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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

TIFF12 Review: Love is All You Need

Susanne Bier’s latest film, Love is All You Need, takes an accessible, easy-to-digest premise – at their children’s wedding, a man who’s closed himself off to love meets a sympathetic woman whose marriage is falling apart – and makes of it a much better film than it sounds on paper, thanks in no small part to a smart screenplay by Anders Thomas Jensen, who’s just good enough at storytelling to pull it all off. I enjoyed this film quite a lot, although I went into it fully prepared for it to be overly saccharine, based on the catalog description. It’s not. Bier and Jensen have crafted an entertaining little slip of a story here, quite Danish in style and with bit of a humorous bent, and if it’s not taking itself too seriously, well, it is at least entertaining to sit with for a couple hours.

The man in question, Phillip (Pierce Brosnan, whose presence also lends heft to keep things from being too fluffy), is a wealthy trader of fruits, and we learn early on that he’s an emotionally impotent, walled-off jerk who rejects any semblance of kindness or connection from others and treats his employees like chattel. Ida (Trine Dyrholm, previously seen in weightier works A Celebration, Troubled Water, and In a Better World) comes home from her final chemotherapy treatment to find her husband, Leif (Kim Bodnia) on their couch balling Tilde-from-accounting, a hot blond who’s keen to make Leif her own man.

Everybody comes together at the wedding of Phillip’s son Patrick ( Sebastian Jessen) to Ida’s daughter Astrid (Molly Blixt Egelind). Also along for the ride is Paprika Steen as Benedikte, Phillip’s brash, brassy sister-in-law, who’s always had a thing for him, and hopes to use the auspicious occasion of the wedding to kindle a little flame of her own. Steen is a terrific actress, one of my favorites of any culture, but Benedikte is so over-the-top that she tends to play a bit more as caricature than character; then again, so is Leif a bit of a caricature, and so is Tilde-from-accounting, so perhaps it was an intentional choice on the part of Bier and Jensen to render the less appealing characters with broader strokes, all the better to contrast and define those that are more firmly on the “good” side – Ida and Phillip, of course, but also Patrick and, especially, Astrid. It all plays a bit like a soap opera, but it’s a mostly entertaining one, and the scenery, especially once everyone goes off to Italy, is stunningly lovely and will make you want to call your travel agent to start planning your next vacation.

I could see this one doing well on the arthouse circuit, boosted by its rom-com-for-older-women sweet spot and the built-in appeal of the undeniably sexy – but also here sometimes bumbling and funny and sweet – Mr. Brosnan. It’s also exactly the kind of nice little film you could easily see some Hollywood studio think about buying remake rights for, after which they would take Jensen’s charming little script, butcher it mightily, cast some older actress (Meg Ryan, perhaps, or if they were sincerely aiming for “good,” maybe Meryl Streep (visions of Mama Mia?) or Toni Collette or Patricia Clarkson in the lead role, and turn it into some overly sentimental, sappy romantic comedy targeted squarely at middle-aged housewives in the Heartland who won’t watch films with subtitles. Here’s hoping that won’t happen; Bier has already done a perfectly fine job here with Jensen’s material, and it wouldn’t hurt some folks to stretch a little and learn to watch films with subtitles anyhow.

One Response to “TIFF12 Review: Love is All You Need”

  1. marianne says:

    butcher it mightily is what will happen if this is made into a remake. leave it alone. broaden your horizons heartland housewives. learn to be a multitaskers and read subtitles. millenium trilogy fanstastic as it is. i will not bother with the lynch version.

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MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé

A Haunted House 2 is not a movie. It is a nervous breakdown. Directed by Michael Tiddes but largely the handiwork of star, producer, and co-writer Marlon Wayans, the film is being billed as yet another Wayans-ized spoof of the horror movie genre, à la the first Haunted House movie and the wildly successful Scary Movie series. (Keenen Ivory Wayans and his brothers were responsible for the first two Scary Movie films; they have since left that franchise, which may explain why a new one was needed.) And there are some familiar digs at recent horror flicks: This time, the creepy doll and the closet from The Conjuring, the family-murdering demon from Sinister, and the dybbuk box from The Possession all make appearances. But this new film is mostly an excuse for star Marlon Wayans to have extended freak-outs in response to the horrors visited upon him—shrieking, screaming, crying, cowering, and occasionally hate-fucking for minutes on end. Yes, you read that last bit right. A Haunted House 2 puts the satyriasis back in satire.”
Ebiri On A Haunted House 2