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!
In case you missed the news, I’ve started contributing to The Cinematic Katzenjammer, in addition to Gone With The Movies. Of course, The Cinema Monster will still remain my home. That being said, it’d mean the world to me if you could head on over to The CK and give my latest review (Tracks) a gander. And while you’re there, feel free to drop a like/comment, seeing as the site is also run through WordPress! So logging in and such won’t be a hassle. Just click the link below!
If you did happen to miss the notice last week, you might have missed out on my review of “The Trip to Italy.” Don’t feel left out, it’s very easily rectified. Simply click on the link below and it’ll immediately direct you to the article!
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!
With Stoker, Chan-wook Park solidifies that in any language his is the master of chilling story telling and tension. The director of Oldboy and Thirst didn’t miss a step in his transfer to North American filmmaking and brought all of the qualities that make him so relevant and symbolic with him across the ocean. Assembling a cast that is anything but ordinary, Park needed an asymmetrical cast for an atypical film. Featuring Mia Wasikowska as a distant and dysfunctional teen, Nicole Kidman as her unapproachable mother, and Matthew Goode as her isolated and intriguing uncle, the cast of Stoker will collectively put you on an unnerving edge. Stoker is a psycho-sexual thriller that will leave you feeling right for all the wrong reasons.
India Stoker (Wasikowska) is a secluded teen who’s father has just passed away in a car accident. Now India lives alone with her mother Evelyn (Kidman) with whom she never really got along with. After her father’s funeral, India is introduced to her father’s brother, her uncle, Charlie (Goode). India has never met Charlie before and his sudden arrival after her father’s death is mysterious. When Evelyn allows Charlie to stay with them for a while, India begins to think something is suspect with her new uncle and that he may have ulterior motives under his charming and polite manner.
You can tell that with every film he creates, Chan-wook Park does his research. He doesn’t want to shelter the audience from any detail, no matter how unrelenting or unpleasant. It’s as if he is saying “These things exist, deal with it.” Again, Chan-wook Park doesn’t tiptoe through his stories, nor does he hit you over the head with them, he simply displays the poisonous breadcrumbs for you to follow. The piano sequence between Goode and Wasikowska is so deathly seductive, it is pure brilliance. Nicole Kidman becomes an openly regret filled parent who by the middle of the film you wish would die, which is the goal she set out to achieve. Goode is both an eloquent, robotic maniac and a psychotic, emotionally unbalanced, and unconsciously sporadic head case. Mia Wasikowska is the nucleus of this bizarre coming of age tale and she deservedly steals the spotlight. Black hair, pale skin, and welcoming attire, Wasikowska is the girl next door. Her dialogue is never expressly long and she doesn’t try to make good, play nice, or save face but she is so perfectly balanced between the cute schoolgirl and depressive outcast that even after all she does, it is impossible not to like her. Clint Mansell composes another spooky score as he did for Moon and it’s cautiously optimistic and epic tones create a dreadful contradiction in the most enticing way. Stoker is another feat for Park and the cast is triumphant in their distress.
Stoker: 8.5 out of 10.