Bunraku Brings Beauty to Hollow Puppets

Bunraku

Bunraku premiered at last year’s TIFF as part of the Midnight Madness program. The film’s first screening received very positive reviews so I went in to the second screening with rather high expectations. As it was the last film I watched at the festival that year, I was ready to sit back and enjoy the ride. Unfortunately, while a visual treat, I could not fathom what caused the rave reviews that I had heard going into the film? After spending the last year touring the festival circuit, Bunraku is finally hits theatres today in limited release.

A mishmash of both the martial-arts and western genres, Bunraku focuses on a nameless man, referred to as Drifter (Josh Hartnett) who has strolled into town looking to exact revenge on the notorious crime lord Nicola the Woodcutter (Ron Perlman). In a world where guns have been banned, Nicola uses nine specific assassins to do his bidding. To get to Nicola, Drifter must team up with a samurai, Yoshi (Gackt), who has his own score to settle, in order to bring down Nicola’s reign. However, one assassin in particular, Killer No. 2 (Kevin McKidd), is determined to ensure that Drifter does not succeed.

Normally I will rally behind any action film that has a unique style, Bunraku has this in spades. You could take several frames from the film and easily convert them into a beautiful poster. Visually speaking, the film is just wonderful. Director Guy Moshe clearly has an astute eye for colour and detail. The set design alone, especially in the jail break scene, is worth seeing.

What hinders Bunraku though, is that the film offers nothing more than pretty visuals. Sure the fight scenes have good choreography, but they are not thrilling. The fights also become repetitive rather quickly. If you are making an action film with a thin plot, you better make sure that the action sequences are outstanding. Sadly only one of the fight scenes is somewhat memorable.

The talented cast is underused for the majority of the film. While it is clear the actors are having fun with their roles, their characters are extremely one dimensional. There is really no reason for Demi Moore to be in the film. Her character, Alexandra, is only there to show that Nicola has weaknesses, which is something that could have easily been established without her. The real standout actors in the film are Woody Harrelson and Kevin McKidd. Harrelson brings a comedic touch to the film as the wise bartender who teaches Drifter and Yoshi how to co-exist. McKidd is fantastic as the cold-blooded Killer No. 2. He brings both style and swagger to the character. Besides the great visuals, McKidd’s work is the only other highlight in Bunraku. If you are expecting something more than pretty visuals, Bunraku is not the film for you.

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.

A Screaming Man Guilty of More than Just Noise Violation

A Screaming Man

If there is one movie genre that I find myself drawn to it is dysfunctional family units. I am not talking about outlandish and comedic dysfunction, but more the kind that take a deep look at the inner workings of family dynamics; especially films that explore tension and jealousy between a father and child. This is probably why Mahamat-Saleh Haroun’s film A Screaming Man, which is opened this past weekend, was one of the films I had to see at TIFF last year.

The film looks at how jealousy between a father and son can lead to tragic results. Adam (Youssouf Djaoro) is a former swimming champion who works as the head attendant of the pool at a luxury resort in Chad. Adam’s son Abdel (Diouc Koma) also works at the pool running a lot of the daily activities. When new management takes over the resort, several major cuts are made and Adam is shocked to find out that he has been fired in favour of his son. Clouded by his anger, Adam makes a rash decision that will not only affect his son but also his son’s girlfriend, Djeneba (Djeneba Kone) in ways that will haunt him forever.

Although heart-wrenching at times, A Screaming Man did not move me the way I was hoping it would. The film is not bad by any means, but it was missing that special something that I cannot quite place. I can see why A Screaming Man won a special jury prize at Cannes 2010, as it has many elements that are award worthy. Yet as a whole, it was merely a decent film and not a great one. I think part of the problem stems from the fact that I did not find the interactions with Abdel’s girlfriend all that interesting. I understand why she is necessary to the plot, but Haroun does not bring anything new to the character that has not been done better in other films.

Where A Screaming Man soars is in Djaoro’s depiction of Adam. As a man clinging to past glories, Adam sees the pool as the place that defines him. All the other workers, and several folks involved in the civil war movement still refer to him as “Champ.” Djaoro does a great job of slowly conveying Adam’s transition from jealousy to anger to unbearable guilt. It is his performance that really brings this film to life. One of the most hard-hitting scenes in the film is when Adam decides tries to stop the events that he has already set in motion. Although Adam sees this as a moment of strength and action, Haroun’s skilled direction shows that these actions, though valiant, come far too late.

As I mentioned earlier, A Screaming Man is a decent film that has many strong moments. Yet it did not provide me with the impact I was ultimately expecting. I am not sure if it was the pacing or the girlfriend arc, but it was missing that special something to make it great.

Machete Maidens Unleashed! Bares All for Cheap Thrills

Machete Maidens Unleashed!

What do Martin Scorsese, Pam Grier, Joe Dante, and Jonathan Demme all have in common? Each one got their start in the B-movie genre. Thanks to films like Grindhouse, Black Dynamite, Machete, and the soon to be released Hobo with a Shotgun, the B–movie genre is having a resurgence in mainstream culture. Since Hollywood is embracing the genre once again, it is only fitting to see the hidden gems of the 2010 TIFF finally hit theatres this past weekend.

Machete Maidens Unleashed! is a hilarious documentary that looks at the inner workings of the B-movie genre at the height of its popularity. Focusing on the period between 1960 and 1980, director Mark Hartley’s documentary explores how many of the most memorable B-movies were actually made in the Philippines. Unable to resist the low production cost and the exotic locales, American filmmakers were heading to the Philippines in droves to get their films made. Since the censors rarely watched the types of films that many of the directors, including Roger Corman and Eddie Romero, were producing, they were able to get away with content that would be considered unheard of today. This resulted in a large quantity of outrageous horror films, blaxploitation flicks, and women in prison type of films being shot. As some of the folks Hartley interviewed pointed out, the crazier the idea the more popular the films ended up being.

Mark Hartley does a good job of interviewing many of the big names of the genre as well as experts in the history of the genre. This includes many of the actors and actresses who had to work in some extremely dangerous conditions. One of the highlights of Machete Maidens Unleashed! is the candid conversation that the likes of Corman, Dante, Sid Haig, Marlene Clark, Colleen Clark and countless others provide in the film. The interesting thing about some of the responses is how many of the actresses viewed many of the B-movies as feminist films.

Although many of the films featured a lot of female nudity and, in some cases, violence against women, the B-movie genre was the only genre to feature female leads in action roles. In many ways they were the first female action heroes. Despite some of the atrocities the characters may have endured, by the end of the film, they always rose up against their oppressors and saved the day. If you really think about it, there are very few action films nowadays that feature a female lead. Studios just do not see them as bankable action stars.

While Machete Maidens Unleashed! tracks the era all the way up to when Francis Ford Coppola was filming Apocalypse Now, Hartley himself does not offer any judgment in regards to the genre. He is mostly concerned with shining a light on a film history that very few people know about. Through wonderfully candid interviews and well selected film clips, Hartley crafts an immensely entertaining documentary that will serve as a great introduction to all who are novices of the world of B-movies.

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.

TIFF10 Review: The First Grader

The First Grader

No matter how hard you try to go into a film with an objective mind there are times when you go into a film with preconceived notions of how it will be. The First Grader is the perfect example of this. On the surface it seemed like it was going to be like so many “based on a true story tales”. A film with no real purpose other than to pull at the heart strings and hopefully snag a few awards along the way. Surprisingly though, Justin Chadwick’s latest feature manages to avoid many of the pitfall that usually plague its genre. As a result it connects with the viewers on a far deeper level than one would initially expect. This is why The First Grader ended up being runner–up to only The King’s Speech for the prestigious People’s Choice Award, the highest award that TIFF hands out.

At age 84, Kimani N’gan’ga Maruge (Oliver Musila Litondo) has experienced hardships that most could not even imagine. When the Kenyan government announces that they will offer free primary school for the first time, Maruge views it as an opportunity to fulfill his life-long goal of learning to read before he dies. Marugue’s initial attempts to register as a student at the school are met with scorn and ridicule. It is only when a teacher at the school, Jane (Naomie Harris) decides to take a chance on Maruge that he gets one step closer to being a reality. While Jane sees potential in Maruge, others in the community and the school board do not share her view. The idea of a grown man being allowed such close access to young children does not sit well with the greater population. As the debate over Maruge rages, and the international media takes notice, Maruge and Jane are determined to fight for what they believe is right...even if it may cost them their lives.

The First Grader is the type of film that slowly picks away at you before ultimately winning you over. The way some of the scenes are shot are similar to Hotel Rwanda, but that is where the comparison ends. The First Grader carves its own unique path by shining light on a dark era of Kenyan history that few people outside of Africa know much about. Justin Chadwick wisely delves into Maruge’s past via several well placed flashbacks. It is the horrors that Maruge endures, while fighting in the rebellion against the British, which gives The First Grader its substance. Chadwick does not shy away from showing the atrocities that Kenyans suffered at the hands of the British.

Part of the reason these scenes resonate so well is due to the measured performance that Oliver Musila Litondo brings to the role of Maruge. Litondo convincingly shows the quiet rage that fills Maruge as well as his desire to move forward. Naomie Harris finally gets a leading role that showcases her talents. Her work as Jane should hopefully open the door for more leading roles of note in the near future. It should also be noted that the children at Maruge’s school give surprisingly good performances considering that they are all first time actors. Instead of holding an open addition, Chadwick decided to uses all the kids that actually attended school in which the film was shot. Despite the fact that none of them had ever even seen a movie before, let alone television, they held their own against the seasoned actors.

While appearing simple on the surface, The First Grader offers a depth far greater than one would expect upon first glance.

TIFF10 Review: The Illusionist

The Illusionist

Toy Story 3 is heralded by many, myself included, to be the frontrunner for the Best Animated Film award at next year’s Oscar ceremony. The creators behind Toy Story 3 may not want to get their acceptance speeches ready just yet. If there is one film that could pull off the upset, it will be The Illusionist. A humorous and touching film, The Illusionist could potentially steal some of Pixar's thunder come award season.

Helmed by Sylvain Chomet, the director who brought the world Les Triplettes de Belleville back in 2003, and based on an unproduced script by Jacques Tati; The Illusionist centres around a magician, Tatischeff, who goes to great lengths to keep a poor Gaelic girl believing in magic. Tatischeff seems to be the last vestige of a golden era of performers. The world no longer cares about folks who do magic tricks as rock bands, like The Brittoons, are now the focus for young minds. While performing in a small Scottish pub, Tatischeff comes across a young girl who works as a maid in the establishment. Seeing that the girl is in need of new footwear, Tatischeff uses some of the money he receives from the performance and buys her a nice pair of shoes. The girl believes Tatischeff magically pulled the item out of thin air and, as a result, decides to follow Tatischeff assuming his magic will bring her a better life. Not wanting to dampen the girl’s spirits, Tatischeff is forced to take on extra jobs in order to keep the charade going.

Behind Blue Valentine, The Illusionist ended up being my second favourite film at this year’s TIFF. The film is far more moving than you would expect from an animated feature. It nicely reaffirms how powerful a simple act of human kindness can be without being too sentimental. Although Tatischeff becomes a surrogate father to the young girl, his kindness does seem to influence the girl to do the same for others. In one poignant scene the girl makes stew for a few of the other tenants in their apartment, including a suicidal clown. Despite having several characters, like the aforementioned clown, whose lives are downright miserable, The Illusionist is a wonderfully uplifting work.

The Illusionist is as much a tribute to Jacques Tati as it is a look at the power of the human spirit. Tatischeff is not only a representation of Tati but, in one playful scene, actually ends up in at cinema that happens to be showing Tati’s film Mon Oncle. This scene, as well as numerous others, will evoke a smile from even the grumpiest viewer. Plus if the story does not grab you, which it will, the visuals surely will. The animation is beautiful especially the jaw-dropping details in regards to the Scottish landscape. The fact that the majority of the film was hand-drawn speaks volumes. Sylvain Chomet is able to evoke more genuine emotion out of the film, using very little dialogue, than most of the computer rendered 3D animated features that fill most multiplexes today.

I cannot recommend The Illusionist highly enough. I am confident that it will not only join Toy Story 3 in the animation Oscar race; but it shall also join that film on my list of best films of the year as well.

TIFF10 Review: A Useful Life

A Useful Life

When seeing four films back to back, in a film festival setting, sometimes it is the shortest film that often seems like the longest, as was the case with A Useful Life. The film clocks in at a scant 67 minute running time yet it felt like the longest film I saw during my four film packed day. While I am willing to acknowledge that my late nights, early morning film schedule may have played a minor role in this A Useful Life should have been the film to curb my weary state. Especially since the film is about one of my favourite subjects of all, the importance of film and cinema.

Jorge (Jorge Jellinek) lives for the cinema, he spends his days working as a programmer for a local cinematheque in Montevideo. For Jorge there is nothing more pleasurable than sharing his love of film with others. After working at the cinematheque for over 20 years Jorge has become the heart that keeps the whole production running smoothly. Whether it is fixing the seats, recording radio promos, pulling the films out of the archives, or providing insightful introduction before screenings, Jorge has done it all. Jorge’s world begins to unravel when the board members of the foundation which funds the cimemathaque decide that they are no longer supporting ventures at the cinema because they do not turn a profit. With the inevitable closing of the cinematheque, Jorge struggles to figure out how he is to live without the one thing he loves the most.

Directed by Federico Veiroj, A Useful Life follows a long line of films that pay homage to the days when going to the theatre was about the films themselves. The importance was placed on the stories and the filmmakers instead of how much money a film made on a particular weekend, or what franchise can the film be spun into. A Useful Life also offers commentary on many modern day film buffs, and dare I say bloggers, by stating that being a cinephile is not about how many movies you have seen, or which director/actor’s filmography you can list off at a whim. A true film lover is one who is able to hear the rhythm of the film itself and understand what the director is trying to say.

Unfortunately Veiroj’s own film begins to lose its own rhythm in the second half. What starts off as a passionate homage to cinema gets rather muddled in its own ideas. Similar to its lead character, who wanders the streets of Montevideo in a despondent state, A Useful Life’s story does not seem to know where it wants to go in the latter half of the film. The idea of Jorge deciding to turn is life into a movie in which he is the star and gets the girl never is fully realized in the film. There are too many moments that, while sometimes entertaining, never gel well with the rest of the film. Most notably the hilarious but utterly pointless scene where Jorge pretends to be a substitute teacher at a law school and give the students a lecture on the importance of being able to lie. Also, similar to Quentin Tarantino at times, Veiroj overindulges when it comes to displaying his vast knowledge of cinema. There are points where even his use of sound and music gets overwhelming and annoying.

If A Useful Life was to be judged solely on its first half then it would be worth recommended as a love letter to cinema. Unfortunately, it is the plodding and messy second half that ultimately hurts this film. A Useful Life will most likely appeal to the hardcore cinephiles yet, with films like Cinema Paradiso and Goodbye, Dragon Inn available on DVD, ther are far better options than A Useful Life.

TIFF10 Review: Cirkus Columbia

Cirkus Columbia

One of my fondest memories of TIFF in 2001 was seeing a small film entitled No Man’s Land. It was the debut feature from Danis Tanovic and it ended up being not only one of my top five films of the festival but it also made my top ten of the year list. Fast forward a few months, and I am sitting at home on Oscar night extremely giddy that No Man’s Land has just walked away with the award for Best Foreign film. Needless to say it was not only enjoyable to see another Tanovic film but to also, once again, hear him speak about film and politics after the screening of his latest film, Cirkus Columbia.

After spending years in Germany, Divko (Miki Manojlovic) is eager to return to his small town in Herzegovina. Now that a new democratic government is in power, Divko decides to reclaim his former life after fleeing communist rule. Driving a fancy German car, with a younger girlfriend, Azra (Jelena Stupljanin), in tow, Divko strolls into town like a king. Instead of going through the hassle of finding a new place to stay, Divko immediately decides to kick his wife Lucija (Mira Furlan) and son Martin (Boris Ler) out of their home. Homeless, Lucija and Martin are forced to live in government housing where the living conditions makes the streets look like paradise. While Divko tries to create new memories with Azra, he cannot ignore the fact that Martin is his son. Soon Divko and Lucija find themselves in an ugly tug of war with Martin caught in the middle.

Similar to Danis Tanovic’s other films, Cirkus Columbia uses humour to tackle many of the heavy politic issues. The escalating conflict between Divko and Lucija mirrors the increasing political unrest in the region. Divko is aware of, and fully takes advantage of, the fact that money is power. You can buy your way through any situation, but never truly obtain the one thing your heart really desires. The one thing Divko desires more than anything is his old way of life before communist rule.

At its core, Cirkus Columbia is a love story. There are multiple love triangles that surface as the film progresses. It would be easy to say that the main triangle is between Divko, Azra, and Martin but I actually feel it is between Divko, Azra and Lucija. There is a lot of unresolved baggage between Divko and both women respectively; which leads to many of the film’s best moments. I will say that I was a little shocked by how things played out between Martin and his best friend. I definitely sensed a homoerotic vibe there but I could be reading too much into the film.

The performances in the film are outstanding. Miki Manojlovic and Mira Furlan are terrific as the battling couple. They always manage to keep their characters humanity in the forefront. Despite all the malicious things that Divko does throughout the film, you never truly hate him. You can understand his motives, regardless of how misguided they are, and how his desire to obtain them blinded him to what was right. Luija is the loyal wife who after years of service has been replaced by a younger more attractive model. Although she is consistently humiliated, she still tries to maintain a certain level of dignity in the face of Divko’s bullying ways.

Cirkus Columbia is one of those pleasant film festival surprises. It may not get the press that some of the flashier films receive, but Cirkus Columbia was one of the better films to be screened at TIFF this year.

TIFF10 Review: Autumn (Harud)

Autumn (Harud)

The beauty of TIFF, and cinema in general, is that it exposes the audience to parts of the world that few have access to. It provides another avenue to learn about issues and conflicts that are rarely covered in the local media. Aamir Bashir’s directorial debut, Autumn, is a perfect example of this. Bashir uses his film as a means of providing a rare glimpse into what life is really like in his war-torn homeland of Kashmir.

Haunted by the disappearance of his brother, Rafiq (Shanawaz Bhat) can no longer stand being in Kashmir. After a failed attempt to cross the border into Pakistan, Rafiq is sent back home to live with his parents. Rafiq’s mother Fatima (Shamim Basharat) is optimistic that her missing son will return home one day. His father, Yusuf (Reza Naji), tries to remain strong but the constant violence is starting to take its toll on him and slowly he succumbs to war related post-traumatic stress disorder. As the potential for death is around every corner Rafiq’s friends try to make the best of the situation, but Rafiq walks around in a sleep-walking state consumed with sadness until he comes across his brother’s camera and is presented with an outlet for expressing his feelings. In order for Rafiq to document his world on film, he will have to find a way to overcome the grief that is weighing him down.

Aamir Bashir’s directorial debut is a bleak but powerful film. Autumn’s strength is in the way the film details how the military impacts every aspect of life in Kashmir. Civilians can barely go two feet without encountering soldiers, barbwire, or ominous gun barrels sticking out of bunkers. In regards to the gun barrels, Bashir films it in such a way that they are a practically characters in the film. The audience is never quite sure whether or not a soldier is actually manning the barrel in the darkness of the bunker. The silent and ever present gun barrel invokes a sense of dread amongst both the characters and the audience.

Although Autumn is a good film, it must be noted that the pacing is extremely slow. Bashir wants the audience to feel everything that his characters do. At times it even boarders on being repetitive, as the audience watches Rafiq go through the motions of his paper route more times than we really need to. Yet Bashir is determined to provide a full account of what day-to-day life is like for Rafiq. Life in Kashmir is long and dreary with no end in sight. The citizens must cling to the small joys in life, such as a pick up game of soccer or finally being able to get a cell phone provider in the region. Despite unfolding very slowly, Autumn is a thought provoking meditation on who are really the victims of war.

TIFF10 Review: Viva Riva!

Viva Riva!

There are some films that will always be remembered for reasons beside the film itself. This could be the place you saw the film, the person or people you saw it with, etc. Viva Riva! is a film that will forever be remembered in my household. It holds the honour of being the first film that my wife has ever walked out on. I mean ever! Although I stayed to the very end, I could see how Viva Riva! might evoke such a strong reaction.

In the Democratic Republic of the Congo (DRC) gas is in extremely short supply and the country is looking for any sign of relief. While the gas shortage is bad for DRC, it is great news for Riva. Having just arrived from Angola with the biggest, and only, shipment of gas for miles Riva stands to make a huge profit from the crisis. As he waits to sell the gas to the highest bidder, Riva and his best friend party like kings. Although he can have any woman he wants, Riva falls for a mysterious red head, Nora, who is linked to a local gangster. While Riva focuses all his attention on pursuing this mysterious beauty; his rival Cesar, a sharply dressed criminal from Angola, has landed in DRC with only revenge on his mind.

Billed as the first major film to come out of Democratic Republic of the Congo, Viva Riva! tries hard to prove it can rival the gangster films in America and Asia. Yet the urgency of wanting to make its mark is what ultimately the films downfall. What starts out as an intriguing and entertaining crime story becomes rather muddled by the midway point. Director Djo Tunda Wa Munga is so fascinated with the violence and frank sex that the film becomes rather gratuitious by the end. For example, one minute a character is lamenting that he needs to go home and tend to his sick child...only to turn around and have rough sex with a less than attractive prostitute. Later on we see the same character beat his wife to within inch of her life, just to emphasize that he is leaving her for more prosperous opportunities. This is not even a fraction of the craziness that the latter half of the film provides.

Up until the halfway mark Viva Riva! showed a lot of promise. I loved the actors who played both Riva and Cesar; as both men had wonderful chemistry and overall charisma. It should also be noted that Viva Riva! is a great looking film. The production value is crisp and Munga shows in several scenes that he has a great visual eye. If Munga had paid closer attention to keeping the plot on track throughout, Viva Riva! could have been the surprise film of the festival. Sadly, it falls short of being anything more than the film that tested my wife’s patience.

TIFF10 Review: Trust

Trust

I feel I need to get this out of the way first, if you are going into Trust based on the trailer below then you will be sadly disappointed. Regardless of what the marketing team will have you believe, Trust is not the edge of your seat revenge thriller they are trying to make it out to be. It is a simple, but oddly effective, drama about a family whose life is turned upside down by an internet predator. This is not to say that you should not see Trust, in fact I think it is a must for certain demographics, but just be sure to go in with the proper expectations.

Annie (Liana Liberato) is like many teenagers her age. She is struggling to find her place in life. She is not the popular girl in school but she is far from an outcast. Despite having loving parents, Will and Lynn (Clive Owen and Catherine Keener), the only person Annie feels that truly gets her is her online friend Charlie. After weeks of chatting online and over the phone, Annie and Charlie decided to meet one weekend when Annie’s folks are out of town. Little does Annie know that Charlie is not quite who he claims to be; and this weekend will change her, and her family’s, life forever.

Judging by the popularity of social networks, smart phones (e.g. IPhones, Blackberrys, etc.), and of course blogs. It seems that the internet has surpassed television as the one thing most people cannot live without. Despite all the warnings against doing so; the internet is still the place where people, especially the younger generation, share their most personal information. In some ways this why Trust is a crucial film that parents should see with their teens and pre-teens. It is a film that is made to appeal to the general cinema goer rather than the hardcore cinephiles. There were several times where Trust felt like it may veer into an “ABC After School Special of the week” or “Dateline: To Catch a Predator” territory. Yet Schwimmer managed to reign the film in just enough to avoid this.

Unlike his previous film, Run Fat Boy Run, Trust cements David Schwimmer as a director to watch in the future. Sure the film has several flaws, but I still think Schwimmer shows a lot of potential. He takes the time to show just how much work a lot of these predators put in. Some of them spend months building up the victims trust before striking. Even after the rape has taken place, many of the victims are convinced it was done out of love. It is moments like these where Trust finds it stride. Schwimmer could have easily made this a revenge flick like the ads suggest, but he is far more concerned with how rape alters the family dynamic. Will immediately becomes obsessed with finding the assailant. In his mind, doing physical damage to the culprit would ease the immense guilt he feels of not being able to protect his child. Lynn on the other hand is more focused on what their daughter is going through emotionally. When Lynn lashes out at Will by stating “you are doing nothing” it is a telling moment for both characters.

While Trust may not be a great film, it is good enough that it will play well with the same folks who helped to make films like The Blindside a hit. While Trust may not be a feel good movie, it is one that parents should see with their kids if for nothing else but to open dialogue with their children.

TIFF10 Review: A Married Couple

A Married Couple

To honour last year’s passing of legendary Canadian filmmaker Allen King, TIFF included one of King’s most profound, and controversial film, in their program. Originally released in 1969, A Married Couple examines the turbulent relationship between Billy and Antoinette Edwards. The couple constantly bickers over everything from the car to what their money should be spent on. These arguments may seem rather petty to some, but they are part of a much bigger issue that neither Billy nor Antoinette are willing to address.

A Married Couple was made during a time when Allen King was attempting to get over a bitter relationship of his own. The documentary is King’s way of dissecting what causes relationships to fall apart. In the case of Billy and Antoinette, the unspoken elephant in the room is their lack of true intimacy, both physically and emotionally.

Antoinette is going through the motions of daily life as she fell out of love with Billy years earlier. This is evident by the fact that she prefers to sleep in a separate room and openly flirts with other men in Billy’s presence. Her outlandish plans to renovate the house with items the couple do not need, is Antoinette’s way of forcing Billy to pull the trigger on a divorce. Billy, on the other hand, continually fights a losing battle to maintain the gender status quo in his home. Billy sees himself as the provider and expects a certain level of obedience from Antoinette based on this fact. When he gets abusive with Antoinette it is clear that he knows that he has lost the last bit of control he had in the relationship. Billy knows that he can never live up to the high expectations Antoinette had for him when they first got together.

The issues raised in A Married Couple may have taken place in 1969 but they are still extremely relevant today. King wisely leaves the audience to place judgment on the couple. He merely presents the facts as they were filmed. A Married Couple is a fascinating documentary that, 41 years later, still packs a punch. Frankly it can still rival many of the best documentaries made today. A must-see for couples, fans of documentaries, and cinema lovers in general. A special Criterion edition DVD of A Married Couple will be released later this month. Be sure to pick up a copy.

TIFF10 Review: Legend of the Fist: The Return of Chen Zhen

Legend of the Fist: The Return of Chen Zhen

How do you find a fresh way to tell a story when the character has been immortalized by the legendary Bruce Lee? This is the question that director Andrew Lau and action star Donnie Yen had to face when bringing Chen Zhen, who you may remember from Bruce Lee’s Fist of Fury, back to the big screen. Legend of the Fist: The Return of Chen Zhen aims to not only honour Bruce Lee’s work but to create a brand new version of Chen Zhen for this generation.

After the classic battle at the Hongkou Dojo in Fist of Fury, Chen Zhen is not seen for several years and is presumed dead. Yet Chen Zhen is far from deceased, as he is one of the Japanese soldiers fighting alongside the British in the First World War. After the war Zhen returns to Shanghai just as the Japanese are slowly taking over China. As the Japanese start to assassinate prominent Chinese figures, Chen Zhen is forced into action. Disguised as the Masked Warrior, he races to save all the people who have been publicly placed on the “death list”. With political unrest sweeping the country, Zhen and a few rebel activists find themselves in a David and Goliath battle against the Japanese army.

About a halfway through Legend of the Fist: The Return of Chen Zhen it becomes apparent that Andrew Lau’s biggest misstep is not utilizing Donnie Yen to his full potential. Yen is one of the best martial artist working in cinema today. He not only has physical ability, but he is also extremely charismatic. This is why it is perplexing that the action sequences in Legend of the Fist are so few and far between. While the historical aspects of the film are interesting, Andrew Lau tends to get caught up in the melodrama a little too often. At the end of the day, the audience is going into Legend of the Fist for the action.

The opening scene alone, where Yen’s Chen Zhen single-handedly saves his platoon in the war, is a sight to behold. Yen’s choreography is wonderfully fresh and energetic. It is just a shame that the audience must wait so long in between action sequences. The wait helps to enhance some of the glaring problems with the story. One of the big issues is that the film can never decide on a single tone. At times the film plays like a James Bond film, other times it goes the historical epic route, while also occasionally dipping into the superhero genre.

Donnie Yen deserves a lot of credit for keeping Legend of the Fist: The Return of Chen Zhen entertaining despite its many flaws. His performance not only gives a loving nod to Bruce Lee, but he also provides his own unique take to the character of Chen Zhen. It is Yen’s action scenes that make Legend of the Fist: The Return of Chen Zhen worth a look. It is a shame that the action scenes were not on display more.