-worthy chops.  More on that at a later date.

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  • 9/8 Oscarweb Round-up

    Seth Rogen and Elizabeth Banks in Zack and Miri Make a Porno• Jen Yamato wonders what the hell happened to Oscar-winner Cuba Gooding Jr. [Rotten Tomatoes]

    • Jeffrey Wells puts up a positive review of Kevin Smith’s “Zack and Miri Make a Porno,” philosophizes on the photographical approach to actually shooting a porno. [Hollywood Elsewhere]

    • Logan Hill profiles “The Brothers Bloom” star Rachel Weisz back East. [New York Magazine]

    • Scott Macaulay goes party-hopping in Toronto. [Filmmaker Magazine]

    • Dave Karger and Missy Schwartz put together a video mid-term report for Toronto. [Entertainment Weekly]

    • Focus Features honcho James Schamus is honored with the Trailblazer Award at the Woodstock Film Festival.  WELL deserved. [MovieMaker Magazine]

    • Lou Lumenick considers Dakota Fanning a “formidable actress” in “The Secret Life of Bees,” but doesn’t see Oscar on the horizon. [Lumenick on Film]

    • A preview of Clint Mansell’s “Wrestler” score pops up online…I’m loving it. [MySpace]

    • Tommy Lee Jones sues Paramount over “No Country for Old Men” profits.  Show me the money. [Associated Press]

    • Anne Thompson’s heart goes out to Charlie Kaufman. [Thompson on Hollywood]

  • TORONTO: ‘Lovely, Still,’ ‘Blindness’

    Miramax Films\' BlindnessFinally, a great little film…

    I love it when a film comes out of nowhere, from an unlikely source, a new talent, old talents re-discovering their gifts, or something that just plains shocks the hell out of the audience with its audacity and brilliance.

    That happened to me today with the wonderful, heartbreaking love story “Lovely, Still,” boasting Oscar-caliber performances from Ellen Burstyn and Martin Landau. More on that later.

    I also finally saw the new cut of “Blindness,” as well as “Good,” the second Viggo Mortensen starrer to hit the festival this year. At this writing I still have to go see “The Burning Plain” later tonight.

    Part of the day was spent chatting it up with Ellen Burstyn (a lovely lady), Martin Landau (great guy) and fresh-faced Nik Fackler.  The interview ran behind but was thoroughly enjoyable for old anti-social me.

    Atom Egoyan, Mischa Barton and Scott Speedman made appearances at this event, but I did not get a chance to chat with my fellow Canadians…simply too busy.

    (Reviews after the jump.)

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  • The rush of TIFF

    I had to link to this Hot Blog post from David Poland, obviously iPhoning it from a crowded theater about to screen Darren Aronofsky’s “The Wrestler.”  Here is the best portion:

    It’s exciting. Exciting in a different way than many other great fest experiences. It’s a real-time event. It’s real-time excitement that makes grown men giddy, fearful, ready for a fight, ready to miss out (all eyes on Rice and Battsek if they get up during the film).

    This is one part of TIFF. A rush. Not the heart of it all. But a piece we all crave.

    And then… the movie.

    This film is quickly becoming my most anticipated effort in a LONG time, but besides that, I love the feel of the room Poland paints here, a true example of what we can do with new media beyond Twittering and Facebooking.

  • TORONTO: Ed Harris on ‘Appaloosa,’ acting and film crticism

    Ed HarrisWalking into to interview with any actor/director can be a tad intimidating, even after 20 years of doing it.  They have a tendency to be…difficult.  But 30 minutes into my interview with Ed Harris, he pays me a compliment that could keep wind in my sails for the duration of the fest: “Thank you for your integrity, intelligence and dedication to your job.  This has been a pleasure.”  He smiled as we shook hands and he walked me to the door

    Harris has been an actor I have admired since first seeing him as squeaky clean John Glenn in “The Right Stuff” back in 1983, which he followed with a chilling turn as a mercenary in “Under Fire,” his bright blue eyes windows into hell’s furnace. His career has moved along an interesting trajectory, shifting between supporting roles and leads with ease, often dominating whatever film he takes on with powerhouse acting.

    Oddly enough, he did not receive his first Oscar nomination until 1995 when he gave a sterling performance as Gene Kranz in “Apollo 13,” followed by another brilliant turn in “The Truman Show” as a God-like TV producer. He nurtured his dream project, “Pollock,” through its funding, before taking up the reins as director and grabbing another Oscar nod in front of the camera. And in 2002 he was nominated for a fourth time for his AIDS-afflicted writer in “The Hours,” a critically acclaimed ensemble piece from director Stephen Daldry.

    It is doubtful that “Appaloosa” will see any Oscar attention.  Though it is beautifully shot and the art direction is sublime, the film was something of a letdown, despite strong work from Harris and co-stars Viggo Mortensen and Jeremy Irons.

    “I gave the book to Viggo here at this festival in 2005,” Harris said, “when we were here for ‘A History of Violence.’ There was no one else I really wanted to do the film with, and I certainly never considered anyone else. I just thought he and I would make a strong partnership on screen. We don’t hang out, I mean we’re friends, but we don’t see much of each other. He agreed to do it, and Viggo’s the sort of guy where his word is his bond, so that gave me the start to keep moving on the film. It didn’t really occur to me that the film was a western, what struck me was the relationship between these two men in 1882, that’s what really grabbed me about the film. That it happened to be a western was incidental.”

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  • TORONTO: ‘Burn After Reading,’ ‘Appaloosa,’ ‘Miracle at St. Anna’

    Ed Harris in AppaloosaRough day on the legs yesterday, a lot of walking.  Five films. One of them I will watch on DVD in the luxury of my room tonight, so four that I am running to, but hey, these are films I want to see, which always helps, right?

    I scanned the local papers for reaction to Thursday’s Gala of “Passchendaele” first thing yesterday.  The reviews seem to be fair in their honesty; no one thinks the film is a masterpiece but no one is tearing it apart either. The real news seems to be the demonstrators outside of Roy Thomson Hall protesting our government’s recent announcement of massive funding cuts to the arts.

    Dumb, dumb, dumb.  When will they learn that a culture without art ceases to be a culture?

    Anyway, I arrived at the first screening and took my seat only to overhear a distressing conversation (a dangerous part of this job) between two American film critics. One said the festival had lost its identity this year because its programmers have not brought in any Oscar contenders, unlike last year when four of the five best picture nominees played here.

    I was stunned by his arrogance and ignorance. How could he possibly make that statement? The Oscar nominations…as far as I know…are not announced until January. Perhaps he is forgetting that this festival was created to celebrate the art form.  That films that went on to Oscar attention was just icing on the cake. And who is to say many of the films here may not head in Oscar’s direction? And so what…SO WHAT (??!!) if they do not?

    Perhaps they have forgotten their own identity as film critics and why they took up the job: to write about great films, big and small, Oscars or not.

    (Reviews after the jump.)

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  • 9/6 Oscarweb Round-up

    Gerard Butler and Thandie Newton in RocknRolla• Nancy Kriparos keeps her Oscar diary going with looks at “Passchendaele,” “RocknRolla” and “Burn After Reading.” [Awards Daily]

    • Tom O’Neil and Jeffrey Wells talk up the Oscar prospects of Danny Boyle’s “Slumdog Millionaire.” [Gold Derby]

    • Wells, meanwhile, seems to be talking himself out of seeing Spike Lee’s “Miracle at St. Anna” as best he can. [Hollywood Elsewhere]

    • David Poland calls “Lovely, Still” the first real surprise of Toronto. [The Hot Blog]

    • Anne Thompson responds positively to Richard Linklater’s “Me and Orson Welles.” [Thompson on Hollywood]

    • The Kingdom of Jordan will leap into Oscar’s foreign language film race for the first time ever with Amin Matalqua’s “Captain Abu Raed.” [Variety]

  • TORONTO: ‘The Wrestler’ is the talk of the fest

    Just two days and a few hours into TIFF 2008 and already one film is emerging as the talk of the festival.

    I do not see “The Wrestler” until Monday, right after “Che.” But I am counting the hours. Every year there seems to be a little film that arrives here with not a lot of advance notice and captures the imaginations of the audiences and critics on the way to becoming one of the hottest films of the season. Discovery is often what TIFF is all about. Finding that gem, celebrating it and letting the world know it is here.

    I remember “The Apostle” in 1997, as I’ve recounted in this space before. Two groups of men got up and ran out of the theater, dialing their cell phones on their way up the aisle. As Robert Duvall told it to me, they began making deals for the film in the lobby of the the theater, until Harvey Weinstein turned it into a nightmare.

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