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September 07, 2007
Thursday One-Liners
The first day in Toronto meant four strong movies… can’t ask for much more than this. Well, I could ask for more time, but no one is giving it to me, so here are some quick takes as we head into Day Two…
The Orphanage – Old school thriller… similarly good to The Others, but slightly disadvantaged in the U.S. for being in Spanish.
Lust, Caution – Black Book as made by Won Kar Wai… some heavy sex scenes fill out the long, but beautifully made tale of an undercover rebel who gets too close for comfort.
Control – A very solid, but ultimately simple tale of a real-life rock star who can’t get himself together. The beautiful black and white photography and focused tale of this one sad young life is gaining a lot of buzz... probably a touch more than it deserves.
No Country For Old Men – The Coen Bros. put away the book of tricks and tell a simple, pitch black tale of the violence that men do and the nature of fate and the fate of a force of nature.
And left over from Telluride...
Juno - Take one part Rushmore and two parts Ghost World and mix with Mean Girls and you get Juno, a very arch comedy about a teen girl who takes being a pregnant teen somewhere often unexpected. For me, it's not quite as good as any of its predecessors, but it's still very entertaining. One step less clever might have made it a classic comedy. Still, Jason Reitman is two for two and getting better as a director.
When Did You Last See Your Father - Nice, very European film that has Colin Furth considering his dying father, played by the great Jim Broadbent. Dry, but lots of wet eyes in the theater.
My Enemy's Enemy - Terrific doc by Kevin MacDonald (Touching The Void, The Last King of Scotland) about Klaus Barbie. MacDonald manages to change speeds often while telling the story, never letting it drag (which is a problem with Barbet Schroeder's similarly themed doc, Terror's Advocate).
Persepolis - The graphic novel of an Iranian girl coming of age as The Shah of Iran falls, the film is dark and compelling and beautiful and truly one of a kind.
AND Into The Wild - I saw this film a while back and wanted to wait for a second viewing to write about it in depth. But I didn't get there in Telluride and while I hope to here, who knows? The short answer is that it is easily Sean Penn's best and most accessible work behind the camera. The movie is more road trip than Alaska adventure. The supporting performances are outstanding across the board, especially from non-pro Brian Dierker who makes a big impression. At the middle is Emile HIrsch, whose role is surprisingly not so showy, though it is critical to the whole thing working. It's a little long for some, but the spirit of the film is pretty irresistible.
Posted by poland at September 7, 2007 12:14 AM
Comments
I really liked Control. Perhaps because Ian Curtis died so young there wasn't a need (like there was in other movies like Ray, La Vie en Rose and Walk the Line) to simply reduce his life to five or six key events and then fill it out with performance sequences.
Plus, Curtis is a much more fascinating person to me than Ray Charles or Edith Piaf or Johnny Cash and, I'm sure this is representative of my youth, I like the music a lot more here (although I am a Cash fan, and Ray's music was incorporated well, I can't say I'm a fan of Piaf's music). And while it looks clean and wellmade it also has a sort of grungy look to it (probably due to the b+w) that suits the story of a late '70s garage band. I enjoyed the performances too (Samantha Morton especially).
I guess it was also nice to see a biopic that didn't end in either a drug overdose or alcoholism (or both).
Posted by: KamikazeCamelV2.0
at September 7, 2007 01:03 AM
Yeesh, I feel like I've been hearing about how great No Country for Old Men is for months now. My anticipation level keeps growing, though. Juno sounds like a great little sleeper flick, especially with Cera coming off Superbad. And since I've been a Joy Division fan since I was 14, I think Control should be interesting at the very least. I'm a big fan of Penn's The Pledge, so I hope Into the Wild is at least as good.
Posted by: Noah
at September 7, 2007 02:01 AM
Hold on... we are getting late breaking reports. Is this official Jerry? It is? Can we call it? Yes? Alright... let's call it. We can now say as of Friday Morning, that David Poland aka 'MIAMI HEAT' has a man crush on "INTO THE WILD." Repeat: Miami Heat has a man crush on "INTO THE WILD." Stay tune for further developments as they develop.
Silliness aside; Heat stated "probably a touch more than it deserves." Spoken like a man who has not listened to enough Joy Divison! The music along is reason enough to give this movie more props then you believe it deserves.
Posted by: IOIOIOI
at September 7, 2007 06:04 AM
Kamikaze,
You made a good point. I am not the biggest Joy Division fan, but the fact that Cutis' life was cut short gives the film a narrative framework that is limited in scope, but makes it more complete.
I loved Walk the Line, but it leaves sooooo much out that there is room for two sequels, a remake and a reimagining somewhere in there.
That is the problem with too many biopics. Too much to concentrate on so nobody really feels satisfied.
Control doesn't have that problem. I suspect a well thought out film on Kurt Cobain would have the same feel.
Posted by: Nicol D
at September 7, 2007 06:14 AM
Nicol, did you see the Gus Van Sant movie Last Days? It's not a Cobain biography at all (inasmuch as the movie covers, like the title says, just his last few days, and doesn't actually cop to the character being Cobain, though it obviously is), but it's an interesting movie. Afterward I thought about how in a lot of ways I preferred this snapshot approach to the usual "biopic" arc. Of course, a more traditional narrative about Cobain could still be made, but I found Last Days pretty fascinating.
I'm really looking forward to Walk Hard, as it'll be nice to see a genre-parody that isn't informed by the "hey, remember this scene?! Well here it is with a much [louder/more violent/more disgusting] edge!!" approach to spoofing.
Posted by: jesse
at September 7, 2007 07:00 AM
Interestingly, Control uses the marriage as a time setting device, though obviously, in the end, actual death does create finality. I don't think it gives much away to tell you that we are looking at the "dead body" of Dylan/Blanchett and eulogizing him at the top of I'm Not There as well. So in spite of - SPOILER - Dylan not actually being dead, it's eerie how similar that device is in two TWC films... also the use of black & white.
Man crush? No. But it's a strong movie. Man crush (if there is such a thing) on I'm Not There.
Posted by: David Poland
at September 7, 2007 07:17 AM
Heat; you are all about crushing HARD on films. Thanks for clarifying the current man-crush as of the TIFF. Stay tune for more updates as we follow Heat's Man-Crushes all the way through award season!
Also, with Control, 24 Hour Party People covered a great deal of the New Order/Joy Division story. I am curious as to how Control expands on Curtis' life (outside of his wife's biography that makes him out to be a wife-beating lout of a man), the inter-dynamics of Joy Division, and if it concludes by telling the audience that the band went on without Curtis to form a New Order -- who changed music as much as Joy Division did. If it does any of that well. I am all there for this flick.
Posted by: IOIOIOI
at September 7, 2007 08:33 AM
No New Order.
A bit about the group, but the film is mostly Curtis and his wife and eventually, child, and girlfriend. No wife beating here though.
Posted by: David Poland
at September 7, 2007 08:58 AM
Joy Division rules. Love to see the movie, but the music alone is epic and amazing and anyone who hasn't listened to them should go get their first two albums right now. Unless you are a suicidal teenager, in which case you should probably hold off and tick to the prozac.
24 Hour Party People was a lot of fun, but a comedy. And comedy doesn't really seem to be the proper way to look at Joy Division. I imagine Control is much different in tone from what I've read.
Keep the new movie blurbs coming!
Posted by: The Carpetmuncher
at September 7, 2007 11:16 AM
I would argue New Order changed music even more than Joy Division, and their blend of rock with club music can't be underestimated in its influence and innovation.
As I've always been a much bigger fan of NO than Joy Division, Control is a bit of a happy ending story the way I see it. Shame about Curtis though.
Posted by: lazarus
at September 7, 2007 11:18 AM
I feel the exact opposite, laz. I never could get on the NO wagon, but I find Joy Division as essential as early Ramones or Televison or Talking Heads or X or...
Between the music and the cinematography, this has to be good, even if it's bad. Kinda like Rumble Fish. (But better yet if it's actually GOOD.)
ps: I've never seen Last Days -- really ought to, I know -- but is sounds to me like it's similar to the Chelsea Hotel portion of Sid and Nancy, stretched out to feature-length. Is it?
Posted by: frankbooth
at September 8, 2007 06:33 PM
Last Days is a feeling of sorrow for Kurt Cobain that never goes anywhere except to feel bad. I saw a free preview and while I empathized with the supposed-to-be-Kurt chararcter, it wasn't a movie either (so I'm a little glad the view for me was free).
Hey Frank, I saw a Pabst Blue Ribbon can on my alley this AM, I have to run back out and take a photo on my camera phone so I can set it as the wallpaper. How often does such an opportunity for pure art arise?
I didn;t even know they still sold Pabst Blue Ribbon. Is schlitz and Hamm's still for sale?!
Posted by: Lota
at September 9, 2007 10:56 AM
You're right, Last Days isn't a movie, but it is a film.
Posted by: jeffmcm
at September 9, 2007 12:57 PM
YOU DIDN'T KNOW THEY STILL SOLD PABST...BLUE...RIBBON!!!??? DON'T YOU FUCKING LOOK AT ME!
Ahem.
So, Jeff, are you saying it works as a sort of mood piece or tone poem despite its lack of narrative structure? It's a film, yes, but a good one or bad one?
Posted by: frankbooth
at September 9, 2007 04:41 PM
Yes, mood piece or tone poem works for me. I had it in my top ten of that year.
Posted by: jeffmcm
at September 9, 2007 05:26 PM
IO, give it up already with the Miami Heat thing, for crying out loud. You're the only one still doing it.
On the JD/NO debate. I would argue that New Order had more of a chance to change music because they were around for much longer during the new wave development. I admit to prefering New Order because they're more my kind of music, but havind said that, Joy Division's music is nothing to turn my nose up at. Songs like "Intermission" are classics for a reason. I was surprised to see in Control that "Love Will Tear Us Apart" (arguably their most noted and wellknown song) was merely used as soundtrack where the other popular songs were seen in performance sequences.
Posted by: KamikazeCamelV2.0
at September 10, 2007 12:45 AM
personally i like Sisters of Mercy the best then JD then NO.
I'm not looking at you Frank, just at the Pabst blue ribbon can on my phone. I'm hoping no one figures out why I actually have a pabst blue ribbon can photo on my phone.
Posted by: Lota
at September 10, 2007 09:14 PM
Didn't LOVE WILL TEAR US APART come out after Curtis' suicide? I know it wasn't on either of their first two albums. I'm no expert, but it's possible it wasn't in the performance sequences because maybe they never performed it live?
Posted by: The Carpetmuncher
at September 11, 2007 05:17 PM
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