MCN Videos

The Torontonian reviews This Is Where I Leave You

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Like a middling episode of House-“Arrested Development,” Shawn Levy’s This Is Where I Leave You—adapted from the Jonathan Tropper novel of the same name—is a dysfunctional family dramedy lacking in laughs and an emotional punch to really bring it home. The film gets by on its likable cast, but the fact that this film merely passes despite such a talented crop of comedic talent should speak to a general failure, or at least a sense of disappointment.

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Wrapping TIFF 2014

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It was a really good TIFF. Solid.

What was missing, really, were the home run hitting feature films. (Great docs… but we expect that.)

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Confessions of a Film Festival Junkie: It’s a Wrap

The Theory of Everything

Officially there were 366 features shown at the just completed edition of the Toronto International Film Festival. I saw about 30. So it should come as no surprise that few of this year’s public and jury prize winners managed to elude my grasp.

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The Torontonian reviews It Follows

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One of the most enjoyable aspects of David Robert Mitchell’s It Follows—alongside its brilliant cinematography and chilling scares—is the inventive premise, which is as much to fun to describe as it is to watch (tell your friends about the “sexually-transmitted ghost” movie and watch their faces turn from disgusted to wildly amused).

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Confessions of a Film Festival Junkie

A Pigeon Sat

It’s kinda official. To be honest I really haven’t noticed anyone taking notice of the fact that Toronto mayor Rob Ford hasn’t shown his face at the Toronto International Film Festival. Granted the local attendees don’t appear to be his constituency and there is a mayoral race coming up before the end of the year. In fact, there either was a debate scheduled (there are three others on the ballot) or one that went forward that Ford opted out of without extending much of a reason.

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The Torontonian Reviews NIGHTCRAWLER

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Confessions of a Film Festival Junkie: Toronto 2014 – Getting Started

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The Torontonian reviews Eden

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Confessions Of A Film Festival Junkie: TIFF 2014 Opening Days

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The TIFF 2014 Doc Sneak: Thom Powers Lays It Out For You

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The Torontonian Reviews GRAVITY

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The Torontonian Reviews UNDER THE SKIN

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The Torontonian Reviews PRISONERS

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The Torontonian Reviews PARKLAND

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The Torontonian Reviews BLUE RUIN

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MCN Videos

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20th Century Women, Greta Gerwig

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War Dogs, Jonah Hill

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Audrie & Daisy, Tori Amos

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An Hour With Jeremy Irons, The Man Who Knew Infinity

MCN Festivals

Toronto Int’l Gala Presentations Include New Delpy, Egoyan, Emmerich, Frears, Helgeland, Mehta, Moorhouse, Scott, Sollett, Vallée

“People want to go home and have sex after your movie. Don’t make them feel urggghh. Don’t do that to your fellow sexually active people.”
In Toronto, Michael Moore Reminds Documentarians To Entertain 

“I’m telling you straight and true that Paul Dano‘s performance as the youngish Brian Wilson in Bill Pohlad‘s Love and Mercy is almost spookily great.”
Avers Jeff Wells

NY Times

“This movie was born in a blaze, and will be released in a blaze.”
Kevin Smith’s Tusk Gets Medicinal Marijuana Tie-In severe spoiler

NY Times

“People could call him a sociopath. But I wouldn’t at all. I would call it the birth of an artist. It’s poetry to him.”
Jake Gyllenhaal Tries A Festival-Friendly PR Tack For Nightcrawler

“I’m not sure if I’m allowed to talk about it yet, but screw it: I love this nasty little movie! It’s f—ing bonkers, and I can’t wait for you to see it.”
Kyle Buchanan Serves T. O. Buzz With His Starred-Up 15 Picks For The Fest

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“I’m an ardent consumer of Fassbinder. Years ago, when I heard that he was a big admirer of Douglas Sirk, I went straight to the source — to the buffet Fassbinder dined out on — and found that there was plenty more. And what palettes! I love the look of Fassbinder movies. Some of them are also hideous in a way that’s really exciting. When you go to Sirk, it’s more standardized. The movies produced by Ross Hunter — those really lush, Technicolor ones. I know Sirk was a painter and considered himself a painter first for a long time. He really knew how to work his palettes and worked closely with whatever art director he had. I was a guest speaker for the Technicolor series at TIFF Bell Lightbox and we screened Magnificent Obsession. To prepare for that, I watched the movie with a pen and paper. I wroteto down the names of the palettes. Soon, I realized those general color terms weren’t good enough. I used to be a house painter and I remembered the great names of the 10,000 different colors you could get in a paint chip book. So, I started to try to name the colors. Sirk used 100 different off-whites, especially in the surgery scenes in Magnificent Obsession!”
~ Guy Maddin On Sirk And Fassbinder

“I’ve never been lumped in with other female directors. If anything, I’ve been compared way too much to male filmmakers whom I have little to nothing in common with except visual style. It’s true that women’s filmmaking is incredibly diverse, but I am personally interested in how female consciousness might shape artwork differently, especially in the way female characters are constructed. So I actually would encourage people to try to group women’s films together to see if there are any threads that connect them, and to try to create a sort of canon of women’s films that critics can talk about as women’s films. One reason I want to be thought of as a female filmmaker is that my work can only be understood in that context. So many critics want to see my work as a pastiche of films that men have created. When they do that, they deny the fact that I am creating my own world, something completely original. Women are so often thought of as being unable to make meaning. So they are allowed to copy what men make—to make a pastiche out of what men have created—but not to create original work. My work comes from a place of being female, and rewrites film genres from that place. So it’s essential for me to be placed into a history of female-feminist art-making practice, otherwise it’s taking the work completely out of context.”
~ Love Witch Writer-Designer-Director Anna Biller