Director and writer Jim Jarmusch’s “Only Lovers Left Alive” is a peculiar film regarding vampirism. And, as it most commonly is when submitting oneself to a piece from Jarmusch’s body of work, it’s a tough beast to tame. It tackles all the vampiric themes one would expect, undying love, an unquenchable thirst for healthy vitals, eternal existence, and so on. Yet, it’s the fresh, atypical, achromatic reality he brings to the sub-genre that sets “Only Lovers Left Alive” apart from the pack. Jarmusch manages to create and capture these blood-sucker trademarks with such a genuine, almost non-fictional authenticity that the ideal of a vampire transcends the fantastical realm into our own.
“Only Lovers Left Alive” is subtle, self-referential, inter-textual, allusive, and most importantly, intelligent. Exploding with an entrancing musical score, gloomy visuals, and an engulfing atmosphere. But perhaps what’s most surprising is the dark, sly, morbid sense of humour present throughout the film’s runtime. For example, our anti-hero consistently likens the general human population to “zombies” and our species technological advances have never seemed so insignificant. Caught somewhere between the complexity of electricity and the emergence of the smartphone, there’s no shortage of witty jabs at our futuristic gadgets and their controlling, outdated prowess.
Not stopping at our achievements, “Only Lovers Left Alive” continues to shine a harsh light on humankind’s shortcomings. With the persistent bashing of our kinds stupidity for dismissing and cutting those down who propel us forward, those who think differently…like scientists, musicians, and philosophers…humanities faults are never far from prominent here. We’ve even managed to contaminate our own blood, which doesn’t sit well with those who bare fangs, as it poisons them, leading to an arduously slow, painful death. Forcing those who want to stay healthy into obtaining uncontaminated blood from a secure, reliable source, which is always risky. There’s symbolism oozing from Jarmusch’s latest, one must only look.
I can see how being alive for centuries, watching mankind progress at a crawl, might be frustrating. Hell, I can barely stand where we are currently or even look at where we’re heading without buckling…but I digress. There’s a beautiful theory, apart from Einstein’s Theory of Entanglement in “Only Lovers Left Alive,” comparing blood and water as the basis for all life and sustenance, a kind of eternal currency, that’s absolutely transcendent. Make sure to gather all the pieces scattered throughout the dialogue to form the thesis when watching.
“Only Lovers Left Alive” has so much to offer, it needn’t be carried by its two leads, Tom Hiddleston and Tilda Swinton. Nevertheless, both Tom and Tilda can’t help but put the film on their backs. Hiddleston as Adam, a modern rock god, mopping around a gloomy apartment, suicidal, experimenting, and helplessly in love. Swinton as Eve, sniffing about for fresh sustenance, full of wisdom and love, “ruthless, brutal” as Hiddleston’s Adam claims in the film. Both look so lovely, calm, but underneath storms brew and an evil dormant. Hiddleston, who continues his rapid ascent to the mainstream, is nothing short of marvellous and Swinton matches her co-star stride for stride. Never faltering under the obscurity, complexity, and weight of “Only Lovers Left Alive,” Swinton and Hiddleston run the show.
Mia Wasikowska, Anton Yelchin, Jeffery Wright, and William Hurt round out the cast and provide a much needed chaotic, grounded, human element to their cold-blooded, nocturnal co-stars and the film as a whole. Apart from Wasikowska, the supporting staff doesn’t garner much screen time, yet fulfill their limited duties with a very predictable capability. There’s a fear radiating from the supporting ensemble that the viewer can sympathize with, a need to tread lightly when in the company of these mysterious, stoic beings, which we can abide by. They’re never out of place or speak unless spoken to. Their performances are hypnotic, fragile, terrified.
Not simply a story with characters and structure, rather, Jim Jarmusch’s “Only Lovers Left Alive” has a point to make. Its unnerving, smart, haunting, and beautiful, a toxic cocktail that tastes too good to put down.
Only Lovers Left Alive: 8.5 out of 10.
We are now less than two weeks away from when the Toronto International Film Festival tickets go on sale to the public and a mere 16 days away from the start of the actual festivities. On Tuesday morning, another slew of films were announced along with the schedule itself and a long list of celebrities set to attend the festival. I don’t know about you, but the anticipation is overwhelming me. I suppose the nervousness and excitement will dissipate somewhat when I actually know what screenings I will be attending, or it could skyrocket even higher. Either way, this is shaping up to be one hell of a festival!
Now, for those attending, or those simply who’d like to know what’s going on and when, you can find the full schedule by clicking here.
FInal Film List and Programmes:
If you’d like to know what films are playing at the festival, you can click here for the entire list or click the TIFF button in the main menu at the top of this page. You can also find all the programmes offered by the festival by clicking here. Essentially, all films screening at the festival are divided into groups for attendees to better understand what type of genre and themes the film will contain.
Perhaps the most exciting news released Tuesday morning was the endless list of celebrities ready to attend the festival. Amongst the names are Benedict Cumberbatch, Meryl Streep, Rebecca Hall, Josh Broliin, Alan RIckman, Clive Owen, Kate Winslet, Jennifer Aniston, Mark Ruffalo, Elizabeth Olsen, Scarlett Johansson, Hugh Jackman, Tom Hiddleston, Joseph Gordon-Levitt, Nicholas Cage, Jennifer Garner, Joel Edgerton, Ben Foster, Anton Yelchin, Liam Neeson, James McAvoy, Nicole Kidman, Felicity Jones, Ed Harris, Spike Jonze, Melissa George, Paul Giamatti, Idris Elba, Chiwetel Ejiofor, Sarah Gadon, Colin Firth, Michael Fassbender, Jesse Eisenberg, Sandra Bullock, Chris Hemsworth, Mila Kunis, Jessica Chastain, Jake Gyllenhaal, Ralph Fiennes, Jude Law, Tom Wilkinson, Mia Waikowska, Owen Wilson, Steve McQueen, Jason Reitman, Keanu Reeves, Keira Knightley, Matthew McConaughey, Ti West, Eli Roth, Daniel Radcliffe, Julia Roberts, Reese Witherspoon, Sarah Paulson, Oliva Wilde, Mike Myers, James Franco, Adrien Brody, Marion Cotillard, and Thandie Newton, just to name what I feel to be the most important. And honestly, I couldn’t type any more names. There is a bunch more on the list you can find here. Also, these are just the people confirmed thus far, it is expected that the likes of George Clooney and Brad Pitt, amongst others will be attending.
Jason Reitman’s Live Read:
You can find all the information below, provided by the TIFF website.
The Festival proudly welcomes back Jason Reitman’s Live Read — a unique event in which classic movie scripts are read by contemporary actors. With no rehearsal, the actors come together for a one-take read-through with Reitman narrating stage direction. In 2012, the Festival welcomed Reitman and an all-star cast — including Bryan Cranston, Christina Hendricks, Adam Driver, Sarah Gadon and George Stroumboulopoulos — for a live table read of Alan Ball’s screenplay for American Beauty. This year, Reitman is back with a surprise script from a modern classic and a new cast at the Ryerson Theatre on Friday, September 6. Details, including cast and script, for the 2013 Live Read event will be announced in early September.
New this year, audiences are invited to be part of the action with two official Festival selections and two special screenings presented in spectacular IMAX. The two films will be Alfonso Cuaron’s “Gravity” and Keanu Reeves “Man of Tai Chi.”
Next Wave and Manifesto Announced:
You can find another plethora of titles announced by clicking here.
New Galas and Special Presentations:
Metallica Through the Never: Nimród Antal, Canada/USA, World Premiere
Dane DeHaan (The Place Beyond the Pines) stars as a Metallica roadie dispatched to hell and back in this mind-blowing mash-up of concert film and post-apocalyptic adventure, presented in IMAX 3D.
The Wizard of Oz: Victor Fleming, USA, World Premiere
Experience Judy Garland’s over-the-rainbow adventure in vivid new detail with this IMAX 3D presentation of Victor Fleming’s family classic.
10th Midnight Madness Film Unveiled:
Witching & Bitching:
Fleeing through the impenetrable forests of the Basque countryside after a jewel heist, a hapless band of robbers runs afoul of a coven of witches, in this madcap supernatural spectacle from Spanish genre specialist Alex de la Iglesia (The Last Circus).
Okay then, that’ll do it for the pre-TIFF announcements. The Cinema Monster will be covering the festival in full, providing reviews, news, and Q and A’s as often as possible, make sure to follow our website to keep up with the festival. Also, follow The Cinema Monster on Twitter (@cinema_monster) and Facebook for up-to-the-minute news and posts, not to mention special pictures and videos provided by me from the screenings. Have a great week!
Leaving a lot for the imagination to ponder and envy. Woody Allen’s clever, insightful, magical Midnight in Paris is what fantasies are made of. Full of inspiration and romance, Allen returns to top form with this gem. Venturing through time, showcasing the who’s who in arts and literature, Midnight in Paris is an enjoyable history lesson. Garnering four Oscar nominations in 2012 and earning a victory for best original screenplay, Midnight in Paris is ripe with invention and individuality. Reviving the likes of Earnest Hemingway, F. Scott Fitzgerald, and T. S. Elliot, amongst other countless, unrivalled talents. Midnight in Paris is a writers wet dream. Leading the way through the wormhole is Owen Wilson who is supported by the beautiful and talented Rachel McAdams. Midnight in Paris also features terrific supporting performances from Michael Sheen, Tom Hiddleston, Adrien Brody, and the effervescent Marion Cotillard. Directed and written by the aforementioned Woody Allen, Midnight in Paris’s hallowed glow emits a calming, entrancing warmth.
Gil (Wilson) and Inez (McAdams) tag-along on their parents business trip to Paris. Gil, who is a successful writer in Hollywood would like to make a change and begin writing novels. At first glance, he falls in love with Paris and insists he and Inez move their permanently. Inez does not agree with Gil’s infatuation with Paris or his notion that the 1920’s is the golden age. Gil is left alone for the night when Inez goes dancing with her friends. Gil decides to take a walk through Paris at midnight hoping it will spark his imagination. When the unthinkable happens, Gil is transported into a world filled with his wildest fantasies. This might be the break Gil is looking for, but it also might destroy his relationship with Inez.
Allen’s satirical, ironic twists on the rom-com genre have never been more intoxicating. Blending the feverish, impulsive, hopeless romance and the disheartening reality of its lowering priority level amongst our social and political commercialism is ingenious. Allen hasn’t conceived a story this idealistic and unique since his 2008 release of Vicky Christina Barcelona. In that span of three years, he released two films, both misses. However, all is forgiven and forgotten with Midnight in Paris. I’ll contently digest the bad in order to obtain the good, and this good is an acquired and particular taste. Midnight in Paris’s easygoing, eccentric, fruitful completeness is a pleasant sedative that lulls the viewer into the bewildering perplexity of cinemas intended stupefaction.
Midnight in Paris might cater to a certain level of expectancy, which might be off putting to some. It is fully plausible to understand how one might find Midnight in Paris presumptuous and founded upon pretentiousness. On the contrary, it has no intention of condescending to any viewer. A facet of Allen’s brilliance is the simplicity in Midnight in Paris. There is no overcompensation or unnecessary explanation for the time travelling aspect and as a viewer, among many, there is no need or desire to question the implication. Midnight in Paris is enjoyable and easily comprehended, regardless of a factual explanation. All the tools needed to connect with Midnight in Paris are traits of the human body. Laugh, weep, or spite, Midnight in Paris is one of the easiest films to adore that you’ll ever come by.
To my surprise, Owen Wilson did not earn an acting nomination at the 2012 Oscars for his role in Midnight in Paris. His performance is distinguished by the subtlety of his comedic indifference radiating from slight body movements and facial expressions. This is the most effective Owen Wilson has been since 2007’s The Darjeeling Limited, possibly even further back to 2005 with Wedding Crashers. In a surprising change of pace, McAdams undertakes the role of a villain in Midnight in Paris, or maybe that’s just my interpretation. However, coming from me, someone who’s bordering adoration for McAdams is teetering towards obsession, to say that she’s the antagonist, it must be a powerful performance. Finally, Cotillard continues her North American domination with another outstanding effort. In the film, she is the reason we search for love. To sit here and nitpick the impeccable supporting performances from Hiddleston, Brody, Sheen, and Kathy Bates seems pointless. It’s hard to argue perfection when it is only on display for minutes at a time. Take their track records and my word for it, they’re terrific.
In conclusion, just to be clear, I was joking about my McAdams obsession. I simply enjoy her films and performances, as well as think about her night and day…kidding. Midnight in Paris has the comedy and emotion to back up its boastful endeavours and melancholic moments.
Midnight in Paris: 8.5 out of 10.
All right, now, not to be confused with last week’s “Top 10 Films of 2013 Predicted.” This week’s Top 10 will consist of the 10 most wanted films set for release in 2013. Judged by budget, publicity, and overall excitement stemming from the general public, this Top 10 will feature, in a general sense, crowd pleasers. Without any further ado, let’s begin.
Honourable Mentions: Anchorman 2, Monsters University, The Wolverine, Elysium, Sin City 2, Kick Ass 2, Evil Dead.
10: Thor: The Dark World. The hotly anticipated follow up to 2011’s smash hit Thor. This soon to be blockbuster stars Chris Hemsworth, Natalie Portman, Idris Elba, Tom Hiddleston, and Anthony Hopkins.
9: The Great Gatsby. From visionary director Baz Luhrmann and starring a plethora of stars such as Leonardo DiCaprio, Carey Mulligan. and Jason Clarke. The Great Gatsby seems primed for stardom.
8: The Green Inferno, V/H/S 2, and The Conjuring. This is for all of you who need your horror fix, a lot like us. Coming from modern horror master such as James Wan, Eli Roth, and Adam Wingard. This trio of frightening delights is sure to leave your pants wet and in need of a wash.
The Conjuring Trailer:
V/H/S 2 Trailer:
The Green Inferno: First official picture.
7: This is the End and The World’s End. Here to get you prepared for the apocalypse are these two doomsday comedies. Brought to you by the guys behind Shaun of the Dead and Hot Fuzz. The World’s End reunites Simon Pegg, Nick Frost, and Edgar Wright. Also starring Martin Freeman, The World’s End looks like to become another cult favourite. As for This is the End, starring a multitude of comedies best such as Seth Rogen, James Franco, and Jonah Hill. This hilarious heavyweight film should be interesting to say the least.
This is the End: Red Band Trailer.
The World’s End:
6: World War Z. Brad Pitt, Zombies, and based off of Max Brooks highly addicting novel, need I say more?
5: Iron Man 3. The Third entry into the Iron Man trilogy. It features an army of iron men and Ben Kingsley as a villain. Your argument is invalid.
4: Pacific Rim. Directed by Guillermo Del Toro and starring Idris Elba. This monster vs man picture features the use of gigantic robots controlled by humans battling humongous aliens, I’m sold.
3: Man of Steel. Produced by Christopher Nolan and starring Michael Shannon as General Zod. Man of Steel is the highly anticipated reboot of the Superman franchise.
2: The Hobbit: The Desolation of Smaug. The follow up to An Unexpected Journey. Peter Jackson’s The Desolation of Smaug should be a much improved film and appease those disappointed by the first.
1: Star Trek Into Darkness. I have nothing to say, I am beyond words with anticipation. Just enjoy the trailer.