Illuminated by the dazzling and substantially detailed imagery typically associated with up-and-coming director Steve McQueen, in addition to a slew of electrifying, immensely powerful performances. “12 Years a Slave” is ironically every bit as watchable as it is difficult to witness. Anchored by a true story so harrowing and unbelievable that it’s hard to acknowledge the source material as fact. It is a tale surrounding abduction, inhumanity, and slavery, and is without question not for the squeamish or faint-hearted. That being said, its content, although delicate, is extremely important and should be absorbed and remembered by all those with a shred of compassion. Very rarely does a film triumph not only as a motion picture, but as a piece of history come alive. “12 Years a Slave” is a prime example of this achievement.
Of course, we’d all like to forget what is easily one of our species shadiest, most ignorant times. Which can be grounds for the reason why there are so little films of any real substance regarding this subject. It’s a shame considering how vital the mistakes we make are to our insight and progression. Thankfully, the director of “12 Years a Slave” Steve McQueen has provided a veritable, unflinching look at what is perhaps humankind’s greatest error. It may not be easy to watch or sit well with those of us who don’t like to be reminded of our weaknesses. To see what we are all capable of when we lose our humanity isn’t pretty after all. However, it is impossible for light to exist without darkness and vice versa. McQueen comprehends this truth fully and displays both valiantly. These opposites might not be balanced throughout, but when faced with the choice, we will always search out the bright spots, no matter how arduous the journey. Positive will always trump negative, no matter how heavily outmatched or discouraged.
Solomon Northup (Ejiofor) is a free black man living with his family in upstate New York. A skilled carpenter and excellent fiddler, Solomon is approached by two men hoping to lure him into accepting a job offer in Washington DC. Upon agreeing and travelling to Washington with the two men. Northup performs as instructed and is paid for his work. One night while out celebrating with his newly found friends, Northup is drugged. Waking up the following day, he slowly comes to the realization that he has been kidnapped and sold into slavery. Transported on a ship to New Orleans, Solomon has no idea how long he will remain captive, or when or if he will ever see his family again.
For a majority of the cinema going public, director Steve McQueen has seemingly rose to these dizzying heights out of no where. But for those of us who have been with the immensely talented director since his inception in 2008 with “Hunger,” his skyrocket to stardom is no surprise. McQueen looks poised to finally garner an Oscar nomination with “12 Years a Slave,” although his previous outings such as the aforementioned “Hunger” and more recently “Shame” are equally as impressive.
One thing McQueen has consistently made apparent throughout his first two full-length features is that his ability to handle uncomfortable material knows no bounds. And with “12 Years a Slave,” McQueen not only maintains his stance, but asserts it with an exclamation point. There was no shortage of questionable, unsettling, hazardous, or even controversial topics for McQueen to tackle while adapting Solomon Northup’s memoir, whether it be violence, racism, slavery, sexual abuse, and so on. With this dramatized biopic, McQueen certainly didn’t cut corners or leave any distressing issues out. He’s managed to put together a disturbing, upsetting, cringe-worthy, endearing epic without compromising the integrity or authenticity of its source material. Although I have to admit, the uplifting moments are undeniably bittersweet.
As impressive and truthful as the adaptation is, thematically and structurally. The film’s technological facets and cinematic aspects are equally astounding. In my opinion, McQueen’s work behind the camera has never been this seamless. The division and pacing of “12 Years a Slave” is remarkably complex and he works it flawlessly. There’s one scene where essentially what McQueen is filming is utter stillness, say for a few minor movements and the vividness he evokes is breathtaking. The colour scheme, panoramic shots, and detailed violence is so faithful and captivating, it practically leaps forth from the screen. I also want to mention the incredible score composed by the masterful Hans Zimmer who continues to churn out masterpieces. If there’s anything in the film that takes the harsh edge off, it’s Zimmer’s atmospheric, enthralling soundtrack.
Now, aside from the lead role of Solomon Northup, portrayed by Chiwetel Ejiofor, “12 Years a Slave” is very much the beneficiary of a superlative group effort. The film oozes with outstanding performances from its entire ensemble. Which, in addition to Ejiofor features Benedict Cumberbatch, Michael Fassbender, Sarah Paulson, Paul Giamatti, Scoot McNairy, Taram Killam, Brad Pitt, Paul Dano, and Lupita Nyong’o. And luckily for those who can’t stomach the violence, inhumanity, or the film’s content as a whole. The performances throughout “12 Years a Slave” are alone worth the price of admission.
Without any doubt, Chiwetel Ejiofor shines brightest. He completely astounds with an enthralling, mesmerizing, heartbreaking performance full of emotion and a thirst for life. I would be completely flabbergasted if Ejiofor does not at least earn an Oscar Nomination for best actor with his performance here. That being said, he certainly isn’t the only actor in “12 Years a Slave” who appears to have punched their ticket to the Academy Awards. I feel that Michael Fassbender and Lupita Nyong’o are sure-shots to be nominated in the supporting actor categories. Both are just amazing, pure scene-stealers. Benedict Cumeberbatch, although remarkable when on screen, is a long-shot to earn a nomination for “12 Years a Slave,” especially considering all the other incredible performances his given so far this year. Finally, the other members of this immaculate supporting cast, Pitt, Paulson, McNairy. Killam, Dano, and Giamatti deserve a great amount of recognition.
When a film has Oscar written all over it, much like Steve McQueen’s “12 Years a Slave” does, it’s usually for good reason. Trust me, this is one of the best of the year and is a must see, cinephile or not.
12 Years a Slave: 9.5 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!
With a little over a month until the Toronto International Film Festival officially kicks off its 38th edition. The first batch of attending films were ceremoniously announced around 10am this morning in what is shaping up to be one of the most prolific, star-studded years in festival history!
75 films were announced Tuesday in what should become roughly 290 total, at least equalling last years output. Expect the entire Midnight Madness lineup to be released July 30, with the remaining films formally presented throughout the coming weeks. Check out the Galas here and the Special Presentations here.
The most notable from the first batch are as follows:
August: Osage County John Wells, USA, World Premiere:
August: Osage County tells the dark, hilarious and deeply touching story of the strong-willed women of the Weston family, whose lives have diverged until a family crisis brings them back to the Midwest house they grew up in, and to the dysfunctional woman who raised them. Based on Tracy Letts’ Pulitzer Prize– and Tony Award–winning 2007 play of the same name. Starring Meryl Streep, Julia Roberts, Ewan McGregor, Benedict Cumberbatch, Abigail Breslin, Sam Shepard and Chris Cooper.
The Fifth Estate Bill Condon, USA, World Premiere:
Triggering an age of high-stakes secrecy, explosive news leaks and the trafficking of classified information, WikiLeaks forever changed the game. This dramatic thriller based on real events reveals the quest to expose the deceptions and corruptions of power that turned an Internet upstart into the 21st century’s most fiercely debated organization. The story begins as WikiLeaks founder Julian Assange (Benedict Cumberbatch) and his colleague Daniel Domscheit-Berg (Daniel Brühl) team up to become underground watchdogs of the privileged and powerful. On a shoestring, they create a platform that allows whistleblowers to anonymously leak covert data, shining a light on the dark recesses of government secrets and corporate crimes. Soon, they are breaking more hard news than the world’s most legendary media organizations combined. But when Assange and Berg gain access to the biggest trove of confidential intelligence documents in U.S. history, they battle each other and a defining question of modern time: what are the costs of keeping secrets in a free society — and what are the costs of exposing them? The film also stars David Thewlis, Stanley Tucci, Laura Linney, Anthony Mackie and Dan Stevens.
Kill Your Darlings John Krokidas, USA, International Premiere:
Kill Your Darlings is the true story of friendship and murder that led to the birth of an entire generation. This is the previously untold story of murder that brought together a young Allen Ginsberg (Daniel Radcliffe), Jack Kerouac (Jack Huston), and William Burroughs (Ben Foster) at Columbia University in 1944, providing the spark that would lead to their Beat Revolution. Also stars Dane DeHaan, Michael C. Hall, David Cross, Jennifer Jason Leigh, Elizabeth Olsen, Kyra Sedgwick and John Cullum.
Mandela: Long Walk to Freedom Justin Chadwick, South Africa, World Premiere:
Mandela: Long Walk to Freedom is based on South African President Nelson Mandela’s autobiography of the same name, which chronicles his early life, coming of age, education, and 27 years in prison before working to rebuild his country’s once-segregated society. Starring Idris Elba as Nelson Mandela, and Naomie Harris as Winnie Mandela.
Rush Ron Howard, United Kingdom/Germany, International Premiere:
Two-time Academy Award winner Ron Howard (A Beautiful Mind, Frost/Nixon) teams up once again with two-time Academy Award–nominated writer Peter Morgan (Frost/Nixon, The Queen) on Rush — a spectacular big-screen re-creation of the merciless 1970s rivalry between James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl). Also features Olivia Wilde, Alexandra Maria Lara and Pierfrancesco Favino.
12 Years a Slave Steve McQueen, USA, World Premiere:
12 Years a Slave tells the incredible true story of Solomon Northup, a free black man from upstate New York who was kidnapped and sold into slavery in 1841 and finally freed in 1853. The story is a triumphant tale of one man’s courage and perseverance to reunite with his family that serves as an important historical and cultural marker in American history. Starring Chiwetel Ejiofor, Michael Fassbender, Benedict Cumberbatch, Paul Dano, Garret Dillahunt, Paul Giamatti, Scoot McNairy, Lupita Nyong’o, Adepero Oduye, Sarah Paulson, Brad Pitt, Michael Kenneth Williams and Alfre Woodard.
Blue Is The Warmest Color Abdellatif Kechiche, France, North American Premiere:
At 15, Adèle doesn’t question it: girls go out with boys. Her life is changed forever when she meets Emma, a young woman with blue hair, who will allow her to discover desire, to assert herself as a woman and as an adult. In front of others, Adèle grows, seeks herself, loses herself, and finds herself. Starring Léa Seydoux and Adèle Exarchopoulos.
The Disappearance of Eleanor Rigby: Him and Her Ned Benson, USA
The Disappearance of Eleanor Rigby: Him and Her is a two-part love story seen through the eyes of a New York couple trying to understand each other as they cope with personal hardship. The different perspectives of “Him” and “Her” result in two films with a unique look into one couple’s attempt to reclaim the life and love they once had. Starring Jessica Chastain, James McAvoy, Nina Arianda, Viola Davis, Bill Hader, Ciarán Hinds, Isabelle Huppert, William Hurt, and Jess Weixler.
Don Jon Joseph Gordon-Levitt, USA, Canadian Premiere:
Jon Martello (Joseph Gordon-Levitt) is a strong, handsome, good old fashioned guy. His buddies call him Don Jon due to his ability to “pull” a different woman every weekend, but even the finest fling doesn’t compare to the bliss he finds alone in front of the computer watching pornography. Barbara Sugarman (Scarlett Johansson) is a bright, beautiful, good old fashioned girl. Raised on romantic Hollywood movies, she’s determined to find her Prince Charming and ride off into the sunset. Wrestling with good old fashioned expectations of the opposite sex, Jon and Barbara struggle against a media culture full of false fantasies to try and find true intimacy in this unexpected comedy.
Gravity Alfonso Cuarón, USA/United Kingdom, North American Premiere:
Gravity is a heart-pounding thriller that pulls its audience into the infinite and unforgiving realm of deep space. Sandra Bullock plays Dr. Ryan Stone, a brilliant medical engineer accompanied on her first shuttle mission by veteran astronaut Matt Kowalsky (George Clooney). On a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone — tethered to nothing but each other and spiraling out into the blackness. The deafening silence tells them they have lost any link to Earth… and any chance for rescue. As fear turns to panic, every gulp of air eats away at what little oxygen is left. But their only way home may be to go further out into the terrifying expanse of space.
To say that I am excited for TIFF 2013 would be a massive understatement! Can’t wait to see what other films will be joining this first wave.
A harrowing, instant classic that, without any doubt, blossoms into legend. Mud is a charming, captivating, irresistible coming-of-age yarn that transcends and disarms. Rich with dynamic visuals, a sweet, at times cunning script, and superlative performances from its entire cast. Mud is comprised upon an endless source of infallibility and revered assets. Filmed entirely in the state of Arkansas, rooted along the Mississippi River and its tangents. Mud’s locations are a breathtaking backdrop evoking a sense of wonder and serenity. Written and directed by up-and-comer Jeff Nichols who continues his rise to fame with this, his third full length feature. The only thing more reliant than the unsurpassable portrayals and unmatched scenery throughout Mud is Nichols sturdy, visionary direction. Despite some heavy, dark subject matter and clinging to innocence for effectiveness, Mud never loses its way.
Ellis (Sheridan) is 14 years old and lives in a houseboat on the banks of a river in Arkansas with his mother Mary Lee (Paulson) and father Senior (McKinnon). One morning, after he sneaks out past his parents, Ellis meets up with his best friend Neckbone (Lofland), who is also 14 and lives with his uncle Galen (Shannon). The boys set out to an island on the Mississippi river where Neckbone has discovered a boat stuck high in a tree, believed to have been put there by an extreme flood. Soon after climbing the tree and into the boat, they discover footprints and fresh food. Upon returning to their boat, figuring it best to leave before the inhabitant returns, they are surprised to see a rugged man fishing. The stranger, who is soon revealed to be named Mud (McConaughey), asks the boys for food in exchange for the boat in the tree. As time passes, the three become close friends and begin to trust one another. This is when Mud and the boys enter into an agreement that will change their lives forever.
Filled with the vibrancy and uncertainty of life and youth. Nichols honest take on the struggles of growing up is both refreshing and astoundingly accurate. Managing to convey the hardships and vulnerability that comes with being young and wide-eyed. Mud places the world at your feet, just to render you helpless when you reach out to grasp it. To accomplish this feat while simultaneously leaving the viewer content and without being overly sappy is stupefying. Yet, the theme most prominent and riveting in Mud deals with the emotion that leaves us confounded and in a daze, love. Stating that regardless of age, we always succumb to the idea of love and will always stumble over and sacrifice ourselves and one another for a taste of it. Mud is undeniably one of the best films of 2013 and will undoubtedly stand the test of time.
With a plethora of symbolism, lyricism, and dynamism, it’s easy to get caught up in the ripples of Mud and lose sight of its heart…If you can keep track of each, individual storyline strand, Mud has so much more to behold. For instance, the forests and rivers ingeniously resemble the appeasing exteriors of Mud’s characters. And like these peaceful settings and docile people, there are unforeseen dangers that lie beyond them. Just a quick note on Mud’s tranquil soundtrack which is composed by David Wingo, who also wrote the score for Nichols 2011 hit, Take Shelter. Wingo’s ability to match Nichols ideals with music is unparalleled and I’m overjoyed that the two continue to work with one another.
Even though Mud might not be as psychologically exhausting as Take Shelter or disconcertingly ferocious as Shotgun Stories, it is certainly just as visual and rewarding. Nichols continues to grow with each release and every single outing of his sheds a little more light into his bright, limitless future. The most reassuring and remarkable trait of Nichols films is that the newest chapter is stronger than the last. Nichols effortlessly and eloquently absorbs the natural and elemental beauty of Arkansas, the surrounding terrain, and vast skyline. There is no denying that Mud’s numerous, incredible performances and original script would be useless without Nichols keen, eccentric direction.
Finding a pair of young, close-knitted, and talented leads is imperative to Mud’s success and Nichols found them in Jacob Lofland and Tye Sheridan. Mud again reunites Nichols with Michael Shannon, who stared in both of Nichols other films, Shotgun Stories and Take Shelter. Now, even though his role is certainly smaller than the duo’s previous collaborations, Shannon is equally as effective. Also starring Matthew McConaughey, Sarah Paulson, Ray McKinnon, Reese Witherspoon, and Sam Shepard. Mud’s ensemble easily gives one of the best collective efforts of the year.
It is quite astonishing when an actor, let alone an ensemble breaks through the screen, allowing the viewer to discard the notion that what they’re watching is just a film, Mud has this effect. McKinnon and Paulson’s portrayal of a couple who’s marriage is on the rocks reaches a new level of believability. As they fight against the closing inevitability and try, relentlessly to keep their son stable regardless of their current circumstance causes a profound euphoria of respect to rush over the viewer. As for Shepard, who’s role is somewhat typical, is able to surpass its regularity with an unusually strong, aching performance. Witherspoon, who garners very little screen time, makes terrific use of her limited role. To be honest, I had very limited respect for Witherspoon as an actress, but after Mud, it has grown substantially.
However memorable and powerful the supporting casts performances may be. They are simply outdone by Mud’s three leads Jacob Lofland, Tye Sheridan, and Matthew McConaughey. As McConaughey’s stock continued to rise throughout 2011 with his roles in The Lincoln Lawyer and Bernie, it slowly became apparent that there was no stopping his rapid ascension. Following up another hit in Magic Mike with Mud, McConaughey seems to have finally found his muse. McConaughey is now gearing up for another high-profile role as he is set to star alongside Leonardo DiCaprio in Martin Scorsese’s The Wolf of Wall Street, ready for release late in 2013. There is now, no denying McConaughey’s brilliance as he recently signed on to tackle the lead in the magnificent Christopher Nolan’s next film Interstellar, which will also feature Jessica Chastain and Anne Hathaway. Thankfully, there seems to be no end in sight for the once discredited Matthew McConaughey.
Lofland and Sheridan, who were ultimately hired because of their abilities on a boat, knowledge of the area, and the time it would save not having to teach these facets to two other young leads, undoubtedly earn their spots. With a combined age that doesn’t equal some of their co-stars time of acting experience, let alone years on this planet, Lofland and Sheridan prove they’re not intimidated by underestimation. Having performed in Terrence Malick’s, The Tree of Life, Sheridan continues on his path to a fortuitous career. As for Lofland, Mud is his first full length feature, but you wouldn’t know it from his calm and confident performance. Both flourish in this highly advantageous opportunity and look to have extremely bright futures.
With its unyielding, heavenly toxic imagery, phenomenal performances, and spot-on portrayal of love, death, and youth. It may be a bit premature, but Mud has eked its way into my top 10 all time favourite films and I don’t see it falling out anytime soon. It is a must see for anyone, cinephile or not.
Mud: 9.5 out of 10.