TIFF Capsule Reviews

This is the busiest time of the year.  And the busiest time is not Christmas for film critics in Toronto.  And for many film buffs as well.  It is the time of TIFF - the Toronto International Film Festival.  Films are pre-screened for reviews 3 weeks prior which means more than 4 weeks of busy, busy, busy.

Click ‘ read the rest’ for capsule reviews for films I have seen so far.

This site will be updated for capsule reviews DAILY.

Last Update: Aug 28th

ADORATION (Canada 2008) ***** Best Bets
Directed by Atom Egoyan

Toronto auteur returns to the style of his earlier movies (EXOTICA, THE SWEET HEREAFTER) with a mature and meticulously constructed film centering on a high school student, Simon (Devon Bostick) who reveals in his drama class that his father planted a bomb in her mother’s purse.  If the bomb had not been undetected by security at the airport, the result might have been one of the worst terrorist attacks in history.  Egoyan covers issues as uncle/nephew relationships, truth and lies, cultural acceptance but mostly tolerance in the midst of hatred.  Despite some beautifully shot scenes by Paul Sarossy, the film contains amazing technical shots.  Most impressive is the split laptop-screen allowing 6 separate students to interact like a conference meeting.  ADORATION had a late screening at Cannes this year which is a pity as it probably did not get the recognition it deserved with critics being too tired to fully appreciate Egoyan’s work.  ADORATION is Egoyan’s most powerful, intimate and best work to date.  The film also stars the excellent Arsinee Khanjian (Egoyan’s wife and regular) as Simon’s teacher, Sabine.

C’EST PAS MOI, JE LE JURE! (Canada 2008) ***1/2
Directed by Philippe Falardeau

Quebec Philippe Falardeau returns to the festival with another humorous yet dramatic tale of family.  His quirky CONGOLERAMA was brilliant in its non-time linear execution and his new film centres once again on the family or the lack of one.  This is the story of young Leon.  Falardeau’s film could be alternatively called HOW TO COMMIT SUICIDE AND SURVIVE as Leon attempts the deed countless times for various reasons, the main one being to bring dad and mum back together.  Falardeau contrasts pessimism and hope.  It might appear that Falardeau’s film leads nowhere but on closer examination, his film surprisingly reveals (this has to be read between the lines) that truth and love conquers all.  Falardeau is a young director to watch!

IL DIVO (Italy 2008) ***
Directed by Paolo Sorrentino

Winner of the Jury Award at this year’s Cannes, IL DIVO marks the triumphant return of Italy to filmmaking since the days of Fellini, Petri and Visconti.  Unfortunately, IL DIVO is not as good as heralded by the Italian press.  There is too much information relayed and too fast with too many characters in too short a time, especially for those unfamiliar with Italian politics.  On the positive side, the music (love the song selection), acting and staging of the court cases and killings are superb.  The story traces the controversial career of Italy’s Prime Minister, Guilio Andreotti (Toni Servillo) who though charged with over two dozen court charges, survived and now serves as a senator. 

DOWN TO THE DIRT (Canada 2008) *
Directed by Justin Simms

Based on his novel and directed by him, Justin Simm’s DOWN TO THE DIRT is an example of low budget undisciplined film making.  For one, though listed at 100 minutes, the film is almost two hours in running time.  It begins with a character lying on the ground, half beaten up, and then recounts the story leading to his sorry state and then goes on when it is certain that nobody cares anymore.  To make matters worse, the close up of the blood dripping from the man’s cut up face shows inconsistency of blood colour and really poor make-up.  DOWN TO THE DIRT has the occasional laugh out loud humour – due to the stupidity of the newfie characters.  One positive thing of the film is that the film does have a total newfie feel to it – down to the Stompin’ Tom like soundtrack.  (I know Stompin’ Tom is from New Brunswick but I have not known a Newfoundlander who did not like his folk music.)

LA FILLE DE MONACO (France 2008) **1/2
Directed by Anne Fontaine

Anne Fontaine’s film LA FILLE DE MONACO has an excellent set-up.  She pits three wildly different characters together.  One is brilliant, cultured and respected lawyer Bertrand (Fabrice Luchini), the second his quiet, strong and handsome bodyguard Christophe (Roschdy Zem) and the third flamboyant, beautiful and charming Audrey (Louis Bourgoin) – the fille of the film’s title.  But the result of her film is far from satisfactory.  This comedy of sorts is more drama than laughs with Fontaine (DRY CLEANING, NOUVELLE CHANCE) delivering keen observations on the interactions of her characters.  But like most of her other films, LA FILLE DE MONACO lacks punch and one wonders what message she is trying to send.  Another problem is actor Luchini.  Fontaine should have picked a more handsome lady-killer.  It is really difficult to believe beautiful women falling at the feet of this unfit, soft-spoken soft bodied over the hill lover.

HEAVEN ON EARTH (Canada 2008) ***
Directed by Deepa Mehta
Toronto based Indian Writer/director Deepa Mehta’s (WATER, EARTH, FIRE) most serious fiction film works well primarily for the mystic ambiguities present in her tale of abused bride, Chand (Preity Zinta).  In her desperation for love and happiness, Chand uses a Jamaican witch’s potion to entice her husband.  Mehta’s frequent ponderous style works well here to actually create more audience anticipation.  She also blends in current social issues (teenage rebellion; Canadian living; immigration) with ancient beliefs of the past (filial loyalty, superstition).  In Mehta’s case, HEAVEN ON EARTH may not be a desirable.  The abrupt ending to this occasional thought provoking film may not satisfy some.

L’HEURE ETE (France 2008) ***1/2
Directed by Olivier Assayas

Non conventional drama of a family in the midst of the decision on what to do with property and estate following a death.  Two brothers (Charles Berling and Jeremie Renier) and a sister (Juliette Binoche) biggest problem is whether to sell the family house.  But the contents pose a problem as well as the estate contains many artistic ornaments – some valuable and some not so as expected.  Assayas’ easy going style varies from steady shots to handheld camera as he takes his viewer on a tour of the French art circles while keeping the story grounded in the strength of the family.  The best shots are the film’s opening and ending sequences where the children at play and teen show the innocence as well as maturity of the offspring.  Very watchable and pleasurable as an art painting!

HUNGER (UK 2008) ****
Directed by Steve McQueen

Winner of the prize for best feature at Cannes this year, HUNGER documents in graphic detail the last 6 weeks of the life of IRA Bobby Sands (Michael Fassbender) in an Irish prison.  The prisoners undergo a ‘no wash’ and ‘blanket’ protest till a hunger strike begins.  Steve McQueen (a photographer) shoots his film with long takes, most ending with a punch.  Though it might appear that not much action is taking place in most scenes, the contrary is happening.  McQueen is building up emotions in the viewer.  He shows not only the points-of-view of Sands and the IRA sympathizers but the prison guards involved in the brutality as well.  McQueen’s camera crosscuts to the facial expression of one guard behind his helmet shield.  McQueen also follows long segments with little to no dialogue to ones containing talk non-stop (the debate between Sands and the priest).  Though HUNGER is not everybody’s cup of tea (be prepared for close-ups of maggots, decaying food and excrement), McQueen gets the purpose for his film more than effectively across with disturbing clarity.

O’HORTEN (Norway 2008) **
Director Bent Hamer

Norwegian writer/director Bent Hamer is famous for his quirky hunour in films like KITCHEN STORIES and FACTOTUM.  This time around, Hamer finds his humor in the study of recent train driver retiree Horten (Bard Owe) and his ability or rather inability to adjust to his new lifestyle.  Unfortunately, this character holds little interest nor do the situations concocted by Hamer.  The ‘choo-choo’ cheering at Horten’s farewell party fails to achieve any sympathy or humor to the proceedings and the Norwegian wintry landscape (there are repeated shots of the train traveling out of the tunnel into he vast whiteness) seem to underline the film’s emptiness.

Il Y A LONGTEMPS QUE JE T’AIME (France 2007) ****
Directed by Philippe Claudel

Writer/director Philippe Claudel’s debut feature is a tearjerker with an impressive build up towards its climax.  A story of guilt and grief, the film follows the lives of two sisters, Juliette (Kristin Scott Thomas) and younger Lea (Elsa Zylberstein).  When the film begins, Lea fetches her from the airport and brings to her family home, much to the consternation of her husband.  Why were they apart?  Why are they now reunited?  What is the family secret?  Claudel reveals only bits at a time making his film a whydunnit as well as a drama of wills.  There are lots to be read between the lines in this movie - the old man at the swimming pool and his young conquests; the metaphor of the South American Orinoco River; Claudel’s use of Lea’s over adorable daughter to highlight Juliette’s emptiness over the loss of her own son but most effective is the question of whether loss of memory is worth memory of a terrible incident.  Claudel moves his film at a pace allowing his audience to appreciate what he is getting across.  I’VE LOVED YOU FOR SO LONG (English title) is a very impressive first feature.

PLUS TARD, TU COMPRENDRAS (France 2008) **
Directed by Amos Gitai

Originally titled PLUS TARD or LATER, the new title adds on the additional phrase TO UNDERSTAND in the future tense.  The understanding here refers to a man’s (Hyppolyte Giradot) dealing with his grandparent’s death during the Holocaust in a Nazi concentration camp.  Thos familiar with director Amos Gitai’s works (KIPPUR, KADOSH, FREE ZONE) will not be disappointed with his beautiful shots, long takes and wide camera pans.  Gitai often has his characters placed in a scene with more information relayed by what is occurring in the background.  He often calls his actors to ponder over issues, wander around the scenery or stare blankly into the open.  It is both interesting and odd to watch animated actors like Giradot, Jeanne Moreau (VIVA MARIA! JULES ET JIM) and Emmanuelle Devos (ROIS ET REIN) move so slowly.  Though beautifully shot with great attention to detail, Gitai’s film on memory and identity fails to move and affect audiences one would expect a film with such a theme to.

RACHEL GETTING MARRIED (USA 2008) *
Directed by Jonathan Demme

The worst part of attending a wedding is to hear all the wedding speeches.  In his strife for authenticity, director Jonathan Demme forces his audience to sit through almost 20 minutes of grueling verbal diarrhea during a wedding rehearsal.  Kym (Anne Hathaway), just out of drug rehabilitation and coming to grips with reality is not really welcome at sis’ (Rosemarie DeWitt) wedding with the entire family barely tolerating her.  The film documents with brutal realism, the interactions of the family members.  There is nothing really wrong with RACHEL GETTING MARRIED in terms of production values and acting.  But Demme includes manipulative dialogue from first time writer Jenny (daughter of Sidney) Lumet and worst of all, racist African tribal dances to celebrate the groom’s African American heritage.  Demme should have taken to heart the words of the rehab caretaker at the beginning of the film when she says: “You are only responsible for your own actions.” RACHEL GETTING MARRIED is the best example I can think of, of well orchestrated artistic rubbish.

REAL TIME (Canada 2008) ***
Directed by Randall Cole

Smart low budget comedy that lags a bit in the middle (despite its short length of 80 minutes) about a hired killer Reuben (Randy Quaid) and the gambler debtor Andy (Jay Baruchel) he is hired to kill.  The film is called REAL TIME as the clock in the car registers 1.41 and the killing is to occur at 3 p.m. with the film obviously taking place in real time.  Writer/director Cole covers issues like outlook in life but it is the dynamic interaction between the two lead actors Baruchel (in best form here after TROPIIC THUNDER and last year’s JUST BURIED) and Quaid that makes the film tick.  Filmed in Hamilton, Ontario.

LE SILENCE DE LORNA (Belgium/Fr 2008) **
Directed by Jean-Pierre and Luc Dardenne

The Dardenne Brothers return again with a film aiming at jolting their audience into realizing the enormity of a topical problem issue.  Having dealt with unwed births, illegal workers and youth violence, LE SILENCE DE LORNA concerns immigration marriage shams.  Lorna (Arta Dobroshi) is an Albanian paid to wed Belge druggie, Claudy (Jeremy Renier) in order to get citizenship.  Divorcing him later, she is to wed a mobster, Fabio in order for him to gain citizenship.  But when Fabio (Fabrizio Rongione) plans to kill Claudie, the question is whether Lorna will remain silent.  This is the Dardennes most fictionalized film in terms of a more involved storyline with the camera taking more of an observational view rather than a protagonist’s point of view.  His previous films often had the camera just behind the neck of a character whereas in SILENCE DE LORNA, the camera takes a step back.  Unfortunately, the film also takes one step back in terms of effectiveness.  You realize the Dardennes are in trouble when they have to rely on Lorna speaking aloud to convey what is happening on screen.

SUGAR (USA 2008) **
Directed by Anna Boden and Ryan Fleck

Writer/directors Anna Doden and Ryan Fleck’s (HALF NELSON) second feature SUGAR follows the travails of Dominican baseball star Miguel a.k.a. SUGAR as he is recruited by the States and sent over.  From his assimilation to an Iowan household to his tough baseball games, SUGAR demonstrates that life is never easy, especially for the talented.  Boden and Fleck do well with the execution of the excitement of the baseball games – as it baseball is probably the most difficult game to excite on screen, but it is the examination of Miguel’s loneliness that is the more interesting.  Fortunately, that is the centre of the film and not the baseball matches.  Alengis Perez Solo is winning as the loser in a film that unfortunately suffers from an unsatisfactory ending.  The film also shifts from one focus to another without resolving the problems brought on (the temper tantrums; the injury et. al.)

THREE MONKEYS (Turkey/France/Italy 2008) **
Directed by Nuri Bilge Ceylon

Those familiar with the works of Turk director Ceylon (CLOUDS OF MAY, CLIMATES) will be pleased to note that his new feature, a film about the breakdown of a closely-knit family contains stunning cinematography, long takes and deep personal reflections – elements found in all his other films.  The film begins with Eyup (Yavoz Bingol), a father taking the rap for his boss in a hit and run car accident.  While in prison, his wife Hacer (Hatice Aslan) has an affair while son Ismail (Ritaf Sungar) wanders directionless in life.  The question then is whether the money Eyup is earning is worth the family troubles.  But he is confronted with his ‘see, hear and speak no evil’ attitude when released from prison.  But the problem with Ceylon’s film is that he does not clearly define the real root of his characters’ flaws nor does he bother to resolve them.  With the film’s artistic look, the audience feels increasingly alienated with each character.  The result is a fine looking empty film that eventually bores rather than captivates.  Ceylon won the best director award for this film at this year’s Cannes.

UNDER RICH EARTH (Canada 2008) ***
Directed by Malcolm Rogge

This earnest Canadian documentary takes the viewer to a remote mountain valley in Ecuador where local farmers face their worst enemy – the American corporation.  In order to drive these hard working farmers from the land in order to make way for copper mining, corporations go down dirty tactics.  Mercenaries are hired to threaten the farmers with guns and tear gas.  The rallying of the people demonstrates that these farmers have had enough.  Director Rogge show the two sides with interviews from a company official and from many involved in the fight.  UNDER THE EARTH is an educational down to earth doc without any bullshit.

WENDY AND LUCY (USA 2008) **
Directed by Kelly Reichardt

WENDY AND LUCY is executively produced by Todd Haynes.  It is not surprising to see why Haynes was interested in the project as WENDY AND LUCY shares the same sparse style of Haynes’ earlier films.  Director Reichardt’s film of a girl and her lost dog traces, with a documentary styled look, Wendy’s slow deterioration into tears (she starts off as one foul-mouthed hard cookie) as she exhausts one avenue after another in her desperate search for her dog.  It does not help that she is broke and on her way to Alaska (traces of a poor man’s version of INTO THE WILD?) with no money, family or friend.  But Reihardt’s film is too manipulative with help appearing just at the right moment or her call to family made just so that the audience can be told that the family does not care.  The reason for Wendy’s journey to Alaska is never dealt to satisfactory detail.  When Wendy finally finds Lucy, she throws a stick three times for Lucy to catch.  Lucy gets it.  But most viewers will not get the point of this movie.