September 2007

Captain Mike Across America

Captain Mike Across America (Director: Michael Moore): Michael Moore’s latest film received a standing ova­tion at the Ryerson Theatre last Friday.

Republicans will see his latest work as a pro­pa­ganda film and some Canadians will call it a com­plete pile of rub­bish. Democrats will love the film and see it as the truth that has been sup­pressed by the media. This Canadian found it very entertaining.

During the last American elec­tion, Moore trav­elled the country encour­aging younger people to vote and more import­antly, to vote Democrat. His visits to col­leges across America became known as the Slacker Uprising Tour.

He takes the usual cheap shots at Bush, shows a number of Bush bloopers and invites musical guests to enter­tain the slackers (Eddie Vedder, Joan Baez, Steve Earle, REM and others).

One of my favourite moments in the film comes when Moore holds a press con­fer­ence. He points out that he had the courage to bring up the weapons of mass destruc­tion lie, at the Oscars sev­eral years ago. He goes on to lam­baste the reporters for being lazy and not doing their jobs — which is invest­ig­ating the truth instead of being a pro­pa­ganda machine for the White House.

He argues that Americans should be able to sit at home, eat a bag of Tostitos and get the truth for free on the evening news. Instead, he argues that Americans had to shell out 10 dol­lars to get the truth in from his film Fahrenheit 9/11.

As Moore went across the south­west in 2004, it was amazing to see how Republicans tried to shut him down. One busi­nessman offered $100,000 to a stu­dent group to not invite Moore to their school to speak.

Moore failed in helping to get Kerry elected but he suc­ceeded in get­ting younger voters out to the polls in record num­bers. For Democrats, Moore describes the film as “a cure for the hangover that fol­lowed” the 2004 election.

When asked if Moore would do a follow up to the film he said “no”. Moore claims that his life was threatened a number of times. At one event a guy allegedly got up on stage and tried to attack Moore with a pipe. At another event, some­body pulled a knife and while in Fort Lauderdale a man tossed a cup of hot coffee on Moore.

Love him or hate him, his films are enter­taining. The audi­ence at Ryerson couldn’t get enough of his stories. The film will have a lim­ited the­at­rical release in North America according to Harvey Weinstein who was in the audi­ence. Following that will be a DVD release which will include a lot of extra footage and a show Moore did in London shortly after 9/11. My guess is that all of this will come out next year just before the elec­tion (depending on how the Democrats are doing in the polls).

7/10(7/10)

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Toronto After Dark Film Festival

For a film fest in just its second year, the Toronto After Dark Film Festival (October 19–25) is run like a well-oiled machine. Adam Lopez, Twitch’s Todd Brown, and the rest of the staff are well-organized and pro­fes­sional, not to men­tion gen­erous. They’re ready to bring another col­lec­tion of cutting-edge horror, sci-fi, and fantasy films to town. After all the hype and celebrity-watching of TIFF, it’s refreshing to look for­ward to a fest­ival on a more human scale (and with more zom­bies!). Though I’m not a huge horror fan, After Dark brings enough weird stuff here that I’m sure I’ll find a lot to like. They’ve just announced their first seven fea­tures, and I’m par­tic­u­larly thrilled to see that Audience of One will be making its Canadian premiere. I missed it at SXSW this spring and have been prac­tic­ally beg­ging dir­ector Mike Jacobs to bring it Toronto.

Audience of One

It’s the story of Pentecostal pastor Richard Gazowsky, who believes that God is calling him to make an epic sci-fi film based on the bib­lical story of Joseph. Despite the fact that he didn’t see a movie at all until he was 40 years of age, he decides that he must be the dir­ector. Anything and everything that can go wrong, does, and Jacobs’ camera is there to cap­ture the whole train wreck on film. I’m hoping to get an inter­view with the dir­ector when he’s here.

If that’s not up your alley, check out the fest’s excel­lent web site for more premiere announce­ments. Single tickets go on sale September 26th, and if you’ve been paying for tickets to “that other film fest­ival,” you’ll be delighted at the prices. An even better value is the $99 VIP Pass (but hurry, there are only 100 available).

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Silent Light (Luz silenciosa)

Silent Light (Luz silen­ciosa) (Director: Carlos Reygadas): Another one of my pre­viewed films that made the final cut, Silent Light is a bit intim­id­ating to write about. Beginning with a stun­ning six minute shot of the sun rising over a Mennonite homestead, the film alerts us that it is going to require patience and a cer­tain sense of con­tem­pla­tion. And it estab­lishes right away that everything that fol­lows, the human story, is sec­ondary to the cycles of nature, to the cir­ca­dian rhythms of the nat­ural world, to the pulse of life that beats deep down in the earth and that echoes throughout the uni­verse. I’m sorry if I’m using high-flown lan­guage; it’s the effect of this strangely haunting film.

Johan is a simple farmer who’s lived his whole life among the Mennonites of northern Mexico. They don’t com­mu­nicate much with out­siders, and speak their own Plautdietsch dia­lect of German. He lives with his wife Esther (Canadian nov­elist Miriam Toews in a sur­prising role) and their large family. The film’s crisis comes when we learn that Johan has been car­rying on an affair with Marianne, another woman in the com­munity. He’s been honest about it with Esther from the begin­ning, and has tried to break it off, but deep in his heart he feels that Marianne is his “nat­ural woman” and that mar­rying Esther was a mis­take. Though he clearly loves her and his chil­dren, he’s torn by the power of his pas­sion for the other woman as well as his con­vic­tion that she is his intended match. Reygadas’ decision to use authentic Mennonite non-professionals has mixed res­ults. Though it’s clear that these are stoic people who use few words, in places the dia­logue still felt excess­ively mannered. He is able to achieve more with the camera than with any spoken dia­logue, and that’s where the film finds its emo­tional power.

The cine­ma­to­graphy and sound design are almost Dogme-like in their sim­pli­city, which makes the film’s climax all the more sur­prising for some. Without giving any­thing away, all I’ll say is that unlike many, I found it com­pletely nat­ural and moving in its sim­pli­city. And although this is sup­posedly a com­munity built on Christian faith, I found some­thing closer to pan­theism beating at its heart.

Here is the Q&A with dir­ector Carlos Reygadas from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 23:58

Trailer
Official Site

8/10(8/10)

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The Band's Visit (Bikur Ha-Tizmoret)

The Band’s Visit (Bikur Ha-Tizmoret) (Director: Eran Kolirin): This first fea­ture from the young Israeli dir­ector is a charming con­fec­tion that, as the dir­ector admits, has no basis in reality. In some unspe­cified recent past, the mem­bers of an Egyptian police band arrive at an air­port in Israel and, seeing nobody there to meet them, decide to pro­ceed on their own. Only they mis­take one town for another, and end up stranded in a lonely desert set­tle­ment. Dina, the earthy owner of the local café, comes to their rescue, finding them lodging for the night and taking a spe­cial shine to Tewfiq, the dis­tin­guished elder statesman who is the band’s leader. Most of the humour comes from the con­trast between the uni­formed and very polite band mem­bers and the bored and eccentric Israelis who aren’t quite sure how to react to their pres­ence. On one hand, these are Israel’s enemies and should be treated cau­tiously, but then again, not much hap­pens in their town and so this might be interesting.

The curi­osity of both groups over­comes any hes­it­ancy and soon three pair­ings have formed. Dina takes Tewfiq out for a meal and a drink, and Dina’s sen­su­ality briefly thaws out the older man. Young Khaled, the playboy of the band, goes out on the town with awk­ward virgin Papi, helping him over­come his shy­ness with a girl at a roller disco. And soulful com­poser Simon stays with troubled Itzik, whose mar­riage appears to be in ser­ious trouble. It’s mostly played for laughs, but there are sev­eral touching moments of con­nec­tion between the char­ac­ters. For me, the per­form­ance of Sasson Gabai as Tewfiq was mas­terful. Looking uncan­nily like Ben Kingsley, he brings dig­nity, sad­ness, and longing to the role. The other char­ac­ters are a little too broad most of the time, and the number of sight gags that involve the band lining up in their uni­forms becomes a bit repet­itive, but for a first fea­ture, Kolirin has done a won­derful job of making a small moment in time and space feel very special.

At the end of the film, when we finally hear the Alexandria Ceremonial Police Band play their beau­tiful music, we see that des­pite their uni­forms and impec­cable man­ners, these are pas­sionate men who are seeking love, or mourning its loss.

Here is the Q&A with dir­ector Eran Kolirin from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 6:07

7/10(7/10)

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The Assassination of Jesse James by the Coward Robert Ford

The Assassination of Jesse James by the Coward Robert Ford (Director: Andrew Dominik): This is a very mediocre film. It’s a great example of how TIFF looks for any­thing with a big star to sell tickets, draw crowds, create mean­ing­less buzz and sat­isfy auto­graph hounds. My curi­osity got the better of me and I was there looking at Brad Pitt and Angelina Jolie on the red carpet.

Tony Scott and Ridley Scott were exec­utive pro­du­cers and couldn’t save this film from being too long and at times, quite boring. Director Andrew Dominik could easily have cut 20–30 minutes but maybe the pro­ducer, Brad Pitt, wouldn’t let him? Even the music score from Nick Cave sounded repet­itive and lacking some spark.

The great Roger Deakins was the cine­ma­to­grapher but I felt com­pletely unin­spired by the visual style he brought to this film. He does a nice job of making Alberta look like Missouri but that’s it.

On a pos­itive note, the film is actu­ally per­fect for Brad Pitt who plays Jesse James. James was the biggest celebrity of his day, so casting Pitt in the lead role works quite well. Casey Affleck as Robert Ford plays a won­derful weasel — the best per­form­ance in the film.

There is a bit of viol­ence in the film that startled a few audi­ence mem­bers (people saying, “oh my” and “dear God” out loud). The crack of a pistol in one scene caused the woman in front of me to recoil in horror. I’ve never seen anyone snap their head back so fast. I really thought she was going to end up in the seat behind me. This gave me the best chuckle of the evening.

I don’t know. I think the dir­ec­tion and the screen­play by Andrew Dominik was the missing link to a great western. I had high hopes for this film and left disappointed.

Trailer
Official Site

5/10(5/10)

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