What really counts in this post is the experiences, not the wording or grammar, etc… That’s my polite way of asking you to disregard the lazy, formulaic summaries and to focus on each, particular screening and the atmosphere each created. Also, please forgive my shoty camera work and the quality of some of the videos…
I Origins (Cast and Director Q and A):
I’m a Mike Cahill admirer. “Another Earth” blew me away and I couldn’t wait for his follow up…and it did not disappoint. Oh, and having Michael Pitt join Cahill in a post-screening Q and A was the icing on the cake.
99 Homes: (Cast and Director Q and A):
Michael Shannon, Laura Dern, and Andrew Garfield so close I could literally reach out and touch them…need I say more? Shannon is one of my all time favourite actors and the chance to hear him speak about his latest film nearly had me in tears of fortune and excitement.
Locke: (Stephen Knight Q and A):
If you know me, you know that my fandom in regards to Tom Hardy and “Peaky Blinders” knows no bounds. Naturally, having the chance to catch an advance screening of “Locke,” Hardy’s and “Peaky Blinders” creator Steven Knight’s latest collaboration, left me winded. It’s also the only time my mom has ever stepped into my world, the life of a die-hard cinephile. And the fact that she loved it in its entirety left me overjoyed.
The Imitation Game: (Cast and Crew Q and A):
Benedict Cumberbatch…in person…that is all… Oh, and Keira Knighley and Matthew Goode too.
Q and A: Part 1
The Guest: (Director/Writer/Cast Q and A):
This past year’s screening of “The Guest” during TIFF 2014’s Midnight Madness program was easily the most fun I’d had at a cinema all year. Simon Barrett and Adam Wingard are uproariously funny and extremely talented at what they do. Add in the charismatic, unbelievably charming and handsome Dan Stevens in addition to the lovely Maika Monroe, and you’ve got one hell of a theatre experience. The film itself cracks my top 10 of 2014 with ease and this screening has a lot to do with it. I hate to admit it, but having my lame-o friends undergo the craziness with me made all the difference in the world. Plus, we were the only ones to bring a beach ball! Which only added to the over-the-top atmosphere throughout the entire screening. I should probably explain… Midnight Madness is TIFF’s most out of control cinephile experience. There’s loud music beforehand, it starts at midnight, there’s the potent scent of substance abuse lingering in the air, and usually has a ball or two being tossed around. It’s essentially a rock concert that replaces the band with a film.
The 50 Year Argument: (Martin Scorsese Q and A):
This is, without question, the best experience I’ve ever had in a theatre to date, let alone 2014. Of course, any occasion that has you sitting in the presence of one of cinema’s greatest filmmakers is a monumental occurrence indeed. To be completely honest, the film, “The 50 Year Argument,” although thoroughly engaging and utterly interesting, was simply a welcomed formality, a terrific bonus. Being granted the opportunity to listen and digest Martin Scorsese discussing film and his career for an extended period of time is unlike any euphoric treat that’s ever graced itself to my presence.
Did you have a particularly awesome cinema experience this past year? Let me know in the comment section below, I’m dying to know! Also, if you haven’t contributed your voice to the latest poll, please click on Vote! in the bar above to do so…don’t make me chase you down!
TIFF 2014 is finally upon us! With that in mind, I present to you my schedule for the festivities. For up-to-the-minute coverage, reviews, media, Q and A, etc…make sure to follow me on twitter (@cinema_monster).
The 50 Year Argument: Martin Scorsese, David Tedeschi
Premium Screening with co-director Martin Scorsese in attendance.
Martin Scorsese co-directs this documentary tribute to the New York Review of Books, whose six-decade history saw it frequently on the frontlines of cultural and political debate.
’71: Yann Demange
In the divided city of Belfast at the height of The Troubles, a rookie British soldier (Jack O’Connell, Starred Up) finds himself separated from his unit and lost in IRA-controlled territory.
99 Homes: Ramin Bahrani
Premium Screening with Michael Shannon, Andrew Garfield, and director Ramin Bahrani in attendance.
Desperate to save his family home, an unemployed construction worker (Andrew Garfield) joins an unscrupulous realtor (Michael Shannon) in the dirty business of foreclosing on the disenfranchised.
Clouds of Sils Maria: Olivier Assayas
A veteran stage star (Juliette Binoche) turns to her assistant (Kristen Stewart) for solace as she jousts with an arrogant younger actress (Chloë Grace Moretz).
The Drop: Michael R. Roskam
A Brooklyn bartender finds himself caught between the cops and a crew of Chechen mobsters, in this gritty crime drama starring Tom Hardy, Matthias Schoenaerts (Rust & Bone), Noomi Rapace and the late, great James Gandolfini.
The Guest: Adam Wingard
Premium Screening with Dan Stevens and writer-director duo Simon Barrett and Adam Wingard in attendance.
Writer-director duo Simon Barrett and Adam Wingard (A Horrible Way to Die, You’re Next) serve up a slick, eighties-style action thriller with this story of a mysterious and devastatingly charming visitor (Downton Abbey’s Dan Stevens) who arrives at the home of a bereaved family claiming to be the best friend of their dead son.
The Imitation Game: Morten Tyldum
Premium Screening with Benedict Cumberbatch, Keira Knightley, Matthew Goode, and director Morten Tyldum in attendance.
Benedict Cumberbatch stars as brilliant Cambridge mathematician, cryptanalyst and pioneering computer scientist Alan Turing, who spearheaded the Enigma code-breaking operation during World War II and was later persecuted by the British government for his homosexuality.
Laggies: Lynn Shelton
Premium Screening with Chloe Grace Moretz, Keira Knightley, and Sam Rockwell in attendance.
Following a dismal high school reunion and a disastrous proposal of marriage, a going-nowhere twentysomething (Keira Knightley) falls in with a carefree teenager (Chloë Grace Moretz) and takes a week off to reassess her life. Co-starring Sam Rockwell (Moon).
Maps to the Stars: David Cronenberg
Julianne Moore, Mia Wasikowska, John Cusack, Sarah Gadon, and Robert Pattinson star in this acidulous vision of Tinseltown from Canadian master David Cronenberg.
Nightcrawler: Dan Gilroy
A drifter and petty thief (Jake Gyllenhaal) joins the nocturnal legions of scuzzy freelance photographers who scour the city for gruesome crime-scene footage, in this gripping portrait of the dark side of L.A. from veteran screenwriter and first-time director Dan Gilroy.
The Theory of Everything: James Marsh
While students at Cambridge, Stephen Hawking (Eddie Redmayne, Les Misérables) and Jane (Felicity Jones, The Invisible Woman) fall deeply in love. His earth-shattering diagnosis leads him to embark on his ambitious study of the nature of time with Jane fighting tirelessly by his side, in this moving adaptation of Jane Hawking’s memoir from Academy Award-winning director James Marsh (Man on Wire).
Which film are you most looking forward to at TIFF 2014? Be sure to let me know what your thoughts on the festival and my schedule are below!
I’ve heard a few claim that actors, such as Christian Bale for “The Fighter”, only won an Oscar or other accolades simply due to the sheer amount of weight they either lost or gained for the corresponding role. That their achievement was merely bestowed upon them for such radical weight shifts and was not the result of towering talent and investment. Of course, this topic has come up more often recently due to award season buzz surrounding the aforementioned Christian Bale, who once again changed his weight for the film “American Hustle” and skyrocketing star Matthew McConaughey, who lost a dangerous amount of weight for his film “Dallas Buyers Club.” Is it a coincidence that these two actors are at the centre of most award season rumours and predictions? Or is there merit in changing oneself physically as well as mentally for a role that demands it? What do you think?
I feel that this statement, regarding the cohesiveness of recognition and weight modifications, which may or may not resonate with each of you, is completely and utterly false, no matter which way you swing it. Even if one was recognized or given an award for a role in which they endured a significant weight change, it takes an incredible amount of balance, self-restrain, and discipline to pull of such fluctuations, and the recipient, in my opinion, is very much deserving of the praise, maybe even an award. I mean, it’s not as if this type of endeavour is a walk in the park, regardless if you’re gaining or losing excessive pounds. I think it’s important for actors to throw themselves entirely into their characters, and if significant physical alterations is what needs to be done in order to achieve total and believable portrayals, so be it.
That being said, of course I think that there is more to garnering universal acclaim in the film industry than mere weight transitions. One can lose all the weight they please, but like a performance that requires no physical changes, if the facial expressions, emotion, authenticity, rawness, talent, and honesty isn’t there, the performance is moot. Keep in mind however, that rising and falling numbers on a scale do contribute significantly to a characters appearance, obviously, as well as the mental stability and impression the character’s surrounding environment has on him/her. It can enhance the viewer’s experience to an uncomfortable, realistic extent and increase the range of an actors talents. Weight fluctuation is a skill, a tool utilized by actors to accomplish their job as impressively, thoroughly as possible.
Based on the real story of Ron Woodruff, “Dallas Buyers Club” centres around Mr. Woodruff, an electrician who doubles as a hustler and who is your stereotypical redneck, racist and homophobic. When he isn’t at work however, Ron partakes in a lifestyle consisting of frequent, unprotected sex and drug use. Upon waking up in a hospital after a work-related injury, he is informed that he is HIV positive. Fearing the worst, Ron quickly finds an illegal way to obtain the most recent, potent drug to assist in his recovery and stabilization. Soon, Ron comes to terms with the fact that the drug is destroying his body and other patients systems as well. And with the assistance of a foreign doctor, companies abroad, and a few locals, Ron starts the Dallas Buyers Club. A membership-driven organization that distributes unapproved remedies that work safely and effectively to those suffering from AIDS. Of course, illegal activity cannot go unnoticed and unpunished, and it’s not long before those not benefiting from this secret operation take action.
As I mentioned previously, Matthew McConaughey, the star of “Dallas Buyers Club,” lost a threatening amount of weight for his role as Ron Woodruff. He’s already earned the golden globe for his outstanding portrayal here and has been nominated for an Oscar as well. That should speak enough to the caliber of his performance here. It’s a risky character to undertake, but he’s done a stellar job capturing and exuding the fear, vulnerability, and courage of Ron Woodruff. McConaughey’s recent rapid ascension is unprecedented. Over the past couple of years, he’s shifted from rom-com playboy to Oscar heavyweight with outstanding outings in high-profile gigs such as the television series “True Detective” alongside Woody Harrelson and the film “The Wolf of Wall Street” directed by Martin Scorsese. You can catch McConaughey in another hotly-anticipated flick “Interstellar” directed by the illustrious Christopher Nolan set for release later this year. It’s looks prime to earn him more accolades and praise.
Now, I know I might catch some flack for this next statement, nonetheless, it’s my honest opinion and needs to be said. Jared Leto, who has already earned a Golden Globe win like his co-star, did not impress me nearly as much as the performance’s reputation leads on. It’s a good portrayal, but nothing to get overly excited about. I respect and admire the heart and bravery needed for the role and Leto fulfilled it quite well, just not as sufficient and brilliant as McConaughey. Maybe Leto’s character was so over-shadowed by McConaughey’s Woodruff that it left me cold and indifferent. Regardless, it’s definitely a notch above most, but not Oscar worthy, again, in my opinion.
“Dallas Buyers Club” is completely driven by its performances. The story is inspiring, riveting, and thought-provoking. Yet, apart from these facets, cinematically there isn’t a lot to marvel at. That being said, it does provide some of the most honest, harsh filmmaking of the year. All in all, “Dallas Buyers Club” is without question one of the best of 2013 and should be respected as such, despite what it obviously lacks.
Dallas Buyers Club: 8.5 out of 10.
I wasn’t really planning on posting a personal favourites list for 2013, but upon seeing the results of “Vote: Best of 2013” and how greatly they differed from my own, I felt it necessary to share with you all my favourite films from the past year. As for the results themselves, in which you all kindly contributed, they will be posted this Thursday, so keep an eye out for that. I’ll do my very best to keep this list short and sweet. You can find my full review for each film by clicking on the corresponding title, enjoy!
Earlier on, when this film was released, it was very much at the top of my list. However, as the year progressed and more highly-sought pictures caught my attention, Derek Cianfrance’s lovely epic just couldn’t hold on to a spot. That being said, I truly believe it has a significant amount of staying power and if any of the films listed ahead of it falter with time, “The Place Beyond the Pines” will surely make a jump into the top 10.
10: 12 Years a Slave:
Directed by skyrocketing genius Steve McQueen, creator of “Hunger” and “Shame.” “12 Years a Slave” depicts the unbelievable story of Solomon Northup, a free black man abducted and sold into slavery, where he stayed for twelve long years. Featuring a plethora of staggering performances, a tremendous musical score, and stunning, yet disturbing visuals. This flick is sure to be apart of cinema’s canon for a good, long while
9: The Hunt:
The only foreign film to make my top 10 is Thomas Vinterberg’s “The Hunt.” About a man struggling against the simplistic destruction of a rumour, this film is, without question, one of the most disturbing on the list. Starring the magnificent Mads Mikkelsen, “The Hunt” is a lock for best foreign feature this award season, for me at least.
8: All is Lost (review coming soon):
Having only become aware of this film in the recent months, its power and sheer brilliance knocked me off my feet. Following a man at sea who becomes shipwrecked and discombobulated, “All is Lost” is a magnificent triumph. Starring Robert Redford, and only him. What this film is able to achieve with limited cast, settings, and dialogue is miraculous.
7: American Hustle:
My placing of this film may surprise a few as “American Hustle” will undoubtedly be in many cinephiles top 5 films of the year. There isn’t much fault in this flick, the performances are superlative, the direction unparalleled, and its soundtrack timeless. That being said, the film’s shaky story led to its positioning here at number seven.
Up until about November, “Gravity” was very much in play to be in my top 5 films of the year. Unfortunately for Cuaron’s masterpiece however, a slew of infallible films came along and knocked it out of the top tier. Don’t be fooled though, this film is an unrivalled achievement and will be so for many years to come. The imagery, performances, and story are entrancing, not to mention the soothing musical score.
5: Drinking Buddies:
Okay, here is my shocker, went off the board with this one. All kidding aside however, the truth is “Drinking Buddies” is a masterful character study and one of the most honest, authentic, heartbreaking films you will ever witness. Featuring fantastic performances from the entire cast, Joe Swanberg’s “Drinking Buddies” managed to surprise everyone, me included, and force its way into my top 5.
Being a former musician, I can really sympathize with the lead in the Coen brothers masterpiece, “Inside Llewyn Davis.” Tossing that aside, this film is still a towering experience and undoubtedly finds itself amongst the Coen brothers best. Featuring outstanding performances and the best soundtrack of the year, “Inside Llewyn Davis” makes the list without question.
For a little while there, I thought “Her” was going to be number 1 on my list. Carrying the most original story, a breathtaking script, and spectacular performances, Spike Jonze really outdid himself with this one. People will be talking about “Her” long after the film has ended, perhaps even after humankind has ended…
Jeff Nichols “Mud” is a modern-day fable. Conveying a harsh lesson about growing up and love, this impeccable tale starring Matthew McConaughey and Tye Sheridan is my runner-up.
Scorsese and DiCaprio, enough said…no, not enough? How about Jonah Hill and stunner Margot Robbie? This flick is absolutely crazy in every sense. I didn’t hesitate for one-second putting “The Wolf of Wall Street” at the top of this list.
There’s been a few controversies surrounding this film in the media since its release, a little over a week ago. Controversies that range in significance and utter bewilderment, regarding the film’s source material, its author, anti-hero, and inspiration Jordan Belfort, to the film itself “The Wolf of Wall Street” being attacked by critics, labeled as shallow drivel glamorizing a life of criminality and abuse. Now, I can’t comment on behalf of the novel, as I’ve never read it (although I plan to), or defend Mr. Belfort as I have never met him, picked his brain, or researched his life (I must say however, it is very intriguing). That being said, there is one thing clouding my brain that I can shed some light on, debate and hopefully resolve. Something that’s distorting my thoughts with its incoherent, simple, overwhelming stupidity. And that is the irrational, baseless notion that “The Wolf of Wall Street” idealizes and absolves an existence free of morality, accountability, and stable relationships.
I’m perfectly content to dismiss this critical negativity and deem it as idiotic complaints that pander to the obviousness and cosmetic, depthless aspects of a film that uses these highly-superficial, vivid visuals intentionally to mask, bury the truth of these distractions from the emotionally and intelligently inept. I’m fine in doing that and moving on. I form my own opinions, not base them on the unfulfilled experiences and half-witted conclusions of others. Nonetheless, I don’t think it’s fair that those who have yet to see the film or those that are looking for more from “The Wolf of Wall Street” should be bombarded by the opinions of those who only have a disdain towards it. I created this site to voice my thoughts, to interact with others, and to educate and be educated, so that’s exactly what I intend to do…
This adaption of Jordan Belfort’s miraculous, unbelievable tale is directed by the illustrious Martin Scorsese and stars Leonardo DiCaprio as the lead character, the aforementioned Jordan Belfort. Containing an excessive amount of nudity, sex, drugs, alcohol, vulgar language, deplorable behaviour, violence, and illegal activity. “The Wolf of Wall Street” is quite the unique cinematic experience, a difficult one to stomach and endure at that. Clocking in at a trying two-hours and fifty-nine minutes, one might argue that it’s near impossible to match the celebratory nature and complete disregard for compassion and equality with vulnerability, depression, and regret for the film’s entirety. To that I say this… After roughly the thirty-minute mark, there wasn’t a moment that went by in which I didn’t ponder the stability, endurance, and humanity of our protagonist that was on display. “What about the first half-hour, you ask?” Well, it’s very simple, our lead was a decent human being for that duration.
One might look at what he does, listen to what he says and brand his actions and reactions as gutless, inhumane, selfish, and heartless…While this is undeniably true, the way in which it’s portrayed, you know, how the light shines upon it has beencompletely misconstrued. Through every abhorrent movement and despicable word of DiCaprio’s Belfort, there is this nagging, disheartening hint of encompassing sadness and loneliness that radiates through the brash chaos. This is not a happy man, and anyone who arrives at any conclusion that contradicts this, his overall demeanour, has misunderstood.
Listen, it’s totally reasonable to connect Belfort’s outward appearance and emotional surface with happiness, a man who is pleased with himself and the choices he’s made. Hell, even the film’s ending seemingly coincides with this ideal. Conversely however, I implore you to see that there is nothing content about this man. He has lost his family, his privacy, his decency, and himself. DiCaprio’s Belfort has been misconstructed from the get go and every drunken stupor, drug-induced numbness, and orgy coma is an attempt to distract…draw his glazed eyes away from his creeping fears that became a reality all too soon. In the end, like us, he is alone, no matter how high he lived each moment. There will be a time after the present, everything becomes the past. DiCaprio’s Belfort has mistaken living for life and love. I don’t believe for one second that, apart from the time he spent with his lover and children, he was happy.
Well, that’s enough dissection of this taut character study, on to the technical aspects! Directed by the aforementioned Martin Scorsese, “The Wolf of Wall Street” is a welcomed return to criminal-empire filmmaking for the talented vet. Depicting the life of Jordan Belfort, a kind-hearted family man who gets caught up in the world of Wall Street. Earning a job at a successful firm and passing the Series 7, Belfort is informed by his then boss to adopt a lifestyle of drugs, alcohol, and sexual release to remain atop of the game. Then, having lost his stable job due to Black Monday, Belfort soon starts his own firm, hiring his friends and selling flimsy stocks. Soon, the company is a multi-billion dollar success, with a long list of criminal offences, laundering, fraud, and tampering being a few. Funding lavish parties for his staff, consisting of drugs, alcohol, prostitutes, and obscure events, things begin to spiral out of control. Having divorced his wife, remarried, and becoming a father, Belfort soon begins to crumble under everything.
It may be misogynistic, abusive, excessive, vulgar, and dirty, but there’s no denying that “The Wolf of Wall Street” is the most entertaining film to come around in a good, long while. Scorsese captures the world of Belfort’s Wall Street in his usual, immaculate form. Feeling like a throwback to Marty’s “Goodfellas,” his use of entrancing visuals, unfathomable character depth, and intoxicating music allows him to achieve feats that no other film has this year. Martin embraces the violent language, sexuality, and craziness of his film’s premise superlatively. It’s not long until you’ve completely forgotten the fictitious feel of everything and simply become another stockbroker at Stratton Oakmont. Very rarely does one notice the handiwork of a director, but with “The Wolf of Wall Street,” it’s impossible not to marvel at Scorsese’s impeccable form. In all fairness, Martin hasn’t been this good since “The Departed” in 2006.
I’ve mentioned in great depth the brilliance of Leonardo DiCaprio’s performance in “The Wolf of Wall Street” earlier, clamouring over his deliciously heartbreaking and charismatic Jordan Belfort. However, there is more character perfection here besides Leo’s larger-than-life portrayal. Matthew McConaughey, Jonah hill, Margot Robbie, Joe Bernthal, Kyle Chandler, and Jean Dujardin also star in “The Wolf of Wall Street” and their contributions cannot be overlooked. But before we move onto them, I have one final thing to say about Leonardo. This is the year he finally earns that Oscar, or at least, he damn well better. I mean, this guy has been passed over too many times. Is this the performance of his career? Well, that’s up for debate. That being said, is his take on Jordan Belfort the best performance of the year? Hands down! Open the “best actor” envelope blindfolded, because this award is all but official.
Okay, let’s get this out of the way. Matthew McConaughey won’t be winning any awards or nominations for his performance in “The Wolf of Wall Street.” Besides, with “Mud” and “Dallas Buyers Club,” he’s got more than enough material to earn a ton of accolades this award season. That being said, McConaughey continues his ascent to the top with another memorable, hilarious, potent performance here. Who can forget him beating his chest in the middle of a restaurant, making weird noises, and talking about sex, drugs, alcohol, and money? If Jonah Hill should be nominated for “best supporting actor” because of his character in “The Wolf of Wall Street,” you won’t here me complaining. He’s awkward, both personality and appearance wise, down-right hilarious, and dramatically effective as always. Might not be as worthy as his “Moneyball” performance, but it’s certainly one of the best this year.
Kyle Chandler never seems to get the recognition he deserves and it’s starting to really tick me off. Countless films this man has appeared in and has given tremendous performances in each of them. At least Scorsese took notice of this man’s talent and gave him a fairly significant role. Jean Dujardin, who you’ll know as the Oscar-winning actor for his performance in “The Artist,” is used sparsely, but uses each moment to excruciating effectiveness. Whether it’s his invincible mindset or untouchable attitude, Dujardin will make you laugh while you simultaneously beg those around to let you punch him in the face. Jon Bernthal, or Shane from “The Walking Dead,” continues to make a career for himself post zombie apocalypse. His appearance, personality, demeanour, and narcissism will leave you gasping for breaths between laughs.
Lastly, my favourite female performer of 2013, up-and-comer Margot Robbie. She’s got the “supporting actress” award all wrapped up in my books. I would like to inform her to start clearing off shelf space or at least get someone, perhaps myself, to build her a case for it. She’s sexy, poignant, ruthless, funny, and seductive as Leo’s ambitious, take-no-shit trophy wife. There has not been a better performance by a female this year. I know that in reality she’ll be lucky to receive a nomination at the very least, but in all honesty, there’s no denying her charm, talent, and beauty here.
Well, here we are, 2013 is now officially over. So I thought it fitting to present you with my favourite film of the year, so here it is. “The Wolf of Wall Street” takes the cake for me and I’m sure it’ll win a few of you over as well.
The Wolf of Wall Street: 10 out of 10.
It’s been quite a while since a film’s come along and moseyed its way on in to the lore of cinema. You know, the type of film you can watch over and over again…that plays on TV every other weekend. A film you’ve seen so many times over you can catch it midway, watch till the end, and still enjoy each and every part. A movie that plays in the background of gatherings, parties, or while you’re performing other tasks without taking away from these other primary distractions. These are the flicks we quote day in, day out to no end. Now, these pictures may not always the best of what cinema has to offer, they might not have even garnered many awards or much critical acclaim, but still we love them more than most things we’d care to admit.
On the other hand however, these timeless movies do pertain to our greatest cinematic achievements and have been acknowledged as such by critics and cinephiles. And of course the odd award or two has been bestowed upon them. Nonetheless, what’s so special, enduring about these films is that they’re so appealing and appeasing. They’re fun, entertaining, and most importantly, they never seem to get old. “American Hustle” fits somewhere in this criteria, I’m just not quite sure where exactly. It’ll win its fair share of accolades come award season 2014, it’s endlessly entertaining, and full of quote-able dialogue. Wherever it finds itself, expect this flick to be on television in the near future and in your hearts after the initial viewing.
Directed by the aforementioned David O. Russell, “American Hustle,” is the much anticipated follow-up to his Best Picture nominee “Silver Linings Playbook.” Glamorizing the lives of a couple of con-artists and corrupt politicians until they are dealt a harsh reality check by a power-hungry detective. I think it’s safe to say O. Russell went in a completely new direction with this one. Using a magnificent soundtrack, the trademark styles and imagery of the late 70s and early 80s, and extremely potent, masterful performances from his entire ensemble to conjure up a mafioso-like thriller with moments of overwhelming drama and an array of diverse comedy. O. Russell has truly created a unique cinematic experience with “American Hustle.” Although, it is one that feels vaguely familiar, even Scorsese-esque. Yet, it remains so original and genuine that Marty himself would be proud.
There is so much that makes O. Russell’s “American Hustle” this instant classic, a modern masterpiece. The first thing to hit you is this obscure, dated, penetrative humour executed flawlessly by the film’s cast. Speaking of which, has an undeniable, limitless chemistry that bursts forth from the screen and roots in their bones. It’s this bizarre, surprising nature that spawns so many instances in which you’ll find yourself asking, was that just said? Did that just happen? It’s content and characters are fresh and honest, the “what you see is what you get” type that refrains from being bland and predictable. O. Russell’s camerawork is the most stellar I’ve seen in recent memory, reminiscent of the aforementioned Scorsese, albeit younger. It’s a concoction of all these facets mixed with impeccable timing, immense, boundless talent, and extraordinary vision by all involved that makes “American Hustle” shine so bright.
Fine, you got me, it’s not all sunshine and roses. The story definitely takes a bit of a backseat to the characters, which isn’t necessarily a big deal. That being said, with “American Hustle,” the stakes don’t ever appear or feel as high as they actually are, or at least should be. I mean, I never really feared that the lifestyle or the lives of those who’ve been chosen to lead us through this picture were ever compromised. They just never seemed to be in as much danger or trouble as they should have been, if that makes any sense? It’s plot is as captivating, enthralling as can be and the characters are some of the most well-written and developed of the year. The end however, the last thirty minutes give or take, is a tad anticlimactic. That being said, the fact that the film’s ensemble and spectacular, utter enchantment can overcome this slight blemish should speak to its almost fully realized immaculacy.
The cast, the ensemble, that’s all I keep blabbering on about. I supposed it’d make sense to inform you of who comprises this plethora of talent and achievements. Returning are O. Russell vets Christian Bale, Bradley Cooper, and Jennifer Lawrence, with new faces Amy Adams and Jeremy Renner rounding out the unit. Now, I could go on and on about the superlativeness of each and every member and how it wouldn’t surprise me at all if each individual got a nomination come award season, but I’m a realist. If I had to stake my life, I’d say Christian Bale is the front-runner to take home some hardware. The rest, I feel are too up in the air. There’s been a surplus of solid flicks with tremendous portrayal this year, so it’ll be tough to break through. Cooper, Adams, and Lawrence bring their predictable flair and still manage to stun. Renner is the only one who comes close to rivalling Bale’s brilliance and already his outstanding performance is being overlooked. Oddly enough however, is that funny man Louis C. K somehow steals every scene he’s in. Figure that one out and let me know.
Hilarious, intoxicating, and bloody brilliant, “American Hustle” is, without question, one of the best films of the year.
American Hustle: 9.5 out of 10.
Is it the media industry that’s in the shitter? Or is it the content itself that’s stuck to the back of the toilet? Who knows, maybe we’re to blame for digesting this garbage. Because quite frankly, I don’t think public relations, commercialism, and technology has ever been so abundant, profitable, advanced…essentially, easy. The ones who’s jobs it is to shove this over-saturated, bland, overcompensating drivel down our throats until we choke are succeeding, they’re doing their job. And sure, the ones who create the pollution are at fault to an extent, but the crap they conjure up is kind of intentional isn’t it? I mean, if we keep gobbling it up and spewing currency into their wallets like a volcano, who can blame them, right? So doesn’t that mean the reason for quality’s collapse stems from us, the consumers? Who do you think is to blame, the creators, the sellers, or the swallowers?
Sorry about that rant, I’m just out of “Inside Llewyn Davis” and it’s making me wish things were better nowadays. And I’m not just talking about music either. I had to travel quite aways to catch this flick because it wasn’t playing in my area. And this is happening all to often recently. The only place showing the film is a small art-house downtown that’s a bit of a hassle to get to for me. I have no problem travelling to see a movie, especially one of this caliber. It’s just that, I have quite a few cinemas in my surroundings…big, new, expensive theatres and you’re telling me not one of them bothered to pick this up ? I know the reasons are obvious, for example, compared to the big-budget flicks staring A-listers screening, “Inside Llewyn Davis” would earn mere peanuts. Which is where the problem begins I guess. It’s not like the Coen brothers are unheard of to cinephiles. I mean, would people rather watch mindless trash or sappy romance flicks than this towering achievement? Maybe it’s just me, I’m probably just preaching or being stupid. Anyway…
As I previously stated, the film we’re discussing here is the Coen brothers latest masterpiece, “Inside Llewyn Davis.” It opens on a lonely microphone surrounded by a disheartening silence. Llewyn soon breaks this soundless void with a haunting, melancholic folk ballad that sets the tone for the rest of the film. If you’re searching for a flick with hope, laughter, and happiness, this is not the experience for you. “Inside Llewyn Davis” is about as depressing, honest, and real as it gets. Soon after, we set off accompanying Mr. Davis, a young folk musician, as he struggles to sell himself and find work. Llewyn then begins to implode under the weight of his own principals and broken relationships. Down and out, Llewyn makes one last push to rise above it all and hitches a ride to Chicago in hopes of jump-starting his career. Making new friends, losing old ones, and accidentally alienating those who love him. Llewyn suffers under our greatest fear, loneliness, as he tries to stay true to himself.
Granted it’s not the Coen’s most complex, exhilarating story. It’s but a brief moment in a young, talented, ambitious man’s life that they depict, every high and low with staggering accuracy and sparkling authenticity. There’s no doubt you’ll experience, sympathize, and feel more with “Inside Llewyn Davis” than any other film this year. Spotted with gloomy skies, dirty sunsets, harsh weather, and the unforgiving, breathtaking countryside. The Coen’s continue to utilize poignant, terrifying visuals to create unfathomable depth and atmosphere. You’ll be hard-pressed to find a more masterful use of what the Earth offers naturally. The dialogue isn’t as memorable as some of the Coen’s more comedic, violent films, but offers up some genuine humour and heartbreaking quips. Alongside this, a series of original and classic folk songs by Oscar Isaac, Justin Timberlake, Bob Dylan, and others lay an assault upon your body. “Inside Llewyn Davis” has the best soundtrack of the year, hands down, enough said.
Finding a cast that is as talented on the screen as they are musically inclined is a hell of a feat. A task that the Coen brothers seemed to relish undertaking and one they achieved beyond words. Starring Oscar Isaac in the title role, Carey Mulligan, John Goodman, Garret Hedlund, and Justin Timberlake. “Inside Llewyn Davis” offers up one of the best ensembles 2013 has to offer. Without question, Isaac leads the way here. He gives a phenomenal portrayal of an invested, skilled, worn musician fighting with his artistic mindset and conforming to survive. There’s no doubt in my mind he’ll be picking up quite a few accolades come award season. Mulligan is as striking as ever and quite easily leaves the viewer smitten. It’s a real shame she doesn’t get the recognition she deserves. Hedlund and Goodman, although sparsely used, form a charismatic, obnoxious duo that’ll leave you grabbing your sides and clenching your heart. Hedlund closely matches Isaac stride for stride and hopefully will break through with this role. Timberlake brings his talent to the film and not much else, which isn’t any fault of his own. His character is short and not given a chance to develop.
Right now, the Coen brothers “Inside Llewyn Davis” is battling Martin Scorsese’s “The Wolf of Wall Street” for my favourite film of the year…that should speak to how good this film truly is. I mean, I’m not a fan of musicals or dance flicks, and I’m not claiming that this film is either of those, but it does have similar elements. I’m merely saying that this expressionistic, impressionistic piece is so bloody brilliant, down right transcendent that it envelopes the screen and radiates life. It may or may not be the Coen’s greatest achievement, but it’s pretty damn close.
Inside Llewyn Davis: 9.5 out of 10.
Ruairi Robinson’s “The Last Days On Mars” sure picked one hell of a time to unveil. With sci-fi stunners like “Europa Report” and Alfonso Cuaron’s Oscar heavyweight “Gravity” already lighting up the screen so far this year, it appears this horrific space adventure is a tad too late to the party. That being said, although it certainly doesn’t measure up to its brethren’s immense successes, this little tale about a group of astronauts fighting off their colleagues turned space-zombies offers up a few moments of pure brilliance and one heck of a soundtrack. Make no mistake, this flick is only related to the previously mentioned gems by label only. Their content, premises, and aspirations are in no way alike. While all three are technically science-fiction, their sub-genres greatly differ. “Gravity” is more of a thriller, “Europa Report” a mix between mockumentary and drama, and our current subject “The Last Days On Mars,” is without question, a horror. So one must critique accordingly.
Reading through some of the more harsh reviews out there, I noticed terms like “over-saturation” and “generic” getting tossed around, not to mention the opinion floating about that another perfectly sublime sci-fi epic was ruined by falling back to convention and common ploys. Then you have those claiming that “The Last Days On Mars” failed when compared to the genre’s efforts this year, and to their credit, they’re idiotically accurate. Of course it crumbles when lining it up alongside films like “Gravity,” the two aren’t even in the same league! All this criticism does is make it easy for those on the fence to get caught up in the negativity surrounding “The Last Days On Mars” and disparage it all together. When in actuality, it’s anything but your run-of-the-mill space horror. The acting is strong, the visuals breathtaking, and the soundtrack rivals those of past, great sci-fi epics. There is value here, one just needs to look beyond the mistakes.
“The Last Days On Mars” is a lot like a plate of food you receive at a fancy banquet hall or that someone has ordered for you…instead of throwing it away, just pick around what you don’t like. Sure, you could be a baby about it and toss the whole meal out all together and miss out on something spectacular, or you can live a little and swallow the occasional bitterness just to say you had. This film, this plate, this smorgasbord of space, spectacle, sensation, and slaughter might be chaotic, inconceivable, and tired, but it’s also beautiful, stimulating, and rewarding. I can tell you in confidence that there is a hell of a lot things I genuinely loved about “The Last Days On Mars,” and yeah, a few that didn’t sit well with me. Yet, I’m not going to throw something away just because I don’t particularly like or agree with all of it, which is what a lot of viewers seem to be doing with this polarizing look at exploration and discovery.
Director Ruairi Robinson makes his full-length feature debut with “The Last Days On Mars,” and for the most part, it’s a reassuring, impressive one at that. He’s a little shaky from time to time, but doesn’t get too comfortable in his mistakes. At times, his quick movements and jumping around will nauseate you a tad, but other than a few questionable scenes, it’s a successful outing. There’s moments he captures of such beauty and atmosphere that they’ll leave you shaking your head in disbelief. If there is a weak spot in the film, it’s the screenplay. Scribed by Clive Dawson, the structure can seem nonexistent at times and the story a little worn out. That being said, there are some lines of dialogue that blew me away and moments of excellent substance that make up for any wrong doings.
Max Richter, who’s probably best known for his musical contributions to Martin Scorsese’s “Shutter Island,” composes the original score for this flick…and what a score it is. I mean, What can I say? After I finished watching “The Last Days On Mars” I went and bought the soundtrack…that’s probably the best summary I can give. Go and give it a listen, you won’t be disappointed. As for the cast, led by Liev Schreiber, Elias Koteas, and Romola Garai, I felt they really grounded the film, gave it that human element is desperately needed. They frequently executed Dawson’s dialogue to heartbreaking effectiveness and melded into a dysfunctional, occasionally funny family on the edge of collapse and death in the middle of nowhere. Granted, things could have been a little stronger and consistent on the acting front, but for what they’re given, this cast does a respectable job.
Look, this ain’t Danny Boyle’s “Sunshine,” Duncan Jones “Moon,” or Alfonso Cuaron’s “Gravity.” It has similar themes, motivations…you know, some fragments of those films, but not to the same extent, nor is it as thoroughly executed. Odds are if zombies in space isn’t a flavour you prefer, this film isn’t for you. That being said, its stunning visuals, transcendent score, and powerful characters make “The Last Days On Mars” a notch above the genre’s drivel, enough anyway to make it recommended viewing.
The Last Days On Mars: 7.5 out of 10.
As promised, this week’s top 10 will consist of what I believe to be the best cameos in cinematic history. After last week’s list of dreadful and down-right idiotic guest appearances, I think this segment could use a pick-me up, don’t you? Now, we can sit here until we’re blue in the face arguing what makes a cameo truly great. We can list the traits off one by one, subtlety, hilarity, relevance, and on, and on. Regardless, in this top 10 I believe you’ll find, like I did, that a cameo doesn’t have any criteria, they simply succeed or falter based on their own individual merit. Granted, a few of the cameos listed are quite odd, funny, incredible, memorable, and indescribable, but there are no errors. I’ve compiled this list with purpose, to be diverse, I want there to be something for everyone, and if there isn’t, please let me know.
Again, just so there are no discrepancies later on. Tom Cruise in “Tropic Thunder” will not be featured in this top 10. The image is simply a header for the top 10 and this will continue until I am able to create a suitable segment header.
As always, if you feel that I’ve overlooked a cameo or believe one was listed that shouldn’t have been, please comment below. I am always looking to improve on this segment and all feedback is welcome.
Let’s get started!
10: Tim Robbins “Anchorman”
Why?: Upon appearing in numerous films that have historical and cinematic importance, it was extremely odd to see “Andy Dufresne” chop off Luke Wilson’s arm with a machete.
9: Hugh Jackman “X-Men: First Class”
Why?: I know for some it wasn’t a surprise at all, but I had no idea it was coming and laughed my ass off like an idiot.
8: Martin Freeman “Shaun of the Dead”
Why?: Honestly, I had no idea he appeared in the film until very recently. Now that I know, I think it is possibly the coolest thing ever. Bilbo Baggins killing zombies, c’mon.
7: Will Ferrel “Wedding Crashers”
Why?: You know why, if you don’t, you’re not my friend.
6: Bruce Campbell “Spider Man” trilogy.
Why?: I know most of you didn’t like the fact I disliked Stan Lee’s numerous cameos in multiple Marvel films. And the fact that I am adding Campbell from three films in which Lee also appeared must really burn. But, c’mon, it’s Bruce Campbell…”Evil Dead”…”Army of Darkness”…you know…he’s awesome.
5: Cate Blanchett and Peter Jackson “Hot Fuzz”
Why?: Two of the most respected names in film appearing in a movie centred around a corrupt, murderous, deranged town…Yes Please!!
4: Christopher Walken “Pulp Fiction”
Why?: I don’t really know if this counts as a cameo or a supporting role…can any of you clarify this? Nonetheless, it is hilarious and inventive.
3: Bill Murray “Zombieland”
Why?: IT’S BILL FUCKING MURRAY!!
2: Martin Scorsese “Taxi Driver”
Why?: It is one of my all time favourite Scorsese scenes, just incredible.
1: Ralph Fiennes “The Hurt Locker”
Why?: Can anyone clarify this as a cameo or supporting role? Anyway, I am a huge Ralph Fiennes fan and this cameo is pure brilliance.
I hope you all enjoyed this week’s top 10. If you feel I’ve overlooked a cameo or placed one in the top 10 that shouldn’t be there, feel free to comment below. Everyone have a great weekend!
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.