Best Picture? What a Foreign Concept!

Over the last eleven year’s TIFF has slowly become a major when it comes to Academy Award winners. Two of the last three Best Picture winners (Slumdog Millionaire and The King’s Speech) were also winners of TIFF’s prestigious People’s Choice Award. 2009 Best Picture winner, The Hurt Locker, did not win the People’s Choice Award, but it screened at the festival the same year as Slumdog Millionaire. If you look closely at the Best Picture nominees over an eleven year span you will noticed that eighteen of the sixty-five nominated films screened at TIFF. This number increases drastically when you start factoring in all the other Academy Award categories.

One less publicized area where TIFF seems to have an outstanding track record is in the Best Foreign Language film category. In the past eleven years, every winner of this category has screened at TIFF. Despite its track record with foreign language films, TIFF has been unsuccessful in changing people’s perceptions of the Best Picture with respects to foreign language films winning. This year’s People’s Choice winner was Where Do We Go Now? The weeks leading up to TIFF, and especially during, people were speculating which films would win the award and thus become a front-runner for the Best Picture award. Many of the film titles being thrown around featured several well known actors/actresses. Then something strange happened, a Lebanese film was announced as the People’s Choice winner and the mood shifted immediately. No longer were the media outlets talking Best Picture buzz, but almost lackadaisically referred to the film as having a shot in the Foreign category.

The fact that a foreign language film immediately gets discredited from the Best Picture debate is still rather shocking in this day and age. Even more disturbing is that a foreign language film still has not won the Best Picture award. The last two foreign language films to even get nominated in the Best Picture category were Crouching Tiger, Hidden Dragon in 2000 and Letters from Iwo Jima in 2006. Both of those films lost to Gladiator and The Departed respectively.

Of course some will point to the fact that foreign language films have their own specific category; others will simply state that not every film can be nominated for Best Picture. However, these are probably the same people who will turn around and champion the merits of Pixar films such as Up or Toy Story 3 winning the Best Picture award instead of being relegated to the Best Animated category. The sad thing is that animated films, while good in their own right, still stand a better chance of snagging a Best Picture award than a foreign language film.

What is it about foreign language films that keep Academy voters away? Maybe the lack of Best Picture support is merely a reflection of the current film going culture. At the end of the day people want to cheer for stars they know. Critics and bloggers now post list of possible award hopefuls well before the actual film is released. Their views are often based simply on the film’s synopsis, director and cast. Clint Eastwood making a film on J. Edgar Hoover with Leonardo DiCapro immediately gets thrown in the Oscar discussion just based on the idea. Whether the film is actually good or not is the last thing considered. Foreign language films on the other hand are usually judged by the strength of their story.

It is a shame that with all the technology we have today, foreign language films are still viewed with a bit of distain. Although access to foreign language films has increased, it seems many are still not willing to look at them as serious Best Picture contenders. No matter how much people love a film like Amélie, at the end of the day films like A Beautiful Mind will most likely walk away with the Best Picture praise.

TIFF Review: 11 Flowers

11 Flowers

11 Flowers may be Wang Xiaoshuai’s most personal film to date. Taking place in 1975, a year before the Mao’s death, the film follows eleven year-old Wang Han (Liu Wenqing) as he goes about his daily life in his rural town in southwest China. After displaying a strong work ethic, Han is appointed school gym leader and is told that he should get a new shirt as he will be the one that the students look up to. Reluctant at first, Han’s mother (Yan Ni) spends a year’s worth of cloth rations to get the material needed to make the shirt. After impressing his friends with new attire, Han is horrified when his shirt is stolen by a wounded fugitive, Jueqiang (Wang Ziyi), taking shelter in the woods.

Now a story about a boy and his stolen shirt may not sound compelling, but 11 Flowers is far deeper than its premise leads you to believe. The film is really a tale of a society repressed by its government. Han’s shirt represents a loss of innocence. Whether Han is playing hide and seek with his friends or searching for his stolen shirt, he is constantly confronted with the harsh reality of the time in which he lives. Xiaoshuai shows how the Cultural Revolution impacted every single facet of life.

The era was a time of poverty and widespread violence. Even those fortunate enough to have jobs had to work in less than desirable conditions. This is encapsulated nicely through Han’s father (Wang Jingchun) , an artistic and intellectual person who is forced to leave his job with the Opera to do manual work in the rural town. His father not only gets injured while on the job, but also gets attacked by the Red Guard when he attempts to help a fellow co-worker in distress.

Throughout 11 Flowers, Xiaoshuai shows how people were often forced to take justice into their own hands. The story of Jueqiang is the film’s most fascinating subplot, as his crimes are hotly debated by many of the villagers. While outlandish rumours fly about town, Han discovers what lead Jueqiang to murder a respected factory owner. It is this encounter that really changes Han by the end of the film. While his friends all race to see Jueqiang’s public execution, Han stops and decides to head home. The scene subtly signifies the end of Han’s childish innocence.

11 Flowers is a poignant film that effectively displays the Cultural Revolution from the perspective of a child. Wang Xiaoshuai’s cast does a great job of hitting all the right emotions. His young lead, Liu Wenqing, manages to carry the bulk of the film’s workload while still maintaining Han’s overall naiveté. If there is one knock against 11 Flowers, and it is a minor one, it is that the film feels longer than its actual running time. However, when dealing with such heavy issues as the Cultural Revolution, one should not expect a swift pace. Wang Xiaoshuai’s 11 Flowers offers good insight on what the director experienced as a child growing up in China. The audience sees how the events of Xiaoshuai’s past have shaped him into the director he is today.

TIFF Review: Keyhole

Keyhole

There are some films that reward the audience instantly for sticking with it and then there are others that require multiple viewings before one can truly understand the director’s goal. Keyhole is a film that fits in the latter category. It can be processed in different ways depending on the number of times you see it. The question is how many people will be willing to sit through the film more than once?

Taking its cue from both Homers’ The Odyssey and traditional ghost stories, Keyhole follows a gangster named Ulysses (Jason Patric), who returns to his childhood home in a quest to be reunited with his wife Hyacinth (Isabella Rossellini). Aided by Denny (Brooke Palson), a woman who drowned but is now back to life, and a bound hostage, Manners (David Wontner), Ulysses must make way his way through each room in the house. Complicating issues even further, Manners is actually Ulysses’ son, although Ulysses does not realize it. As he makes his way to the bedroom where his wife and the spirit of her father are (Louis Negin), Ulysses slowly begins to recollect all the events of his past.

Those going into Keyhole expecting The Odyssey told as a 30s gangster tale will sorely be disappointed. Even director Guy Maddin himself has stated that he views the film as “an autobiography of a house”. While it is obvious that the house has witnessed a lot over the years, it does not necessarily make for a coherent tale. Keyhole often feels like a piece of art that only the artist, in this case Maddin, truly understands.

Diehard Guy Maddin fans may eat up Keyhole’s artistic excess but most others will find the film impenetrable to decipher. The frustrating thing about Keyhole is that it has the potential to be a very good film. If nothing else, the film is far from boring as Maddin injects the film with humour and several inspired moments. Setting the entire film in the confines of one house does the story a grave disservice as many of Maddin’s ideas are never fully realized.

Despite featuring the acting talents of Patrics, Rossellini, Negin, and Udo Kier, the performances in the film are all over the place due in part to the uneven level of melodrama in Maddin’s script. The actors rarely seem to be on the same page in regards to what the overall tone should be. Again, everything may actually come together nicely upon multiple viewings of Keyhole, but it is tough to think that anyone besides hardcore Maddin fans would want to subject themselves to this mess more than once.

TIFF Review: Lipstikka

Lipstikka (Odem)

The nature of female friendships can be complicated at the best of times. Throw several external factors in the mix and the intricate web only gets increasingly complex. In his latest film, Canadian-born, Israeli-raised, director Jonathan Sagall examines how everything from love to recollections of the past can damage a friendship forever.

Lara (Clara Khoury) is a Palestinian living in London with her British husband and seven year-old son. Despite being in a loveless marriage, Lara maintains the appearance of leading an idyllic life. When her old friend Inam (Nataly Attiya) arrives unexpectedly, Lara’s life is immediately thrown for a loop. Inam clearly has unfinished business from the past to settle and begins a subtle game of emotional sabotage. As the two women try their best to fake pleasantries, they each reflect on the events that brought their relationship to this strained point.

Sagall’s film utilizes a series of flashbacks to piece together several of the events that impacted Lara and Inam’s relationship. However, by giving both women separate recollections of how the events of the past actually occurred, Sagall provides audiences with a unique insight into the characters and their relationship. It alters how the audience views both women throughout the film as they end up nothing like the mother and whore archetypes that Sagall presents them to be in the beginning.

Lipstikka, at times, attempts to cast too wide a net in regards to its subject matter. The film tackles issues such as abortion, sexual discovery, mental illness, infidelity, and the Israeli/Palestinian conflict. Sagall makes it work for the most part, but the film loses it rhythm in the final act. The last twenty minutes feel like Sagall was desperate to find away to tie up all the loose ends.

Final act aside, Lipstikka is a film that will keep the audience interested throughout. Sagall does a good job of maintaining the mystery of the women’s past by slowly unveiling information. The performances by Clara Khoury and Nataly Attiya are riveting and the actresses make up for the film’s occasional shortcomings. Although the film may not provide the answers audiences hope for, Lipstikka has enough positive elements going for it to make it worth seeing.

TIFF Review: Breathing

Breathing (Atmen)

Every year there are a bunch of films that screen at TIFF which arrive with little to no fanfare at all. It seems even the press seem to overlook these films for some reason or another. The fascinating thing is, once given the chance, that these films often turn out to be hidden gems. They are films so moving that it is perplexing how they got lost in the shuffle in the first place? In many ways Karl Markovics‘, best known for his acting work in the film The Counterfeiters, directorial debut is one of these films.

Breathing tells the tale of Roman (Thomas Schubert) an 18 year-old living in a juvenile detention centre. Roman’s latest parole hearing is coming up and his parole office, Walter (Gerhard Liebmann), is pushing him to secure a job through the day-release program. Roman’s track record with the program so far has been a disaster and his previous requests for parole have been denied. Feared by the other juveniles at the facility, Roman keeps to himself as his short fuse is always one small incident away from igniting. Walter begins to wonder if Roman even wants to be released at all? Considering he is locked up for murder, Walter finds it odd when Roman finds a job moving bodies back and forth to the city morgue. Roman sees it as something to keep Walter from harassing him, but little does he know that this job may be just be the thing he needs to truly start appreciating life.

One of the most remarkable aspects of the film is that it never travels down the road you expect it to. Instead of falling into the temptation of playing major scenes to the maximum melodramatic effect, Markovics opts for moments that are subtler, and as a result, more powerful. In one mesmerizing scene Roman has a crucial moment with his biological mother, Margit (Karin Lischka) who but him up for adoption years earlier. When Margit reveals why she abandoned Roman it is done is a realistic, and some may argue cold, way. There are no screaming matches and no pleading for forgiveness.

Karl Markovics’ wonderful use of restraint in Breathing can easily be summed up in the character of Roman. Even when he is on the brink of exploding emotionally he maintains a relatively stoic demeanour. For his part, first time actor Thomas Schubert gives an outstanding performance as Roman. He manages to keep the character both interesting and real throughout the film. Having to carry the bulk of the film, Schubert’s work never feels forced. He really brings Markovics stunning script to life. Schubert conveys the same level of trust in Markovics, that Markovics has in the audience.

Markovics’ script is consistently good without ever divulging too much information. He shows trust in his audience by leaving many moments open to interpretation. Markovics provides just enough information so that you have a clear understanding of his vision and the overall story, but lets the audience fill in the blanks. Breathing is a striking debut from a director who clearly has an eye for great storytelling. Once viewed, it becomes clear why Breathing is Austria’s official submission for the Best Foreign film category at the 2012 Academy Awards. Just because it has not received the high profile buzz like other films at TIFF, it does not mean it should be missed.

TIFF Picks - September 14, 2011

Generation P – Victor Ginzburg

TIFF synopsis: “After the fall of communism in Russia a young advertising executive seeks inspiration from hallucinogenic drugs and uses a ouija board to summon the spirit of Che Guevara for advice.”

Why I want to see it: A social satire akin to How to Get Ahead in Advertising that features the spirit of Che Guevara.

Screening Times

Wednesday September 14

AMC 6

8:30pm

Thursday September 15

Scotiabank Theatre 2

6:30pm

Friday September 16

Scotiabank Theatre 11

10:00am

Dark Girls – Bill Duke and D. Channsin Berry

TIFF synopsis: “In this emotional and heartfelt documentary, directors Bill Duke and D. Channsin Berry set out to examine why skin-colour bias persists among people of African descent, and how it affects the lives of women on the receiving end.”

Why I want to see it: I am always interested in documentaries that look at how a particular culture perceives themselves, as well as how they are perceived by others.

Screening Times

Wednesday September 14

Ryerson

9:15pm

Friday September 16

Scotiabank Theatre 1

6:30pm

Sunday September 18

AMC 10

4:00pm

The Student – Santiago Mitre

TIFF synopsis: “The graffitied halls, run down classrooms and surrounding streets of the University of Buenos Aires provides the ideal location for Santiago Mitre’s briskly paced debut, The Student. Mitre brilliantly exposes the backroom dealings and negotiations in the murky world of student politics, a microcosm for the world at large, in this fictional account of a young man’s discovery of his talent for politicking through his seduction of an assistant professor and activist.”

Why I want to see it: The film uses school politics as commentary for the world at large. Reminds me of Election though I know the two films are vastly different.

Screening Times

Wednesday September 14

AMC 9

9:00pm

Saturday September 17

AMC 7

10:00am

TIFF Review: A Monster in Paris

A Monster in Paris

Depending on how closely you follow the world of animation, the name Bibo Bergeron may evoke an immediate reaction. Bergeron has worked on numerous animated features but is most well known for his previous directorial efforts in The Road to El Dorado and Shark Tale. His latest film, A Monster in Paris, features Bergeron’s trademark animation style and a few musical numbers that will have you tapping your toes.

Set in Paris in 1910, when the city streets are flooded, the story centres around two friends, Emile (Jay Harrington) and Raoul (Adam Goldberg), who accidentally unleash a monster in Paris. One day Emile, a cinema projectionist, agrees to help Raoul, a delivery truck driver by day and inventor by night, make a few deliveries around town. One of Raoul ‘s stops include the greenhouse of an eccentric scientist who happens to be out of town. Ignoring the rules about not touching anything, the two men fool around with some of the scientist’s potions and inadvertently create a creature that stirs the citizens of Paris into a panic. With the entire city in a frenzy, a corrupt police chief (Danny Huston) is determined to slay the beast at all costs for his own political gains. However, It is only when a cabaret singer, Lucille (Vanessa Paradis), takes the monster in that Emile and Raoul realize that the creature everyone is afraid of may not be what he seems.

Like most of Bergeron’s films, the animation in A Monster in Paris is quite lovely. The city of Paris has a serene beauty that looks expansive when coupled with the 3D animation. The character designs are vibrant as well. Each character has a unique look that really helps to give Paris a distinct cultural, and artistic flavour. Bergeron does a good job of matching the looks of the characters with the actors doing the voice-over work. Speaking of voice work, the cast, which also features Bob Balaban, Sean Lennon, and Catherine O’ Hara, all provide good performance in their given roles. Adam Goldberg in particular really shines as Raoul. He gives the character that special spark which makes Raoul a joy to watch whenever he is on screen.

It also must be noted that the musical numbers are exceptional. Bergeron does not weigh the film down with countless musical numbers like other animated films tend to do. The songs he does include have a distinct Spanish feel and are undeniably catchy. It would not be surprising to see one or two of the songs receive a little recognition come award season.

Where the film falters is in its overall plot. Bergeron has several good ideas scattered throughout but they never seem to form together on the whole. Young children will no doubt love A Monster in Paris regardless, but adults will find the sloppy plot devices and underdeveloped characters rather bothersome. A Monster in Paris could have also used much tighter editing from a story standpoint. For example, there is a tender moment between Raoul and Lucille that arrives at the end of the film. The scene features a flashback to when both characters were kids. While the scene is nice, it is completely unnecessary by that point in the film. Their lover for one another has already been implied much earlier. The scene, or at least sections of if, should have either been introduced earlier or left out all together.

Although an engaging film from a visual standpoint, A Monster in Paris does not have a strong enough story to sustain its 90 minute running time. Many scenes felt like they are loosely tied together just to set up the actions sequences. However, as I mentioned earlier, young kids will eat it up. There are enough fun moments that will keep them glued to the screen. As for the adults, well at least the music will help to block out several of the film’s short comings.

TIFF Review: The Artist

The Artist

There is a moment early on in The Artist where silent film star George Valentin (Jean Dujardin) tries to make amends with angry wife Doris (Penelope Ann Miller) by attempting to lighten the tension in the room. George and his dog commence a simple comedic routine in unison that brings a smile to your face. His wife is not amused and merely walks away in disgust. It is at this moment that it becomes clear that the audience is in for a truly special experience.

Taking place between the 1920s and the early 1930s, The Artist focuses on a time in history when silent films were on the brink of extinction with the invention of “talkies”. George Valentin is one of the big stars of the silent film era. He is adored by the masses, including the young up-and-coming actress Peppy Miller (Bérénice Bejo), and he has a lot of clout with the film studios. When the studio head, Zimmer (John Goodman), tells George that the future of filmmaking are films with spoken dialogue, George scoffs at the idea and sees it merely as a gimmick. As the studio movies ahead with their plans to introduce “talkies” into cinema, George soon finds himself on the outside looking in. His career begins to spiral downwards and his only companions end up being his dog and his loyal chauffer Clifton (James Cromwell).

The Artist is a brilliant homage to an era of cinema that is gone, but not forgotten. Director Michel Hazanavicius creates a wonderful film that conveys a strong and moving story despite not having any dialogue. To say that The Artist is a technical marvel would be an understatement. The lush black and white visuals give the film an authentic feel, and the use of sound is simply stunning. For example, the scene where George is confronted by a world in which everything emits sounds but him. The use of sound helps to give the scene both a comedic, and at times horrific, effect.

Although gorgeous to look at, The Artist transcends from a mere homage film due to its depth in plot. This is as much a cautionary tale about the evils of being too prideful as it is a love letter to the cinema. George’s reluctance to accept both change and assistance from others is what leads to his downfall. Dujardin does a fantastic job of using physical gestures and expressions to display George’s state of mind through the various stages of his career. Dujardin has undeniable charisma and his scenes with Bejo are great. The pair really provide the love story with a truly magical feel.

The Artist rode into TIFF on a wave of good buzz from the Cannes Film Festival. While at times the almost defying level of hype can hurt a film, when it does not live up to people’s enhanced expectations, this is not the case here. The Artist delivers on every level as it will make you want to run out and purchase every silent film ever made. The film is a wonderful experience and it is one of the best films you will see this year.

TIFF 9/11: Ten Years Later and It Still Feels Like Yesterday.

The world changed drastically ten years ago today. I know that I have talked briefly about my experiences at TIFF on September 11, 2001 in the past, but it seems especially fitting today. In honour of the ten year anniversary of 9/11, TIFF has commissioned a short film that will be played prior to all of today’s screenings. The film will document people’s experiences at TIFF the day of 9/11. Believe it or not I was asked to take part in the production (huge thanks to Lucius Dechausey!), but my contribution did not make the final cut. I have been told that I still will be acknowledged in the credits though. To be honest, I was just honoured to be asked to participate in a project such as this. Whether my name appears on the screen or not is irrelevant in the grand scheme of things. 9/11 is something that has impacted the world, North America especially, like nothing else in recent years. So I will take a break from posting TIFF reviews today in order to once again reflect on my experiences at TIFF during that fateful day.

2001 was my first year attending TIFF, I had just graduated from university and with no job lined up I decided to buy a Day Pass as I thought I may never get the opportunity again. On September 11, 2001 I had two films lined up: Joyride (starring Paul Walker and Steve Zahn) and From Hell (starring Johnny Depp and Heather Graham). It was going to be my "Hollywood Day" (i.e. a day of big budget films). When the first plane hit the towers I was in line at the Cumberland Theatre making my way into to see Joyride. I was completely unaware of what was going on in the world. It was only when I left the Cumberland, and was making my way to the Uptown Theatre, that I got the sense that something had happened.

As I was walking down Bloor Street, two fire trucks rushed passed with sirens blaring. When I got to the corner of Yonge and Bloor I saw a bunch of people at the intersection looking up at the jumbotron. There was footage of a building that seemed to be on fire. I stopped for a moment to look at the massive smoke coming from it. It is only when I arrived at the Uptown that I heard about the attacks (this was around 10:30 am). Word spread quickly in the festival line for From Hell about "America being under attack." I, as well as the other people who had come from various other screenings, was stunned to hear about the towers, and The Pentagon being attacked. I remember feeling uneasy when someone in the line mentioned that the terrorists were attacking cities with big skyscrapers. I could not help but wonder what would happen if they started attacking Toronto? Would I be able to make it home safely? Would anyone know where I was considering I was attending the festival alone? Yet my concerns where nothing compared to what the Americans at TIFF were going through. I talked to a lot of Americans in line who were panicking because the airlines and trains (VIA rails, etc.) had stopped running. They had no idea how they would get home.

There was one guy in line near me who had a walkman (yes they still existed then!) with a built in radio. He started to give us the latest news updates. Once we were seated in the theatre, a represented from the festival came out to explain that this would be the last film shown at TIFF for the day as the festival was shutting down. There was no word on whether or not TIFF would go on after that. Even as the movie started, our minds were clearly on the events unfolding in the world. To this day, my memories of the first ten minutes of From Hell consist of the guy with the radio feedings us updates, and each of us in the row passing the information down the line like a game of broken telephone. After the movie ended, I took the train back to North York and watched CNN, CBC, CTV, etc. for the rest of the night and waited for word on if TIFF would continue. The first film I saw when TIFF eventually restarted was Monsoon Wedding. A more perfect film could not have played at 9 am to kick start the festival again. It was an uplifting film and just what I needed to remind me that things would be okay.

Sharing the Blogging Love (TIFF Edition)

In Toronto the film equivalent of Christmas kicks off tomorrow with the launch of the 2011 Toronto International Film Festival. This year I will be doing something a little different for my TIFF coverage. In the past, due to my TIFF schedules, I have posted my reviews a few days after the festival ends. Starting tomorrow I will be conducting my TIFF coverage with the introduction of the daily TIFF Picks feature. Each day I will highlight two or three less publicized films to keep an eye out for. As of Saturday I will be featuring a new TIFF review each day. Since it is impossible for to see every film at TIFF, here are some other sites that will be covering the festival as well:

Row Three

Black Sheep Reviews

Criticize This!

Toronto Film Scene

Mamo

The Matinee

Movie Moxie

Toronto Screen Shots

Eternal Sunshine of the Logical Mind

Just Atad

TheSubstream.com

Okinawa Assault

Toronto J-Film Pow Wow

The Final Girl Project

Twitch

So consider yourself covered for the next week when it comes to all things TIFF.

The TIFF Rules

A few months ago, when I was covering Hot Docs, I shared five tips for surviving film festivals/movie marathons. Today I want talk about the TIFF rules. I do not mean the rules in regards to how you order TIFF tickets, or the line-up policies for star-studded films at Roy Thomson hall or the Visa Screening Room. I am talking about the five rules that each person attending TIFF has for how they will experience the festival. There are no right or wrong rules, as these rules are unique to each individual person. For some people the rules may consist of only watching Midnight Madness genre films, or only films which feature big name Hollywood starts, etc. The only common aspect to each person’s rule is that at some point at least one rule will get broken. Here are the five rules I have when attending TIFF:

1) No September films: TIFF is notorious for playing a few films (e.g. The Informant!, Never Let Me Go, Buried, and Easy A) that will be released worldwide while the festival is still going on. I generally try to avoid any TIFF film that opens in the month of September as I figure that I can see the same film for far cheaper in regular theatres. Unfortunately this rule inadvertently got broken this year as I got tickets to Gus Van Sant’s Restless not realizing that its release date was the second Friday of TIFF. The funny thing is, breaking rule number one was a result of rule number two.

2) Keep my films close, and my theatre locations closer: There was a time when I use to get a thrill out of running halfway across town to catch a film at TIFF. However, the older I get the less appealing this becomes. I noticed in the last few years I have starting picking films that either play in the same location or at least in near by locations. For example, since I am already seeing Herzog’s Into the Abyss at the Ryerson theatre I opt to see Restless immediately after instead of trying to make it to the TIFF Lightbox theatre in a in a mere five minutes.

3) Allow a few “demon” picks: Sometimes when attending the festival when friends are too, it is a good idea to catch a few films together. Even if this means seeing some films that you initially had no desire to see. For example, in the past I have attended TIFF with my good friend Colleen (a.k.a. demon). While a few of her picks have been less than stellar, both Tuck Everlasting and Colin Firth’s Trauma painfully come to mind, she has pulled out numerous winners that I would have missed otherwise. Some of these films include: In America, The Magdalene Sisters, and A Film with Me in It.

4) At least one Canadian film: I usually aim to see one film from every category (e.g. Special Presentations, Midnight Madness, Discovery, Contemporary World Cinema, etc.), but I make a special point to squeeze in a few Canadian films. Regardless of whether they come from big name Canadian directors, like Cronenberg, or an up and coming Canadian director in the Visions category, I do not feel right attend a festival as big as TIFF and not supporting my country’s homegrown talent. So whether I am seeing 8 films or 32 films, I make sure to incorporate at least one Canadian feature or short.

5) Randomness is good: Every year I pick one or two films at random. I do not even read what the program book has to say on the particular film until my picks are in. I like the idea of going into a film completely blind and possibly discovering something truly magically. This year’s random pick is 11 Flowers, hopefully it will bring the same level of joy that previous random selections (e.g. Kontroll, The Art of the Steal, The Spanish film November, and Treeless Mountain) have brought me.

My 2011 TIFF Schedule

[Updated September 2, 2011]

Yes I know Thursdays are usually the “Which is Better?” debate day, but that feature will up tomorrow. Instead I want to talk a little about TIFF as the film festival officially starts one week today! This will be my 10th TIFF experience in the past 11 years. While I will be seeing far less films than usual, I am very appreciative that I have been able to have the festival experience at all. I know that we here in Toronto are spoiled when it comes to movie festivals. It seems that there are different film festivals happening every week in the city. Regardless, TIFF is something I think every movie lover should experience at least once. Even if you only see one film, it is still worth the experience. Below are the films I will be seeing at this year’s festival:


Into the Abyss – Werner Herzog
According to the TIFF programme book: “Crime stories can often fall into a predictable pattern of whodunit, but trust Werner Herzog to bring his own unique approach to the genre. He focuses on a triple homicide case in Conroe, Texas, that occurred ten years ago. Epitomizing the word “senseless,” the apparent motive behind the murders was to steal a car for a joyride... In a departure from films like Cave of Forgotten Dreams or Grizzly Man, Herzog refrains from his distinctive and familiar voice-over commentary, but his presence is felt through his questions. In addition to interviewing Perry and Burkett, he talks to their relatives, the victims’ families, law enforcement officials and others. Exploring an American gothic landscape, he takes us from luxury homes to impoverished trailers to prison cells.”

Restless – Gus Van Sant
According to the TIFF programme book: ”A delicate love story about two outsiders drawn to each other by a fascination with death, Restless finds the director in a ruminative mood. Enoch is a somewhat formal, withdrawn teenager who crashes other people’s funerals. In his fantasy life he plays games with an imaginary friend, a Japanese kamikaze pilot from the Second World War, but what has prompted his obsession with death lies in the details of his own personal life. One day, he meets another funeral crasher, the pixieish Annabel, and as their tentative relationship progresses, she draws the young man out of his shell. Wayward, beautiful and ultimately fragile, Annabel has her own secret, which adds an intense poignancy to their imagined future together.”

The Artist – Michel Hazanavicius
According to the TIFF programme book: “A love letter to 1920s Hollywood, Michel Hazanavicius’ The Artist resurrects silent cinema as a powerful and complex storytelling medium. Shot entirely in black and white, without dialogue and in a traditional 1.33 aspect ratio, the film remains faithful to the period it represents, avoiding the trap of pastiche through a sincere appreciation of the cinematic possibilities offered by classic silent film.”

A Monster in Paris - Bibo Bergeron
According to the TIFF programme book: “Paris, 1910. The streets of the city are flooded. The Eiffel Tower looms over a temporary lake and certain streets sport makeshift bridges so Parisians can go about their daily routines. But spirits are high for the citizens of this romantic city, including those of Emile (Jay Harrington), a lovelorn cinema projectionist, and his madcap friend Raoul (Adam Goldberg), a delivery man by day and inventor by night... Marvelously animated, A Monster in Paris boasts the vocal talents of top-notch comedians and singers.”

Breathing - Karl Markovics
According to the TIFF programme book: “If done right, restraint can be an art unto itself, and actor-turned-director Karl Markovics has it down pat. While his protagonist Roman (Thomas Schubert) all but holds his breath waiting to be released from jail, Markovics holds back on details from Roman’s past that would bog down the viewer with emotional involvement. He simply allows fragments of information to come trickling out, made all the more significant for being withheld.”

Keyhole - Guy Maddin
According to the TIFF programme book: “Homer’s Odyssey has inspired many an artist, and Maddin pays homage to the epic poem in his own iconoclastic manner. But it’s the gangster and melodrama genres, as well as Maddin’s cinematic influences (particularly Buñuel and von Sternberg), that inform the film’s rich style. With all of this in mind, Maddin crafts a startling and original film that echoes the past yet is undeniably, refreshingly his own.”

11 Flowers - Wang Xiaoshuai
According to the TIFF programme book:"It’s 1975, southwest China, a decade after the start of the Cultural Revolution that turned the country upside down. Wang Han, an eleven-year-old boy, lives with his parents and younger sister in a large community courtyard... One day while playing by the river, Han encounters a bleeding man, who runs away with the boy’s new shirt. Chasing the man into the woods, Han suddenly finds himself face to face with an accused murderer."

Lipstikka - Jonathan Sagall
According to the TIFF programme book: ”Memory is a mutable thing. If two people share an experience and then years later finally speak of it again, whose version of events is the truest? This question is only one of many that writer/director Jonathan Sagall grapples with in Lipstikka, a beautifully attenuated drama about love, sex, memory and the tangled bonds of female friendship.”


The full list of films playing at TIFF this year can be found at the festival's website.

The High Cost of Living Emotionally Taxing

The High Cost of Living

Back in September, during my last day of TIFF, I was at the point where I had seen my fill of good movies and was not expecting to be struck by any of my remaining films for that day. Especially since none of them had generated much buzz. Then came Deborah Chow’s The High Cost of Living, a film that completely caught me off guard and made me a believer in Zach Braff at the same time.

When a local drug dealer Henry (Zach Braff) strikes down a pregnant woman, Nathalie (Isabelle Blais), while driving drunk, he is riddled with guilt. Compelled to find out if the woman survived or not Henry does all he can to track her down. Unable to come to terms with the lost her unborn child as a result accident, Nathalie still carries the stillborn fetus inside her. When Henry and Nathalie’s path finally cross, Henry is unable to tell her that he was the driver that fateful night. To make matters worse for Henry, he and Nathalie strike up a genuine friendship that grows stronger and stronger.

The High Cost of Living not only ended up winning the Best Canadian First Feature award at TIFF but it also made TIFF’s 2010 Canada’s Top Ten year-end list. Although I am sure some will disagree, I think the film is worthy of the praise it has received. One of the reasons the film works so well is that it finds a way to make a conventional story feel new again. Relationships formed from guilt and grief are not new in cinema, but Deborah Chow manages to find a way to bring real emotional weight to the film.

Part of this is due to the great performances by Isabelle Blais and Zach Braff. Blais has the most of the heavy lifting to do in the film and she sells it wonderfully. Even as Chow piles on the melodrama, such as the moments with her husband, Blais finds a way to make Nathalie continually interesting. Zach Braff was a huge surprise as he proves he can truly lose himself in a role. I never really bought into Braff’s characters in his previous films (Garden State, The Last Kiss, etc.), but Braff finally convinced me he can handle leading man roles on the big screen with his subtle but effective work in this film. Braff and Blais have fantastic chemistry which helps to elevate the film from the “T.V. movie of the week” it could have easily become into a feature film. In many ways their relationship reminded me of the one in Ben Affleck’s The Town but done much better.

Deborah Chow should also be praised for sustaining the film’s overall emotion for as long as she does. She shows immense talent as a writer and is definitely a director to keep an eye on in the future. While the premise of The High Cost of Living may not be new, Chow and her talented lead actors help to make the film a rather pleasant surprise.

Top Films of 2010

Top Films of 2010

Narrowing down the list to ten films was much harder this year than it has been in the last couple of years. The fact that there were two ties on my list is a testament to the great selection of films that have been released in 2010. 

10) Never Let Me Go – Saw this, and Uncle Boonmee Who Can Recall His Past Lives, on the plane coming back from my grandmother’s funeral. Both deal with issues of mortality but for some reason this particular film really stuck with me more than I thought it would. (Full review coming soon)

9) Scott Pilgrim vs the World – Ignored by the masses, Scott Pilgrim was both a comedic and visual assault on the senses. Hopefully this film will find a decent cult following on DVD.

8) 127 Hours / Black Swan – Did a double feature of these two films the other day. Although they are two vastly different films, I was extremely impressed with both of them. Still cannot decide which one I love more. (Full reviews coming soon)

7) The Social Network – Despite the claims, it is not the movie that defines a generation. Regardless, the film is a gripping legal drama that will have you looking at the issues of ownership in a whole new light.

6) The Illusionist – If one film can stop Toy Story 3 at the Oscars it will be The Illusionist. Subtle and sweet, without being overly sentimental, the film will reaffirm your faith in mankind. Plus, the hand drawn animation is better than most of the 3D cartoons released in 2010.

5) Micmacs / The Art of the Steal – Two of my favourite films from the 2009 TIFF finally it theatres this year. Unfortunately neither the hilarious crime capper (Micmacs) nor the gripping art theft documentary (The Art of the Steal) found an audience in their limited theatrical runs. I believe both are on DVD now, so be sure to seek them out at your local video stores.

4) Toy Story 3 – The animated film that made grown men cry is a testament to how you can make a film franchise work. Never losing sight of the importance of good story telling, Toy Story 3 found the perfect blend of humour and emotion.

3) Inception – “A smart summer blockbuster” is not a term you hear often but that is exactly what this film was. Visually stunning, great ensemble cast, and a brilliant plot, Inception was a sight to behold. The best thing about the movie is how it actually gets better upon repeat viewings.

2) Blue Valentine – Blue Valentine has received more press due to its initial NC-17 rating than for the quality of the film itself. Which is a shame considering how good this film actually is. Ryan Gosling and Michelle Williams are simply stunning in this film.

1) Winter’s Bone – I absolutely loved this film. The story was original and Jennifer Lawrence’s performance was outstanding. Out of all the films that I saw this year, it was a simple film about a girl determined to find her father that impacted me the most.

Honourable Mention: Ajami, The Kids Are All Right, The Girl With the Dragon Tattoo, The American, Mr. Nobody, Fish Tank, The Messenger, The Last Exorcism, Shutter Island.

I Saw the Devil and He’s A Gruesome Sight

I Saw the Devil

In Korea revenge is a dish best served bloody. If the mention of film titles such as Sympathy for Mr. Vengeance, Oldboy, or Lady Vengeance evoke a smile across your face than I Saw the Devil should be right up your alley. If you have not seen any of the aforementioned Korean revenge flicks then you are in for a real treat.

Kyung-chul (Choi Min-sik) is a school bus driver by day and serial killer by night. Unbeknownst to Kyung-chul, his latest victim was not only the daughter of a police chief but also the fiancé of a top secret agent on the force, Joo-yeon (Lee Byung-hun). Determined to avenge his loss, Joo-yeon sets out to give Kyung-chul a taste of the same hellish nightmare he inflicts on his victims. Before long the hunter becomes the prey and the lines between good and evil become increasingly blurred.

I Saw the Devil may not bring anything new to the revenge genre but it is still provides a great adrenaline rush. By exploring the nature of revenge, director Kim Ji-Woon is able to continually up the stakes for the main characters of his film. In order to catch a gruesome killer, Joo-yeon must essentially become a monster himself. Through this Ji-Woon questions whether there can truly be a winner in the game of revenge. Once Joo-yeon crosses that fine line he is no longer any different than Kyung- chul.

Kim Ji-Woon successfully gets this point across through the terrific work of his two leading men. Choi Min-sik continues his string of blistering performances as Kyung-chul. Min-sik brings so much life to the character that he manages to be both menacing and entertaining at the same time. Lee Byung-hun nicely offsets Min-siks work with his cool and calculated approach to Joo-yeon. He assumes that he is the one in control, but is in over his head deeper than he can even imagine. This is especially evident in the scene where Joo-yeon must battle both Kyung-chul and two other deranged individuals in an unfamiliar house.

I Saw the Devil also offers an interesting commentary on how different cultures view violence in cinema. TIFF screened the version of I Saw the Devil that was originally banned in Korea. The film was edited for its Korean release. The odd thing is that the cuts that were made for the Korean release are miniscule compared to what was left in the film. Apparently the idea of someone eating a meal made out of human remains is more disturbing than a knife through the jaw. Regardless of which version of the film you see. I Saw the Devil features plenty of edge of your seat thrills and gruesome chills to satisfy. 

Blue Valentine E-Card A Relationship Killer.

Blue Valentine

Yesterday I talked about the silliness behind Blue Valentine getting hit with an NC-17 rating, which at the time this review was written, was under appeal by The Weinstein Company who hold the distribution rights. So it is only fitting that talk about my views on the film itself. Directed by Derek Cianfrance, Blue Valentine is an intimate and honest look at what makes couples fall in love and fall apart.

Dean (Ryan Gosling) works his blue-collar job and takes pleasures in the simple things in life, mainly beer and his family. Although rough around the edges, Dean is a romantic at heart. Dean’s wife Cindy (Michelle Williams) is a nurse who is looking to further her career. Cindy is growing tired of Dean’s childlike ways and the distant between them begins to surface. In a last ditch effort to save their marriage Dean and Cindy decide to have a weekend away for just the two of them. Yet the trip hits a major bump in the road when Cindy runs into an old boyfriend, Bobby (Mike Vogel), at the store.

As I mentioned in an earlier post, Blue Valentine was my favourite film at TIFF this year. In many ways it felt like I was watching the fictional version of another great film I saw at TIFF, Allen King’s A Married Couple. Some will liken the film to Revolutionary Road, but I think it is more along the lines of François Ozon’s brilliant 5X2 more than anything else. Still, make no mistake Blue Valentine is a film that charts its own path. The reason I allude to 5X2 is because of the way time is manipulated in the film and the secrets which the manipulation reveals.

Blue Valentine continually jumps back and forth between the present and the past. Cianfrance gives equal weight to both the couple’s happier times in the past and their current turbulent state. As the film progresses, key details from past relationships are revealed as well as the ramifications they have on the present. This not only impacts the characters in the film, but how the viewer reacts to them as well. The film, similar to relationships themselves, is never as clear cut as you think it will be.

The key to Blue Valentine’s success is in the astonishing performances by Ryan Gosling and Michelle Williams. Gosling brings so many layers to the role that you wish the film went on for another two hours just so you can delve into Dean’s mind a bit more. The thing that I loved about Gosling’s portrayal is the fact that Dean never goes to the level you expect him to physically. This is most evident in the “infamous NC-17 inducing” scene. Despite the amount of times Dean is prodded, he always keeps his values in check even when he has reached his breaking point. Michelle Williams is equally mesmerizing as Cindy. It is only in the flashbacks that the cracks in Cindy’s character begin to show. At first it appears that she is just fed up with Dean’s immaturity, yet there are much deeper issues at play. The fact that I could not stop wondering where the characters ended up after the film was over is a testament of the wonderful work of both actors.

Blue Valentine does not hit theatres until December 31st and hopefully the NC-17 rating will be re-evaluated by then. This is a film that needs to be seen for both the story and the performances. It may have taken Derek Cianfrance 11 years to get the financing together for Blue Valentine, but it was worth it in the end. It was my favourite film at TIFF; and is one of my favourite films this year.

Beautiful Boy More Than Pretty Packaging

Beautiful Boy

Since the events at Columbine there has been plethora of films that have dealt with school shootings. The majority of these films have focused on either the victims or the shooter(s). Rarely do these pictures shed any light on the impact it has on their parents. This is one of the reasons why Shawn Ku’s debut feature, Beautiful Boy, is such a unique film.

Bill (Michael Sheen) and Kate’s (Maria Bello) marriage is near the end of its rope. Kate is hopeful that a family vacation is what is needed to get them back on track. Bill, on the other hand, sees the situation as being beyond repair and starts to look into other housing arrangements. Bill and Kate’s relationship takes an unexpected turn when new breaks that there has been a shooting at their son’s school. Hearing that a shooting has occurred at their child’s school is scary enough, but nothing prepares the couple for the news that their eighteen-year-old son, Sam (Kyle Gallner) was not only the shooter; but took his own life when his shooting spree was over.

Beautiful Boy is an emotional look at how loss affects people in different ways. It is even tougher to deal with when it comes as a result of a public event. Bill and Kate where already isolated from each other emotionally and physically. After the shooting, they both found themselves being isolated from the public in general. The media is camped outside their home on a daily basis, and television personalities debate their lack of parenting skills. The general population, who get their information from the press, are quick to vilify them. There is a telling scene in the film where Bill goes to rent a motel room for him and his wife to hideout in and he encounters the owner (Meat Loaf) who is watching the news and verbally expressing his harsh thoughts about the parents...not realizing who Bill is actually standing in front of him. Even Kate’s brother (Alan Tudyk) and sister-in-law (Moon Bloodgood) start to argue over the impact that the couple is having on her own young son.

For a first film, Shawn Ku delivers a surprisingly effective and layered work. Ku is not afraid to take his characters deep into their grief. His script may appear simple on the surface but it offers much food for thought as the film progresses. Shawn Ku also has a wonderful understanding of what is needed to get the most out of his actors. Both Mario Bello and Michael Sheen deliver outstanding performances. While the film is too small to garner the Oscar buzz it rightfully deserves, their work in the film is award worthy nonetheless. Bello masterfully brings out her character’s mix of grief and quest for validation regarding her parenting skills. Sheen brings the right balance of anger and guilt to the role. At first he is the only one who is willing to look at his son’s actions as a crime; yet it is not long before Bill's own inner guilt, for not being there for his son when he was needed most, eventually consumes him.

Although the final act draws out a tad longer than is necessary, it does not take away from the film’s overall impact. Emotionally raw at times, Beautiful Boy does not shy away from the pain that both parents feel. Carried by astonishing performances and skilled direction, Beautiful Boy is one of the better works to come out this year.

TIFF10 Review: Vanishing on 7th Street

Vanishing on 7th Street

There is nothing worse in the horror genre than a film that does not invoke a sense of dread. As much as it pains me to say it, Vanishing on 7th Street is one of lackluster films where the only way you will feel a chill down your spine is if the theatre’s air condition system is cranked to max. Vanishing on 7th Street was disappointing because it was high on my list of must see films. I even passed on Danny Boyle’s much hyped 127 Hours and a few other stellar films in the TIFF selection process for Vanishing. As the saying goes, be careful what you wish for.

The premise of the film is by far the most interesting aspect of the film. A city suffers a power outage and by time the back-up generators start the majority of the population has disappeared. All that is left is their clothes, vehicles, cellphones, etc. After 72 hours without power, and the with the menacing darkness quickly expanding, four survivors (Hayden Christensen, Thandie Newton, John Leguizamo, and Jacob Latimore) must figure out a way to elude the darkness and get out of the city.

One of the main reasons I was so eager to see Vanishing on 7th Street was due to the fact that is was directed by Brad Anderson. His work on films such as Session 9, and The Machinist, as well as his contribution to shows like Fringe are proof enough that Anderson knows how to tell an eerie tale well. So what happened to with this film? To be honest, all of my issues with this film stem from Anthony Jaswinski’s screenplay.

Vanishing on 7th Street never explains why the darkness occurs or how it can be stopped. Sure there are several nods to a bigger spiritual type of cleansing going on, not the mention the not so subtle reference to Adam and Eve, but nothing is ever stated in concrete terms. Leaving things up to the viewer’s imagination is always better in regards to horror. Unfortunately, the problem is that Vanishing never establishes any real rules for “the darkness” and the film takes liberties with this. One minute “the darkness” is afraid of light, the next it is manipulating it by showing a baby stroller under a street light. A character can survive 72 hours covered in glow sticks yet, later on in the film, “the darkness” can magically drain the power of newly opened glow sticks, batteries, etc. There is never any rhyme or reason to much of the actions of “the darkness”.

This lack of consistency flows into the characters themselves. While I can understand people not thinking straight in the first 48 hours, one would start to wise up just a tad after 72 hours. Characters are constantly making stupid decisions at every corner of the film. For example, Luke (Christensen) and Rosemary (Newton) decide to leave the only well lit building on the entire street to go searching for a working car. Before leaving Rosemary place a bunch of glow sticks around James (Latimore), but none on Paul (Leguizamo)…who is lying wounded on the pool table. It is very telling when the smartest character in the entire film is the one with the least amount of screen time, Briana (Taylor Groothuis).

The repetitive nature of characters making one stupid mistake after the next really hinders any form of character development within the film. It is a shame that Jaswinski never seems to figure out how to evolve his story past the great initial premise. If the story and characters had been stronger Vanishing on 7th Street could have been a decent film. Sadly the film feels like a low-rent sequel to the equally silly movie, Darkness Falls.

TIFF10 Review: The Trip

The Trip

There are some films that take pride in having gripping plots, rich character depth, and stirring twists. Then there is Michael Winterbottom’s The Trip; a comedy that wants nothing more than to make the audience laugh as much as possible. What the film lacks in regards to plot and character, it makes up for in spades with its humour.

Playing heightened versions of themselves, The Trip follows Steve Coogan and longtime comedy partner Rob Brydon as they travel through the Lake District and Yorkshire Dales, dinning at fancy restaurants and taking in some of the history of the land. Coogan has been commissioned by The Observer newspaper to write food reviews. The week long voyage was suppose to be a romantic outing for Coogan and his girlfriend but things have hit a bumpy patch in their relationship. As a last resort, Steve enlist Rob to come along on the journey. As the men hit the open road, they contemplate their lives while routinely trying to one up each other when it comes impersonating famous people.

The Trip is a six-part, mostly improvised, BBC television series that will be airing later this year. Director Michael Winterbottom edited together the footage into a feature film. As odd as it may sound the whole production will play probably better as a feature than as a mini-series. As a series, the repetitive nature of the humour would get rather stale if viewed over the course of a few days. Compressed into a brisk feature length running time, the gags seem far less tedious.

It is tough to find a comedic duo working today that has as much chemistry as Steve Coogan and Rob Brydon. Whether they are describing the various foods they sample, or arguing who can do the best celebrity impersonations, their wit and timing is impeccable. The audience will not only leave the film with tears in their eyes from laughing so hard, but they will also find themselves debating who did what better just like the actors. For the record, I felt Brydon did the better Michael Caine impression and Coogan nailed the Sean Connery impression.

If there is one drawback to the film, it is that the poignant moments are too few and far between. The contrasting views each men hold in regards to success is rather interesting. Coogan is determined to make it in America as this is what he considers the benchmark for true success in the entertainment world. Brydon on the other hand is content with the level of fame he has amassed in the UK. Unlike Coogan, Brydon views life with his family to be far more rewarding than anything Hollywood has to offer. It is these moments that Winterbottom could have explored more. It would have added more depth to the characters and story. Still, one must remember that The Trip is a comedy first and foremost, and on a comedic level this film is top notch.

TIFF10 Review: Super

Super

If you have listened to my guest spot on the Super edition of The Dark of the Matinee’s TIFF podcast, Wicked Little Town, then you already know I am quite fond of James Gunn’s latest film. If you have not had a chance to check out the podcast yet then I highly recommend you give it a spin. The Mad Hatter was lucky enough to score a nice interview with James Gunn after our screening of his dark superhero inspired comedy.

Frank D’Arbo’s (Rainn Wilson) life has consisted of two perfect moments. The first was when he happened to help a cop nab a robber by pointing out which direction the crook ran. While the other moment of note was the day he married Sarah (Liv Tyler). Frank’s perfect world is destroyed when he comes home one day and discovers that is wife has left him to be with a local drug dealer, Jacques (Kevin Bacon). Depressed and seeking guidance Frank gets a sign from the above, in the form of folk Christian superhero The Holy Avenger (Nathan Fillion). Thus he is inspired to not only right the wrongs of the world but also save Sarah in the process. Disguised as The Crimson Bolt, Frank delivers his own unique brand of vigilante justice to everyone from drug dealers to theatre line cutters. Frank even gets a sidekick, Boltie (Ellen Page), in the process. While successful at the start, Frank soon realizes that the criminal mind in real-life is far more dangerous, and unpredictable, than it is in comic books.

Super often feels like the dark funnier cousin to the film Kick-Ass. Both films look at the challenges ordinary folks endure when trying to become real-life superheroes. While there will surely be debate over which of the two films works better, Super gets my vote. Kick-Ass tries hard not to be your standard superhero tale, but that is exactly what it becomes in the end. Unlike Kick-Ass, there are no jetpacks, outlandish machine guns etc. Super maintains a certain level of realism throughout the film. Sure there are some over-the-top moments, especially the scene where God touches Frank’s brain and inspires wisdom, yet when it comes to the action the film rarely strays from its goal. Super is all about detailing how the average Joe would handle superhero responsibilities in a world where bullets are real and wounds cannot magically heal by turning to the next panel.

For the first part of the film Frank’s main weapon is a simple wrench. When Frank finally upgrades to a gun, Gunn still keeps it all fairly realistic. Even The Crimson Bolt costume looks exactly the way you would expect it to look if it was made by someone with average tailoring skills. The majority of the costume is one sloppy patch job after another.

The fact that The Crimson Bolts outfit looks so put together last minute only enhances the extremely dark humour the film offers. Super wonderfully plays up many of the superhero conventions, including having a secret identity, finding a place to change in public, etc. for big laughs. Yet is should also be noted that Super offers an interesting commentary on the nature of superheroes. Gunn is making a statement that superheroes are nothing more than off-kilter individuals who take pride in beating up others.

This idea is perfectly captured in the character of Boltie. Boltie gets such a thrill out of inflicting punishment on people that she does not even care if the person actually deserves it. Ellen Page is hilarious as Boltie, she steals every scene that she is in while still bring weight to Frank’s plight. Page, Wilson and Bacon are the reason why I think Super will catch on with most viewers. Despite the brutal violence, the lead actors bring much levity to this dark comedy. Bacon is so good in his role, that I wished he was given even more screen time. The fact that the film gets extremely dark in the last half may not sit well with some, yet it is needed when looking at the film as a whole. If you are willing to stay with the film until the end you will be greatly rewarded, Super is a surprisingly smart and extremely funny dark comedy that will have you looking at the superhero genre in a whole new way.