TIFF - Updated Capsule Reviews

As the Toronto International Film Festival draws to a close this Saturday, there are still quite a few days left and lots and lots of good films to see.  Check out the updated capsule film review list for information of what is to come.

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.

THE BIGGEST CHINESE RESTAURANT IN THE WORLD (UK/Neth/Den 2008) ***
Directed by Weijun Chen

Director Weijun Chen (PLEASE VOTE FOR ME) immensely entertaining documentary focuses on the Wrest Lake Restaurant in the city of Changha, China that was awarded the title THE BIGGEST CHINESE RESTAURANT IN THE WORLD by the Guinness Book of Records.  Chen concentrates in the human elements of this enormous institution.  He has interviews with the owner, Mrs. Qin Linzi, shown here to be an extraordinary person – stressing her difficult early peasant life with a very strict father.  Her workers – chefs and servers who move from the countryside to the city also have moving stories to tell.  Don’t expect any lessons learnt or change in your outlook of life after this doc – but do expect to balk at a quite a few scenes.  The killing of a duck by grabbing its live heart right from the body and the deep frying of live fish will definitely be the talk of this movie.  But the singing, cooking and dancing contests are a hoot.

BLIND SUNFLOWERS (Spain 2008) **
Directed by Jose Luis Cuerda

Set in 1940, during the violent unstable times after Spain’s Civil War, BLIND SUNFLOWERS tells the tale of a family forced to live a lie to the outside world.  Elena (Maribel Verdú) appears to live alone with her son, Lorenzo (Roger Príncep) and daughter, Elenita (Irene Escolar) but her husband Ricardo (Javier Cámara), a red, is with them in hiding.  Cureda’s film sounds intriguing enough, but it starts off with a big no-no -.  a 10 minute long dialogue between a seminary student Salvador (Raul Arevalo) and his priest (in Spanish, of course) throwing the audience into a state of over concentration.  I bet potential industry buyers would have walked out of the screening by now.  The film would have also worked better if it was not told from the point of view of a naïve person who has made fatal mistakes in his life.  Most of the sympathy is lost in this otherwise just cause and cautionary tale.

BLINDNESS (Brazil/Canada/Japan 2008) **
Directed by Fernando Meirelles
Fernando Meirelles (CITY OF GOD) who directed the new film BLINDESS confuses reality with credibility.  Meirelles takes great care at getting shots not only done right but beautifully (though there are some really filthy scenes) with impressive sets of a city ravaged by human beings in panic.  But the whole film is unbelievable as nothing is attempted to explain or even hinted at the cause or cure of the blindness.  The story concerns an unexplained epidemic causing people to go blind.  They see all white, allowing Meirelles to white out instead of fade out one scene to another.  Mark Ruffalo and Julianne Moore play doctor and wife.  The wife, pretending to be blind accompanies her husband into an asylum that holds the initial diseased.  The film is based on Jose Saramago’s novel and adapted for the screen by Don McKellar who directed a similar film about the end of the world called LAST NIGHT in 1998.  The impressive cast which includes Danny Glover, Gael Garcia Bernal and Don McKellar is totally wasted.

THE BROTHERS BLOOM (USA 2008) ***
Directed by Rian Johnson

Director Johnson’s second feature after his critically acclaimed BRICK is a different film in that it is more commercial, faster paced and lighter in vein.  THE BROTHERS BLOOM (a good pairing of Adrien Brody and Mark Ruffalo) are as Stephen says: out on their own to make a fortune as a gentlemen team of con artists.  But brother Bloom (Brody) is tired and wants out.  Their last con involves a girl (Rachel Weisz) with whom Bloom is warned not too fall in love with.  Johnson is all over eager to please in this film and it shows.  The exotic filming locations that include Montenegro, Prague and New Jersey are not really required nor is the supporting role of Rinko Kikuchi as the annoying Bang Bang.  Johnson steals too from the feel good tunes of Begin A Begin and Nino Rota’s score (used in Fellini’s WHEN THE SHIP SAILS ON) when the trio are on a boat.  For a film dealing with con artists, it is necessary for the director to fool the audience.  But what is unforgivable is director Johnson cheating at the film’s climax (to fool the audience) with brother Stephen’s (Ruffalo) act.  THE BROTHERS BLOOM is definitely not in the league of George Roy Hill’s THE STING though it has its moments.

BURN AFTER READING (USA 2008) *****
Directed by Joel and Ethan Cohen

The Coen Brothers’ latest is a black comedic delight that had the critics present at the pre-TIFF screening in stitches.  BURN AFTER READING begins with CIA agent John Malkovich getting the can for his drinking problem.  So, he retreats to his drink and writing of his operations memoirs that somehow (the CD) land in the hands of Hardbodies Gym trainers Brad Pitt (playing a blonde bimbo) and Frances McDormand.  They decide to blackmail the already pissed off ex-CIA agent whose wife Tilda Swinton is having an affair with George Clooney who is dumping her for a new date who happens to be McDormand.  Everyone is sleeping with someone who is related to someone else.  Oddly enough, the only ‘moral’ person is the sexually ambiguous Pitt.  All these proceedings appear ridiculous and they are – but the Coen Brothers, expert stagers of elaborate long takes often with bouts of wicked humour have crafted another winner.  Aided by inspired performances by a near perfect cast, especially Pitt and Malkovich’s, BURN AFTER READING is the Coen Brothers at their peak. 

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 CONGORAMA 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!

THE BURROWERS (USA 2008) ***
Directed by JT Petty

THE BURROWERS is a horror flick monster movie in a different setting – the western.  This is a welcome take on the horror genre as director JT Petty creates a very thorough atmosphere of the 19th century Dakota Territories.  It all begins when Irishman Coffey (Karl Geary) loses his whole sweetheart’s family to who they believe are Indians.  Coffey, a group of local ranchers and cavalrymen begin a search for the victims, but it turns out that THE BURROWERS (underground creatures who eat flesh) are responsible. 
The conflict and interaction of Petty’s characters (including the Ute Indian tribe that speaks French) are actually more interesting than the horror story. 

CHOCOLATE (Thailand 2008) **
Directed by Prachya Pinkaew

Prachya Pinkaew and fight choreographer Panna Rittikrai bring another no-holds-barred, violent, full-contact fight packed film with new action discovery: twenty-four-year-old Jija Yanin.  Yanin plays Zen, a not too bright girl who helps her cancer-ridden mother against thugs.  That is about the plot for CHOCOLATE.  The fights sequences and executed exciting enough to satisfy fans of this genre.  The protagonist pines for the love of imperfection at the start of the film.  Apparently the filmmakers have taken this love to heart in the making of this movie as well.  The film is at times incoherent, the story all over the place and the characters jump in and out not only from different places but from different countries.  The audience is to believe that Zen’s Muai Thai boxing and kicking skills are self taught.

UN CONTE DE NOEL (France 2008) ***
Directed by Arnaud Desplechin

Desplechin’s last TIFF entry in 2004 ROIS ET REIGN was heralded by many critics as one of the best films of the decade.  What made that film great was that it realistically celebrated life with all its flaws and flowed as smoothly as syrup down ones throat.  UN CONTE DE NOEL is also about life, but told as seen from the point of view of a dysfunctional family, the Vuillards during one Christmas season.  The matriarch, Junon (Catherine Deneuve) needs a bone marrow transplant that can only be provided by the son, Henri (Mathieu Amalric) most hated and banished from the family.  UN CONTE DE NOEL (A CHRISTMAS TALE) is dysfunctional family drama (the cinema has had countless of these lately) – French style.  Again, like most films in this genre, most of the set-ups appear contrived.  The situation the Vuillards are in is not exactly believable either.  All the problems are conveniently put into the story and the antics of the family members all seem too familiar.  But it is still a pleasure to see a group of great French actors together in one film.  Of the cast, Amalric and Emmanuelle Devos (a Desplechin) stand out as a loving couple despite the quarrels going on around them.

DAYTIME DRINKING (South Korea 2008) **
Directed by Noh Young-seok

Low budget first feature by Noh tells a story using minimal props, lighting and what else.  The film contains minimal plot too and follows Hyuk-jin (Song Sam-dong) as he meets friends after being dumped by his girlfriend.  Against his will, he agrees to go with them on a trip to Jeongseon in the distant province of Gangwon-do. Waking up the next, chilly morning at the Jeongseon bus stop, he discovers, after many cigarettes and phone calls, that none of his friends made it to the resort, nor have any intention of joining him.  The movie goes on and on without any direction and one wonders the reason this film was picked for TIFF in the first place.  Yes - and the film is extremely slow and boring.

DEADGIRL (USA 2008) **
Directed by Marcel Sarmiento and Gadi Harel

DEADGIRL is a horror flick in the same vein as SAW and HOSTEL.  Twisted and disgusting but not entirely original with the directors often offering cheap scares with heightened sound or objects that suddenly jump out at the audience.  The story concerns Rickie (Shiloh Fernandez) and JT (Noah Segan) two kids from the wrong side of the tracks. One afternoon, they stumble into the lair of a deranged killer, but the rusted entrance is proof that no one else has been there for years.  JT suggests he and Rickie should have sex with their naked captive. Horrified and disgusted by his friend’s intentions in this unusual circumstance, Rickie struggles with his friendship with JT.  Well, one cannot complain that this film is about necrophilia as the corpse is not really dead.  Not too bad if you like this kind of thing.

DERNIER MAQUIS (Fr/Alg 2008) ***
Directed by Rabah Ameur-Zaïmeche

At the film’s start with the slow moving camera revealing rows and rows of bright red skids as a forklift moves one skid from area to another, Rabah Ameur-Zaïmeche’s DERNIER MAQUIS looks very much like the documentary MANUFACTURED LANDSCAPES.  But besides cinematography that shows the beauty of manufactured landscapes, director Ameur-Zaïmeche also tells the story of the workers under the leadership of a boss they call ‘Mao’ (played by himself).  As the workers are primarily Muslim, Ameur-Zaïmeche injects a lot of religion in his film – in this case preaching more of tolerance and concern.  The film is slow in pace but nevertheless fascinating in the way Ameur-Zaïmeche tells in story in documentary fashion.

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.)

THE DUCHESS (UK 2008) ***
Directed by Saul Dibb

Based on the book Georgina, The Duchess of Devonshire by Armanda Foreman, THE DUCHESS is the kind of British period piece North Americans love.  Director Saul Sibb (BULLET BOY) satisfies all of what is required from the lavish costumes to the expensive props and expansive estate settings.  The dialogue is sufficiently sprite and though the film is based in 1774, the English prose spoken is easily understood.  Though the story involves Georgiana (Keira Knightley) and her failed marriage to the womanizing unloving and intimidating Duke (Ralph Fiennes), the film is in reality a chick flick melodrama given the polished look.  The duchess is stuck in a male dominated world where she has not only to play the role of wife and mother but one to reject the love of her life (Dominic Cooper).  Knightley is proving to be a staple in romantic costume dramas (PRIDE AND PREJUDICE and ATONEMENT) but it is Fiennes that steals the show as the sinister yet pitiful duke whose only fault seems to be not knowing how to love.

EDISON & LEO (Canada 2008) ***
Directed by Neil Burns

Neil Burns animated stop-motion feature is a story of the Edison’s dysfunctional family told in the backdrop of villains, thievery and the invention of the light bulb.  Though animated, EDISON & LEO is not a children or family flick by any means.  The film noir deals with adult issues, is occasionally violent and at times, demands constant attention to be understood.  Death is always in the foreground of the story with beheadings and dismembered limbs thrown in for good measure.  Though Burns has not created the perfect film, this is in a way an old fashioned romance with lots of adventure thrown in.  With Burns being such a highly imaginative story-teller (with props like the Morse Code telephone and the Belly Dancer lantern), the interest of EDISON & LEO is naturally maintained.

EMPTY NEST (Arg/Sp/Fr/It 2008) ***
Directed by Daniel Burman

The EMPTY NEST refers to the state of affairs of husband and wife, Leonardo (Oscar Martinez) and Martha (Cecilia Roth) after the children and passion have gone out of their lives.  But this is no moody, boring family drama.  Director Burman has crafted a realistic tale of a grumpy old man trying to come to terms with his work and his frustrated wife.  The image of the two floating on water moving closer or apart, depending on how one wishes to look at their relationship sums it all up.  EMPTY NEST, enhanced by music, two impromptu song and dance numbers, humor and human performances particularly by Martinez, EMPTY NEST is a welcome break in the family drama genre. 

L’EMPREINTE DE L’ANGE (France 2008) ***
Directed by Safy Nebbou

MARK OF AN ANGEL is director Safy Nebbou’s tale of two conflicting mothers, portrayed by two of France’s favourite actresses Catherine Frot and Sandrine Bonnaire.  Yes, there is a big hair pulling scarp near the end as well as they fight for the little girl.  It all begins when Elsa (Frot) who has had mental problems first sights Claire’s (Bonnaire) little girl dresses as an angel.  Elsa, through her young son, makes acquaintance with Claire’s children and before you know it starts stalking the little girl.  At the skating rink, ballet or wherever the girl goes, Elsa is there.  Nebbou’s taut, psychological tale is gripping and disturbing but nothing is what it seems as Nebbou pulls two twists in his tale.  Both Frot (who is fond of weird roles, like last year’s THE PAGE TURNER, and Bonnaire make the perfect imperfect mothers.

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.

GOMORRAH (Italy 2008) ****
Directed by Matteo Garrone

The long length of 135 minutes of GOMORRAH is understandable as director Saviano’s film tells 5 different related stories of a mafia organization called the Neopolitan Camorra.  Of the five, the one involving two teen hooligans who believe that they can make it on their own undermining the mafia is the most engrossing.  Garrone’s puts the audience right into the action with his filming style that switches frequently from hand held to pan shots depending on the situation or mood he wishes to create.  The stories take time to unfold with the characters given the time to talk.  Garrone reveals the human side of the mafia (human traits like greed, the need to save face) as well the desperation of the simple men who fall victim.  The result is a film that is marked with the director’s signature style combining well the elements of art with reality.  Based on the book by Saviano, who had to go into hiding when the best seller was first published.

THE GOOD, THE BAD, THE WEIRD (South Korea 2008) **
Directed by Kim Jee-woon

An obvious rip-off of Sergio Leone’s Italian spaghetti western epic THE GOOD, THE BAD AND THE UGLY, South Korean Kim’s THE GOOD, THE BAD, THE WEIRD is a lengthy unfunny and unimaginative waste of time.  It is, of course neat to see Koreans wearing western garb riding horses in the desert, but the novelty wears off pretty fast.  The good is a famous bounty hunter, the bad a merciless gang leader and the weird an odd train robber.  Events lead to the eventual three way shoot out at the film’s climax, just as in the Sergio Leone’s film.  Kim at least builds some interest at the start of the film with the introduction of a mysterious map – but the rest of the film is a let down.  This is supposedly Korea’s most costly production.

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

L’HEURE ETE is a 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!

HORN OF PLENTY (Cuba 2008) **
Directed by Juan Carlos Tabío

Juan Carlos Tabío’s HORN OF PLENTY feels much like his popular STRAWBERRY AND CHOCOLATE.  Tabio’s tale of poverty, love and lust is nothing more than fluff disguised as realistic drama in a social political setting.  The story concerns the Castineiras family sorting out an inheritance with the authorities.  The family is so poor that the protagonist Bernardito (Jorge Perugorria) cannot have sex in peace.  He needs a dividing wall in his house.  The dysfunctional family concerns non-speaking parents, sister and a mistress.  Tabio’s works his actors well with solid performances with erotic sex scenes.  The cinematography is worth mentioning as it displays the locals scenes of a little seen Cuba.  HORN OF PLENTY is nice to look at but not funny, romantic or dramatic enough.

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.

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.

IT MIGHT GET LOUD (USA 2008) ***1/2
Directed by Davis Guggenheim

It might get loud and it does in director Davis Guggenheim’s (AN INCONVENIENT TRUTH) inspiring documentary IT MIGHT GET LOUD.  Here, the power of the electric guitar is unleashed through the words and performances of three living masters, Jimmy Page of Led Zeppelin, The Edge of U2 and Jack White of The White Stripes.  The film is much better than it sounds.  Guggenheim also shows the blend of art (the craftsmanship of the instrument) to science (the electronics).  Guggenheim’s film soars occasionally, like in the scecnes when he transposes The Edge playing with jingles, to his rehearsal to U2’s live performance with full acoustic in a major stadium.  Here Guggenheim shows The Edge’s metamorphosis from talent to pure genius. 

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.

JCVD (Fr/Lux/Bel 2008) ***
Directed by Mabrouk El Mechri

Who would guess that JCVD (short for Jean-Claude Van Damme), Van Damme’s come-back movie, would be one of the action star’s best films?  Directed by El Mechri, JCVD begins with JCVD bashing and shooting up his enemies in a new film he is making.  Complaining after to the director that he can’t do these kind of long takes any more (I am 47, he says) Van Damme is not afraid of parodying himself (he is broke and has child custody problems) or his past films.  The result is an earnest, very funny and action packed film that makes JCVD an appropriate pick for TIFF’s opening film for the Midnight Madness series.

KNITTING (China 2008) ***
Directed by Yin Lichuan
KNITTING is a simple but engrossing tale of a manage –a-trois but set in China.  The premise is how the two wives, initially at war with each other, finally find kinship and tolerance despite both faults.  In this sense, director Yin’s film is an intriguing study of human character.  Also fascinating is the way poverty stricken Chinese behave – and expectedly quite different from the west.  More a drama though at times humorous, KNITTING tells mainly the tale of Li Daping (Zhang Yi) is an introverted and not too bright northern girl. With no particular skills and an obstinate love for Chen Jin (Lu Yulai), she sells tickets to the passengers of the minivan Chen drives around the dusty, sweaty streets of their southern city.  One day, trouble walks into Li’s life in the form of Zhang Haili (Yan Bingyan) a former girlfriend of Chen.  The audience is at first not too sympathetic with Li, the simpleton but Yin slowly changes the rules, and this is where the film gets compelling.  It is good to see that the goodness in human nature triumphs.

LAST STOP 174 (Brazil 2007) **
Directed by Bruno Barreto

Director Barreto’s LAST STOP 174 is based on the widely seen and acclaimed 2003 documentary BUS 174 that detailed the events of the standoff between the cops and the young man that took the bus hostage.  In LAST STOP 174 made years later obviously cashing in on the success of the BUS 174 and films like CITY OF GOD, Barreto’s film, despite his attention to detail, looks like an exploitation rip-off.  Baretto concentrates on the story of a mother looking for her son.  The son eventually turns out to be a worthless violent teen that ends up creating havoc on the bus.  For all that it is worth, Barreto’s tale is all over the place and fails to evoke any sympathy from the audience.  Even the mother, with a holier than thou attitude, appear as unbelievable as her sissy preacher boyfriend. 

MIA ET LE MIGOU (France/Italy 2008) ***
Directed by Jacques-Remy Girerd

After having seen animator director Girerd’s highly impressive first feature LA PROPHETIE DES GRENOUILLES at the London Film Festival in 2003, I made it a point not to miss his latest MIA ET LE MIGOU.  Girerd’s environmental tale shares similar traits as PROPHETIE.  Both are apocalyptic in nature, signaling the end of the world (the first was a re-telling of the Noah’s Ark story and this one’s about the end of the world through environment destruction).  Though both are kids’ films, they both have disturbing adult touches.  A scene in MIGOU has the villain’s young son saying that he wishes his dad was the one killed instead of Mia’s.  MIA AND MIGOU is the story of a young daughter’s (Mia) search for her dad sent out to build a resort hence spoiling nature in the process.  Mia encounters creatures called Migous (voiced by French comedian Dany Boon) who will die as the earth dies.  Imaginative, colourful and topical, Girerd’s animated tale will surely fascinate both kids and adults alike.

NICK AND NORAH’S INFINITE PLAYLIST (USA 2008) ***1/2
Directed by Peter Sollett

This is one kool super-smart teen comedy.  First thing is that the film, written by Lorene Scafaria, based on the novel by Rachel Cohn and David Levithan and directed by RAISING VICTOR VARGAS’ Peter Sollett knows what works and what does not.  Admirable is the way this straight film has all respect for gay culture.  Michael Cera plays in an all gay band and all homophobes get beaten up in this one – to the delight of all including those present at the special press junket screening.  But the main story concerns the romance between Nick (Cera) and Norah (Kat Dennings), two oddballs who find that acceptance isn’t all it makes out to be.  Through an eventful night out, the pair of star struck lovers with the gay band members and pick-up in tow, track down ‘Fluffy’ the secret show as well as Norah’s one drunk hilarious girlfriend, Caroline (Art Graynor).  This is FORGETTING SARAH MARSHALL, teen style.  Very funny too, if you don’t mind the vomit and ***censored*** gags.

NOT QUITE HOLLYWOOD (Australia 2008) ***
Directed by Mark Hartley

Mark Hartley’s NOT QUITE HOLLYWOOD starts up brilliantly and uproariously with an insight on the beginning of the Australian film industry.  The funniest bit is his take on the then Australian censor known to have only one arm.  (He has never shown up in person always apologizing that he would have given up his right arm to be present.) From free-wheeling sex romps to blood-soaked terror tales to high-octane action car chases, NOT QUITE HOLLYWOOD contains an unbelievable number of Aussie film clips from films never seen by those under the age of 30.  For many like me, the film is a nostalgic trip into the gore, violence, sex and fun filled forgotten films like PATRICK, THIRST, the ALVIN PURPLE and MAD MAX films.  Hartley remembers to pay tribute to the art classics like PICNIC AT HANGING ROCK, and MY BRILLIANT CAREER.  But his film is a bit too long, dragging a bit near the end though Quentin Tarantino gives his bit to enliven the proceedings.  To his credit, Hartley has assembled an impressive cast of talking heads that includes Jamie Lee Curtis, Dennis Hopper, Stacy Keach, Quentin Tarantino, Brian Trenchard-Smith, Steve Railsback and aussie directors Barry McKenzie and Bruce Beresford.

OF TIME AND THE CITY (UK 2008) ***** Best Bets
Directed by Terence Davies

OF TIME AND THE CITY could very be titled MY LIVERPOOL.  Like the recent Guy Madden’s MY WINNIPEG, OF TIME AND THE CITY is a director’s poetic musings of the likes and dislikes of the city where he was born.  Very much like THE LONG DAY CLOSES, but with less of an emphasis on him and his family, Davies’ new documentary is as stunning and beautiful as that minor masterpiece.  With OF TIME AND THE CITY, Davies is again not afraid to show his guilt at his homosexuality of his youth, his sheer distaste for the Catholic Church and though moderated here, dislike for the monarchy.  (It should be known that Davies is in person, a very humorous and likeable speaker.) Davies narrates the film on his own – he has a stern baritone voice - and the narration is filled with his poetry and the words of Masters like Joyce and Jung.  The music here is of a more serious nature – most of the musical numbers that filled THE LONG DAY CLOSES are replaced by classical pieces.  Terence Davies is one of the best directors today – having made two of my favorite films of all time – THE LONG DAY CLOSES and THE HOUSE OF MIRTH.  OF TIME AND THE CITY will be the third added to the list. 

PA-RA-DA (Romania/Fr/It 2008) **
Directed by Marco Pontecorvo

Marco Pontecorvo (son of the distinguished filmmaker Gillo Pontecorvo of the classic THE BATTLE OF ALGIERS) directs a story of French social worker magician Miloud (Jalil Jespert) and his work with the street kids in Bucharest. PA-RA-DA is earnest in attempt but too clichéd and well intentioned in its execution.  The kids obviously rebel at the start and slowly warm up to Miloud who has trouble with the uncaring authorities, in this case the policemen.  But Miloud succeeds teaching the children how to gain respect for themselves.  This includes one scene where he takes them to the baths, where his pet kid mouths out obscenities at the gay people.  Miloud (or the director) has forgotten one lesson here – respect for others.  Apparently the organization of Parada still exists today.  The film ends with black and white shots of street kids and titles declaring that street kids are still present to this day.  But isn’t this is true as well for all other countries in the world?

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.

RESTLESS (Isr/Can/Germ/Fr/Belg 2008) *
Directed by Amos Kollek

RESTLESS is a very angry film about Moshe’s (Moshe Ivgy) search for redemption in NYC.  He has dumped his son, now a sniper in the Israeli army whom he has not met.  Kollek has got his film all wrong.  For one, who would sympathize with a person has horrid as Moshe?  He has not only abandoned his son and his pregnant girlfriend, but hammers a brick to his landlord’s head after not being able to pay the rent.  Worst still, he starts hitting on a bartender (Karen Young) while being drunk and unable to pay his tab.  The audience is then led to believe that this girl will later fall for Moshe.  Worst still, the father and son reconciliation comes at the end after the son (who visits NYC) takes out a gun.  They shout, scream and hug.  What a cop-out!  RESTLESS will undoubtedly have audiences squirming restlessly in their seats.

SERAPHINE (France/Belgium 2008) ***1/2
Directed by Martin Provost
SERAPHINE is director Martin Provost extremely serious and detailed period (set in the very early 20th century) piece of real life painter now known as Séraphine de Senlis (portrayed by Yolande Moreau who carries the show beautifully).  Seraphine was a simple housekeeper whose simple belief in God prevented her from enjoying the money obtained from selling of her work.  Provost shows too many of the brilliantly colourful canvases (he must be a true convert) that now adorn some of the most famous galleries in the world.  The film also paints a bleak picture of the times when classes rule and the poor and under-privileged were looked down upon.  Provost shows that Seraphine maintained her dignity to the very end.  A very sad and beautiful film about an unfortunate woman who suffered throughout her whole life yet delivered troubled beauty.

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 BLIND MICE (Australia 2008) ***
Directed by Matthew Newton

THE THREE BLIND MICE are three young Australian naval officers who have been at sea for six months, and now have twenty-four hours shore leave in Sydney before shipping out to Iraq. Each has a personal agenda: Dean (Toby Schmitz) wants to see his fiancée and cement their future plans while deserting the Navy, Harry (played by director Newton himself) is hell-bent on a night of excess and Sam (Ewen Leslie) just wants to stay out of trouble.  Newton’s film is full of fast and smart dialogue reflecting the interaction of the trio in the seedier side of Sydney.  The subplot involving Dean’s troubled family life is actually more interesting that Dean’s A.W.O.L. problems.  But the film eventually rests to the main plot of how a man (i.e. Dean) becomes a man.

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.

VACATION (Japan 2008) ****
Directed by Hajime Kadoi

From the very start of the film VACATION with the stylish camera and overhead shots, director Kadoi’s debut feature looks to hold promise.  And his film delivers 100%.  The story is based on a novel (written by the same author of THE EEL directed by Shohei Imamura) about a lonely prison guard, Hirai (Kaoru Kobayashi) about to marry a wodow.  He obtains a week’s vacation by serving to hold the prisoner’s legs after he is dropped through the shaft after a hanging.  Needless to say, this is a disturbing task no guard wants.  Kadoi’s film contrasts loss of life (the prisoner) with a new one (Hirai’s new life after marriage).  Kadoi’s film is at times eerie for his minimal use of music and deliberate usage of pale colors in the film.  Even when the dying man is granted his final wishes of hearing music, the audience hears nothing as the prisoner puts on ear phones.  Kadoi also deserves credit for being able to get his audience to pay attention to his characters’ meaningless chit chat (the guards talking about the possibility of his son being gay.) Moving, sensitive and at times funny with an odd sense of dry humor, VACATION is my major surprise at this year’s TIFF.

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. 

WHO DO YOU LOVE (USA 2008) ***
Directed by Jerry Zaks

Jerry Zaks’ WHO DO YOU LOVE is the story of white promoter Leonard Chess’ (Alessandro Nivola) and David Oyelowo) and his struggle of opening a record company and promoting blues greats like Muddy Waters and Willie Dixon.  The title of the film refers to the clash of his love for singer Ivy and his own wife who has to put up with his absence half the time.  Though the musical sequences are often short of phenomenal, Zaks’ film suffers from continuity and tackles too many issues (father/son husband/wife and brother relationships).  For example, one scene has the two brothers arguing and fighting while the following has both bought ‘Muddy” a new car as if the previous argument never happened.  Still, it is difficult to dislike this crowd pleaser especially when Zaks ends most scenes on a high note and the script is often filled with smart dialogue.

ZACK AND MIRI MAKE A PORNO (USA 2008) **
Directed by Kevin Smith

Seth Rogen (the most probable actor to represent Kevin Smith as a teen plays Zack, living with best friend Miri (Elizabeth Banks).  Despite the suggestive title and a few ‘sexy’ scenes in the filming of the porno, Smith’s new film is essentially a good natured romantic comedy.  Unfortunately, harmless fare is not Smith’s forte and this film falls short in laughs, especially when compared to the recent spat of Jude Apatow films, some of them with Rogen in.  No prizes in guessing correct whether Zack and Miri come together at the end.  Even the sex jokes are mild in nature.  Example: the pick up line: “Don’t thank me. F*** me!”