(Delayed reactions to the) 2012 Cannes Film Festival Winners

 It's been a busy couple of days, and as such I haven't really been able to find time to blog, a little inconvenient considering the timing. In addition to this brief commentary on the winners from this year's Cannes fest, I have one more competition film to review, John Hillcoat's Lawless. More imporant for now, though, are the winners picked by the jury led by Italian actor/director Nanni Moretti. 

Palme D'Or: Amour (Michael Haneke)
Thank goodness they got this one right, because it's all downhill after the top prize. My favorite film of the festival (competition or not), I was worried that Haneke's recent victory at Cannes - winning the same prize for 2009's The White Ribbon - would hurt him this year. How happy I am to be wrong. Not only will this boost the terrific film's profile, it also helps upset just about everything that follows. It's technically a safer choice than my other Cannes fave, Holy Motors, in that it's not completely insane, but Haneke's piercing look at death and old age only reinforces why the man is as revered as he is, all while showing us a heartfelt (albeit austere) side.


Best Director: Carlos Reygadas - Post Tenebras Lux
If you read my super brief "review" of Reygadas' film, you'll know that I am no fan of this decision. I was with people at the festival who were really rooting for Lux to take home a prize, and their adoration for the film always made me scratch my head. Reygadas is thinking big, but the execution also just feels so sluggish and empty that the film as a whole becomes a painfully long two hours to sit through. Add in the obnoxious split image/blur effect that the director throws in, and you have a massive self-important misfire. Oh well, at least he didn't claim the Palme, as some rumors were suggesting in the hours before the closing ceremony.


Grand Prix: Reality (Matteo Garrone)
A true head-scratcher, and I say that in recognition of the fact that the jury president hails from the same country as Garrone. If they were going to reward this film, it should have been in Best Actor for Aniello Arena. He was the only part of this dull, cliched look at modern culture's obsession with reality TV actually worthy of praise. Everything else was as flat as an abandoned cup of soda.


Grand Jury Prize: The Angel's Share (Ken Loach)
Another head-scratcher. Loach's film is a pleasant little diversion with some nice acting, but it's also the type of film lacking in a single remarkable element. Even if Cannes did a full roster of awards a la the Oscars, I still doubt there would be a category where this would crack the top five. To be fair, Cannes has been kind to Loach (he won the Palme in '06) for years, but the general consensus seemed to be that he was taking it easy this time. Clearly Moretti (and others?) felt differently.


Best Actor: Mads Mikkleson - The Hunt 
One of the two rewarded films I didn't manage to see, there's really not much I can say here. Yes, I had favorites I was rooting for (Trintignant, Lavant, Schoenaerts), but I've heard nothing but good things about Mikkleson's work in the film, even from those who weren't fans of the rest of the piece.


Best Actress: Cristina Flutur and Cosima Stratan - Beyond the Hills
The other victorious film I didn't get to see was, sadly, Cristian Mungiu's latest, which earned some of the festival's strongest reviews. Again, I heard great things about the work, so I have no comment, although I'm still a tad shocked that odds-on favorite Marion Cotillard didn't win. If Rust and Bone, a good but not spectacular film, was going to take home a prize, Actress seemed like its best bet by a large margin.


Best Screenplay: Cristian Mungiu - Beyond the Hills
See previous two categories.

Karlovy Vary FF: Day 3 Impressions

My last day at KVIFF was unfortunately a short one, leaving me enough time to only see one. Despite some problems, however, it ended up being a nice surprise, and a good way to end my first festival experience:

Day 3 Impressions:

No Tengas Miedo dir. Montxo Armendariz: Child abuse isn't an easy subject to build a story around, yet Armendariz's film tackles it with great skill and taste. He refrains from overwrought sequences of graphic rape, instead choosing to focus on the victim's quiet, pained reactions. It's a decision that pays off in spades. The film is also bolstered by effective work from Lluis Homar (Broken Embraces), Belen Rueda (The Orphanage), and Michelle Jenner. It's a compelling and tightly structured film. Armendariz jumps into the abuse so quickly, that his film starts to run out of steam 2/3 of the way through. The last half hour loses focus, and becomes a patchwork of scenes, that leave the film rather aimless. It's as if Armendariz forgot that he had to bring the film to an end at some point, and had no idea how to do it.

Grade: B

Karlovy Vary Film Festival: Day 2 Impressions

Unfortunately, due to being literally 5 people too far back in line, I was unable to attend the KVIFF showing of The Skin I Live In, one of my most anticipated of the year. I was, however, able to attend three films today, even though one of them I'd seen three weeks prior. Condensed thoughts on the viewings:

Day 2: Impressions

The Tree of Life dir. Terrence Malick: Apparently I got more out of my first viewing of Malick's cosmic opus the first time around than I realized, because this second watch did little to change my opinion. Not that I'm complaining, seeing as I gave the film an "A-" in my original review. The most extreme "change" that I felt may have been in the film's last 20 minutes, which somehow seemed less abstract/obstuse than before, even though I still can't give you an explanation as to what it meant to me. All this viewing did was confirm that this is one challenging, drop-dead gorgeous work of art, with only a handful of tiny stumbles.

Grade: A-

Hanezu dir. Naomi Kawase: The shortest film I saw today (at 90 minutes), Hanezu still managed to feel longer than Tree and Once Upon a Time in Anatolia combined. I honestly can't remember the last time I lost interest in a film so quickly. And despite the script's attempts to portray a couple's relationship in decay, Kawase ends up presenting a film where literally nothing of importance happens. It's one thing for a film to be bad. Bad films can still be interesting failures. Where Hanezu goes wrong is that it's both bad and excruciatingly boring and empty. And in the world of cinema, that's as close to a mortal sin as you can get.

Grade: D

Once Upon a Time in Anatolia dir. Nuri Bilge Ceylan: The latest film from Nuri Ceylan, which tied for 2nd Place at Cannes this year, almost feels like two films. The first, which lasts for an hour and a half (maybe a little more), is a slow-burning, quietly compelling, and occasionally mesmerizing crime procedural. Unfortunately, a second movie, lasting only a little over an hour, comes in and mucks up everything, barring a handful of well executed scenes. Like so many movies of its kind, Anatolia's pacing wouldn't be a problem, if it weren't for the film's overlong run time. As a 90 or 100 minute film, this could have been an interesting and compelling take on the crime genre. Instead, it veers off course and overburdens itself with story and character shifts.

Grade: B-

Karlovy Vary Film Festival: Day 1 Impressions

Greetings from the Czech Republic (I probably should have said that four or five posts ago), and more specifically, greetings from Karlovy Vary, home to the 46th Karlovy Vary Film Festival. While lacking the major publicity (at least Stateside) of Cannes or Venice, KVIFF is actually considered one of the premiere film festivals in Europe, and as luck would have it, I get to spend 3 (ish) days here.

Originally shared between Karlovy Vary and Moscow, the festival fell entirely to the care of the Czech Republic after the fall of communism in 1989. Since then, the small town has blossomed into a lovely resort/spa town of sorts. Of course, that's not the reason to go, at least not for July 1-9. With a truly impressive array of films, both in an out of competition (ie: most Cannes titles), KVIFF should prove to be a memorable experience, seeing as this is my first time at a legitimate film festival. Having finished my first day (and only being able to make one screenings; boo), I can only wish that I was staying longer, because I'm starting to develop kid-in-a-candy-shop syndrome.

Anyway, the point (thought I'd never get there, didn't you?) is that I'll be able to give reviews of something other than what's out in theaters or available on Netflix, which makes for a nice change of pace. I plan to wrap up each day with simple impressions, on which I will fully expand in the first few days of next week. So, without further delay, here's a quick glimpse at my one screening, which turned out to be a lovely surprise.

First Impressions: Day 1

Tyrannosaur dir. Paddy Considine: A sturdy kitchen sink style drama that is at times slightly amateurish and blunt, but none the less effective. Considine navigates the limited story (which is more a series of encounters) with a deft hand, despite the heavy subject matter on display (spousal abuse; fun!). What could have been slow, turgid misery porn is actually a nicely effective character piece. The main problem is that one of the film's main characters, played by Peter Mullan, is handled with an odd mix of distance. We see his rage, but even when we understand it, the effect is somehow muted. On the opposite end of the spectrum is the film's leading lady, Olivia Colman, who completely owns the role of a timid store owner stuck in an abusive marriage. We see both her timid desperation (enhanced by Colman's small, pixie-ish face), and those tiny flares of a desire for independence. It's marvelous work, the best I've seen this year since Juliette Binoche in Certified Copy (and that's saying a lot).

Grade: The movie: B/Olivia Colman: A

Tomorrow's schedule (fingers crossed): The Skin I Live In, Hanezu, and Once Upon a Time in Anatolia

Cannes Review Round-Up: "Midnight in Paris"

Over France, the Cannes Film Festival is finally underway. And with the opening night selection screening complete, reviews are starting to pour in for Midnight in Paris, the latest from the uber-prolific Woody Allen. A few weeks ago I read one or two lines of buzz that hinted that the director's latest Paris-set effort was actually one of his best in the past decade. And if early remarks are any indication, those two sentences of hype were right:

Living in Cinema - Craig Kennedy: (4.5/5 stars) "Consistently amusing yet never straining for a big laugh, it feels effortless yet never lazy." Kennedy also praises the whole cast, especially Wilson, Sheen, and Cotillard.

Thompson on Hollywood - Anne Thompson: (N/A) "Midnight in Paris is Woody Allen's best movie since Deconstructing Harry in 1997." "[The film] has long term Oscar potential."

Hollywood Elsewhere - Jeffrey Wells: (N/A) "The advance buzz was correct: Woody Allen's Midnight in Paris is a goodie." "It is time well spent, and a time-trip worth taking."

Entertainment Weekly - Dave Karger: (N/A) "...I'd say the consensus will be that Midnight is easily his best film since Vicky Cristina." "The movie really belongs to Owen Wilson, who gives a droll and charming performance."

Rope of Silicon - Brad Brevet: (B+) "...inventive, imaginative, and charming." "...Sheen absolutely crushes the part." "As Adriana, Cotillard again brings a performance you can't help but be entranced by." "Midnight in Paris is a romantic comedy of the sort you wish Hollywood would aspire to."

Screen Daily - Mark Adams: (N/A) "...an amusing and elegantly constructed love letter to Paris, rich on romance, humour, and culture, and driven by a nicely pitched performance by Owen Wilson."

The Hollywood Reporter - Todd McCarthy: (N/A) "As beguiling as a stroll around Paris on a warm spring evening."

Guy Lodge (on Twitter): (B-/C+) "Sprightly and choux-sweet first half, gradually bogged down in skit-sized conceit and Woody's binary view of women."

Foundas on Film - Scott Foundas: (N/A) "...Allen has, I think, delivered one of his masterpieces - a movie about the romantic pull of yesteryear."

The Telegraph - Sukhdev Sandhu: (2/4 stars) "Some of its conceits are funny...[but] it devolves into a sweaty, over-crowded cocktail party."

The Guardian - Peter Bradshaw: (3/5 stars) "...a shallow examination of nostalgia with endearing performances by Owen Wilson and Marion Cotillard."

Cannes Verdict: A thoroughly charming and engaging romantic comedy led by strong work from Owen Wilson and a lively supporting cast.

2011 Cannes Film Festival Line Up

After much speculation of who would and wouldn't make it in, the Cannes Film Festival has finally unveiled its official roster of films, both in and out of competition. Here's the full list, courtesy of Empire Online:

Opening film:

Woody Allen - Midnight in Paris

Main competition:

Pedro Almodóvar - La Piel que Habito
Bertrand Bonello - L'Apollonide: Souvenirs de la Maison Close
Alain Cavalier - Pater
Joseph Cedar - Hearat Shulayim
Nuri Bilge Ceylan - Bir Zamanlar Anadolu'da
Jean-Pierre et Luc Dardenne - Le Gamin au Vélo
Aki Kaurismäki - Le Havre
Naomi Kawase - Hanezu No Tsuki
Julia Leigh - Sleeping Beauty
Maïwenn Le Besco - Polisse
Terrence Malick - The Tree of Life
Radu Mihaileanu - La Source des Femmes (The Source)
Takashi Miike - Ichemei (Hara-Kiri: Death of a Samurai)
Nanni Moretti - Habemus Papam
Lynne Ramsay - We Need to Talk About Kevin
Markus Schleinzer - Michael
Paolo Sorrentino - This Must be the Place
Lars Von Trier - Melancholia
Nicolas Winding Refn - Drive

Un certain regard

Opening film:

Gus Van Sant - Restless

Bakur Bakuradze - The Hunter
Andreas Dresen - Halt auf Freier Strecke
Bruno Dumont - Hors Satan
Sean Durkin - Martha Marcy May Marlene
Robert Guédiguian - Les Neiges du Kilimandjaro
Oliver Hermanus - Skoonheid
Sangsoo Hong - The Day He Arrives
Cristián Jiménez - Bonsái
Eric Khoo - Tatsumi
Ki-duk Kim - Arirang
Nadine Labaki - Et Maintenant On Va Ou?
Catalin Mitulescu - Loverboy
Hong-jin Na - Yellow Sea
Gerardo Naranjo - Miss Bala
Juliana Rojas, Marco Dutra - Trabalhar Cansa
Pierre Schoeller - L'exercice de L'etat
Ivan Sen - Toomelah
Joachim Trier - Oslo, August 31

Out of competition:

Xavier Durringer - La Conquête
Jodie Foster - The Beaver
Michel Hazanavicius - The Artist
Rob Marshall - Pirates of the Caribbean: On Stranger Tides

Midnight screenings:

Peter Ho-Sun Chan - Wu Xia
Everardo Gout - Dias de Gracia

Special screenings:

Frederikke Aspöck - Labrador
Rithy Panh - Le Maître des Forges de L'enfer
Michael Radford - Michel Petrucciani
Christian Rouaud - Tous au Larzac

Even though several major titles (Cronenberg's A Dangerous Method) weren't selected (likely due to incompletion), this year's festival has more than enough big-name talent coming its way. The opening night selection, Midnight in Paris, the latest from Woody Allen, is filled with big names (Rachel McAdams, Owen Wilson, Marion Cotillard, Michael Sheen), and that's just the beginning of the 11 day festival.

There's also The Tree of Life, which is surprisingly in competition, despite having a London premiere before its Cannes bow (Cannes generally requires in competition entries to have their world premiere at the festival). Of all of the titles from the festival that I'm anticipating, this is easily at the top of my must-see list, and I can't wait to see the reactions. Malick's films are generally well-liked, but they certainly have their detractors; I'm dying to hear how fierce the debates are, both about the film's meaning and its overall quality.

Also on my radar are The Skin That I Inhabit and Melancholia, from Pedro Almodovar (Volver) and Lars von Trier (Dancer in the Dark) respectively. Almodovar has temporarily taken a break from working with muse Penelope Cruz, in favor of reuniting with Antonio Banderas.

The film has been described as the director's first foray into the thriller and horror genres, and with Almodovar's dramatic flair and vibrant color palette, I'm dying to see what he comes up with. The same goes for Melancholia, which appears to be an anti-disaster disaster movie.

Opening with the destruction of the earth, the film them goes back in time to focus on how earth's impending doom affects two sisters (Kirsten Dunst and Charlotte Gainsbourg). It's been described as von Trier's most mainstream film to date, though I'm sure there's some bit of insanity that hasn't been shown or hinted at in the trailer.

On the less flashy side of things is Lynne Ramsay's We Need to Talk About Kevin, a drama about a woman (Tilda Swinton) who tries to reconnect with her (ex?) husband (John C. Reilly) after their son goes on a Columbine-like killing rampage. I haven't seen any of Ramsay's previous work, but I'll see anything led by Swinton, even if the subject matter does sound almost unbearably grim.

Swinton's past two performances, in Julia and I am Love, garnered significant praise, but failed to gain any awards season traction. However, if the film is picked up for release this year and receives decent enough reviews, Swinton might not have to go 3 for 3. Who knows, she might even end up being a contender for the actress prize at Cannes. There's also Joachim Trier's Oslo, August 31, the director's second full-length film after the excellent Reprise (2008). IMDb has no plot synopsis (or full cast list) at the time, but I look forward to seeing what this promising writer/director has come up with for his next film.

Poster revealed for the 64th Cannes Film Festival

While last year's Juliette Binoche-ified poster was playful, this year's is a little bit retro and completely elegant. Showcasing Faye Dunaway (from a little seen film of hers from the 70's), and clean, simple numbers, I think this is one of my favorites from the recent string of Cannes posters. The festival is sure to be interesting this year, with big titles like The Tree of Life. Other possible contenders (please please please) include David Cronenberg's A Dangerous Method (so that's where you've been, Keira Knightley), Pedro Almodovar's The Skin I Inhabit, and the Tilda Swinton drama We Need to Talk About Kevin. And, as will be the case for many of the entries at the festival (thankfully, none of the four listed), it will mark that long countdown between hearing about an intriguing film, and that film's actual release state side.

Where We Stand: Post Venice/Toronto/Telluride Oscar Predictions

It's amazing how much the awards season landscape can change over the course of a few weeks, especially when film festivals are involved. The last few weeks were particularly charged with change. Films and performances received their first reviews, distribution deals were reached, campaign deals sealed, and the races for picture, director, and the acting awards began to finally emerge (if only slightly) from the murk of the first 7.5 months of the year. So, just how much have the front-runners, possibles, and DOA's changed? Here's a (hopefully) better look at what awards season 2010 might bring (excluding Foreign Language, Song, Documentaries, and Short Films):

Note: Categories marked with an '**' are NOT ranked in terms of likelihood (of a nomination).

Best Picture:

1. The King's Speech
2. 127 Hours
3. Toy Story 3
4. Black Swan
5. The Social Network
6. Somewhere
7. The Town
8. The Kids Are All Right
9. Inception
10. The Fighter

Best Director:

1. Danny Boyle - 127 Hours
2. David Fincher - The Social Network
3. Darren Aronofsky - Black Swan
4. Sofia Coppola - Somewhere
5. Tom Hooper - The King's Speech

Best Actor:

1. James Franco - 127 Hours
2. Colin Firth - The King's Speech
3. Robert Duvall - Get Low
4. Ryan Gosling - Blue Valentine
5. Javier Bardem - Biutiful

Best Actress:

1. Natalie Portman - Black Swan
2. Annette Bening - The Kids Are All Right
3. Julianne Moore - The Kids Are All Right
4. Lesley Manville - Another Year
5. Nicole Kidman - Rabbit Hole

Best Supporting Actor:

1. Geoffrey Rush - The King's Speech
2. Ed Harris - The Way Back
3. Sam Rockwell - Conviction
4. Christian Bale - The Fighter
5. Vincent Cassell - Black Swan

Best Supporting Actress:

1. Miranda Richardson - Made in Dagenham
2. Dianne Wiest - Rabbit Hole
3. Mila Kunis - Black Swan
4. Elle Fanning - Somewhere
5. Amy Adams - The Fighter

Best Original Screenplay:

1. Another Year
2. The Kids Are All Right
3. The King's Speech
4. Somewhere
5. Inception (it's certainly fading, however)

Best Adapted Screenplay:

1. The Social Network
2. Toy Story 3
3. The Town
4. 127 Hours
5. Rabbit Hole

Best Editing:

1. 127 Hours
2. Inception
3. The Social Network
4. Toy Story 3
5. The Town

Best Cinematography:

1. 127 Hours
2. Black Swan
3. Inception
4. True Grit
5. Miral

Best Art Direction:

1. Alice in Wonderland
2. The King's Speech
3. Harry Potter and the Deathly Hallows Part I
4. Black Swan
5. Inception

Best Costume Design:

1. The King's Speech
2. Black Swan
3. Alice in Wonderland
4. Harry Potter and the Deathly Hallows Part I
5. The Tempest

Best Animated Film:

1. Toy Story 3
2. How to Train Your Dragon
3. The Illusionist

Best Original Score:

1. Never Let Me Go
2. The King's Speech
3. The Social Network
4. Harry Potter and the Deathly Hallows Part I
5. 127 Hours

Best Visual Effects:

1. Inception
2. Iron Man 2
3. TRON: Legacy
4. Harry Potter and the Deathly Hallows Part I
5. Alice in Wonderland

Best Sound Editing**:

1. Inception
2. 127 Hours
3. Iron Man 2
4. Harry Potter and the Deathly Hallows Part I
5. TRON: Legacy

Best Sound Mixing**:

1. Inception
2. TRON: Legacy
3. Salt
4. Harry Potter and the Deathly Hallows Part I
5. Robin Hood

Say good bye to "The Conspirator," and hello to "Rabbit Hole"

In what is becoming an increasingly overcrowded year (especially in the lead actress category), some films are in danger of joining Tree of Life in 2011, despite assumptions that they would at least have Oscar-qualifying runs this year. Two films whose fates were recently questioned were Toronto selections The Conspirator and Rabbit Hole, which have both been seen by critics and the public after months of precious little promotional material. Well, for those of you keeping track, it's time to update your predictions, if only slightly.
Deadline New York has confirmed that The Conspirator has a distributor, but it won't land in theaters until Spring 2011 (in other words: good-bye Oscar chances). Meanwhile, Showbiz411 is reporting that LionsGate is very close to picking up Rabbit Hole with the intent being to get it out in theaters in time for the upcoming Oscar race.

Toronto Review Round Up: "Rabbit Hole"

Despite turning in some strong work in the past few years, Nicole Kidman has unfortunately found herself in that category of recent Oscar winners who just can't seem to catch a break. Ever since Cold Mountain (2003) and Dogville (2003/4 depending on your preference), nearly everything film she's been part of has been met with either mixed or negative reviews (which is a shame; I actually liked Birth and Australia quite a bit). Her latest attempt to get back on everyone's good side is Rabbit Hole, John Cameron Mitchell's (Hedwig and the Angry Inch) directorial adaptation of David Lindsey-Abaire's critically acclaimed play (which won Cynthia Nixon a Tony). After missing out on the Cannes and Venice film festivals, the film, also starring Dianne Wiest, and Sandra Oh, has finally been shown before the public, and if you've been waiting for the start of a "Kidman comeback," you can finally breathe a sigh of relief, if the first reviews and audience reactions are any indication.

Cinema Blend's Katey Rich gets things off to a glowing start, praising Mitchell's direction for "[opening] up the story without ever overdoing it. Most importantly, he leaves room for his stupendous actors to take over." And as for flaws, Rich points them out, but makes them seem minor at most. She writes that "Not everything in Rabbit Hole avoids cliche - the one screaming and crying scene between Becca and Howie feels a little forced," and "while Lindsey-Abaire's writing can put too fine a point on things in some scenes, it frequently takes your breath away with its insight." The Hollywood Reporter's Kirk Honeycutt isn't quite as positive, claiming that the film is "a little too self-conscious for its own good" in that nearly every scene involves the tragedy that sets off the film. Still, he praises much of the writing, despite some of it being "heavygoing" in subject matter.

Of the performances he has much nicer things to say, especially of Kidman, whose performance he calls "riveting because she essentially plays the entire film at two levels." Over at Variety, Peter Debruge calls the film "refreshingly positive-minded" in its treatment of the grim subject matter, and praises the film's use of humor. Debruge also highlights Kidman and Eckhart's work, which he calls "expert [and] understated." Like Rich, Debruge says that the film has been "adroitly expanded" from the stage version, which certainly helps to erase those fears that the film's stage origins might feel too obvious. Finally, the Seattle Times' Moira Macdonald writes in her late-night festival summary, "Saw my last TIFF '10 movie this morning and it was a stunner: Rabbit Hole."

Additional Reviews:

RopeofSilicon: "These characters feel real and so does their sadness and the way they go about trying to cope. Instead of their grief wearing on you, you want to reach out and give them a hug."

Toronto Verdict: A largely successful transition from stage to screen, thanks in large part to Mitchell's direction, Lindsey-Abaire's adaptation of his own work, and an ensemble filled with terrific performances led by Kidman and Eckhart.

Toronto Review Round Up: "What's Wrong With Virginia?"

Two years ago Dustin Lance Black wrote a screenplay for a little movie called Milk, and it kind of went over well with the Academy. Two years later, Black's latest, which he also directs, is opening in at the TIFF in hopes of finding a distributor. Unfortunately, if these first reviews are any indication, there could be quite a bit wrong with "Virginia."

Cinema Blend's Katey Rich is mixed on the film, and says that it is "all over the place in every imaginable way...vacillating wildly from camp to melodrama to harsh satire and back again." However, she's kind to the performances, particularly Jennifer Connelly's weave, about whom she writes, "Connelly has rarely looked more fragile or dangerous," and calls the performance "her best work in years."

Slightly less kind is The Hollywood Reporter's Michael Rechtshaffen, who summarizes the film as "an unfortunately curdled misfire." He gives no praise (or criticism) to the performances, but repeatedly takes Black's tone to task, and says that the film is "tonally all over the place" and that "what's wrong with Virginia is small potatoes compared to what's wrong with this film." Howard Feinstein at Screen Daily continues in the same vein, and says that while the film starts out with promise, "the screenplay becomes as overloaded as a packed rollercoaster, testing the viewer's patience along the way and offering little in the way of pay off."

Additional Reviews: [awaiting]

Toronto Verdict: [awaiting]

Toronto Review Round Up: "Little White Lies" [incomplete]

One of the biggest film festivals in the world, and one of the most important in regards to Oscar predictions/indicators, has been underway for a few days now, and along with previously premiered films like Black Swan, The King's Speech, and 127 Hours are previously unreviewed films like Rabbit Hole (I'm reaaaaaally hoping for good reception on this one) and the subject of this post, Little White Lies.

"Lies," which has been on my radar for a while now mostly because it stars Marion Cotillard and is directed by her boyfried (fiance?) Guillaume Canet, even though there hasn't been too much available out it yet. That should change very quickly, and the first reviews from the TIFF screening are finally making their way online. Michael Rechtshaffen of The Hollywood Reporter is generally positive in his assessment of the ensemble dramedy, though he says the film is hampered and "loses much of its effervescence as it goes on - and on." Rechtshaffen praises the performances, especially those of Cotillard and co-star Fracois Cluzet, both of whose work is described as "bright and energetic."

Variety's Jordan Mintzer's review is similar. He says parts of the movie fire on all cyllinders, and the performances are strong, but that it's simply too long for its own good. Mintzer calls the film "disjointed [and] occasionally effective" and says that Cluzet is "too over-the-top here." Mark Olsen over at the LA Times is more positive on all fronts though. He only mentions the film's length once, writing that Canet "somehow pulls it all together." And Olsen is particularly kind to Cotillard, writing that she, "gives a performance of acute emotional ability. There is a mischievous playfulness to her performance here, with a deep undercurrent of sadness, which makes for a most remarkable turn." He goes on to suggest that, were the performance in English, Cotillard would be a likely Best Actress hopeful, even in this increasingly overcrowded year that is threatening to push some films (please don't let one of them be this or Rabbit Hole) to 2011 to join Tree of Life.

Additional Reviews: [awaiting]

Toronto Verdict: [awaiting]

2010 Venice Film Festival Winners! [updated as announced]

• Golden Osella for Best Cinematography: Silent Souls
• Best Actress: Ariane Labed - Attenberg
• Best Actor: Vincent Gallo - Essential Killing
• Golden Osella for Best Screenplay: Alex De La Iglesia - Balada Triste de Trompeta
• Marcello Mastroianni Award: Mila Kunis - Black Swan
• Leoncino D'Oro Award: Barney's Version
• Special Jury Prize: Jerzy Skolimowski - Essential Killing
• Silver Lion: Alex De La Iglesia - Balada Triste de Trompeta
• Special Golden Lion for the director's overall work: Monte Hellman - Road to Nowhere
• Golden Lion (unanimously): Sofia Coppola - Somewhere

Telluride First Review: "The Way Back"

One film that we haven't heard much about until recently, though it's been buzzed plenty enough, is Peter Weir's The Way Back. The film covers the true story of soldiers (and others) who escaped from a Siberian gulag in the early 1940s. The film, which stars Ed Harris, Colin Farrell, Jim Sturgess, and Saoirse Ronan, has been talked about as a possible come-back project for Weir, and while this first review makes it sound like such a come-back, it sounds like it could be too intense to garner much awards traction.

Cinematical's Eugene Novikov writes that the film "enters the canon of survival films as perhaps the most sadistically intent on making you feel as much of its subjects' physical agony as possible." He also says that the first half is "Weir at his hypnotic best," but that it "makes for an intense, unpleasant experience." Novikov also writes that the second half loses some impact because it becomes "a series of obstacles and triumps...the moral ambiguity drains from the film."

Additional Reviews:

The Hollywood Reporter: "...a harrowing epic that will not be an easy sell, but it finds Weir again working at the top of his game."

Telluride Verdict: An intense film that doesn't sugar-coat the harshness of its story, and that, flaws and all, is a major new work from Peter Weir.

Telluride Review Round-Up: "127 Hours"

When the trailer for Danny Boyle's true-life drama 127 Hours first arrived, I'll admit, I wasn't impressed. I was already iffy about putting the story of Aron Ralston on the big screen, and the trailer only solidified this early judgement. However, the reviews coming out of Telluride beg to differ, and after reading through the reviews that I've found so far, Boyle's latest has shot up quite high on my must-see list. There have even been reports that the film was so intense it caused one audience member to faint.

Peter Sciretta of /Film gives the film an impressive (9.5/10) and writes that Boyle and screenwriter Simon Beaufoy "really shine" in their depiction of Ralston's time trapped, immobile, and running out of food and water. He goes on to say that "[James] Franco gives the performance of his career and hits emotional levels I didn't believe the actor was capable of." He also praises the film's editing (over an hour of it is "Franco stuck between two walls") and cinematography, and concludes his review with the following summary: "127 Hours is a brilliant, gut-wrenching and moving cinematic experience." FirstShowing.net's Alex Billington also gives the film and Franco high praise and says that "Franco does indeed knock it out of the park with this," though he does say that while he thinks the film is great, "[he] couldn't get into it as much as Slumdog Millionaire or Buried." He also says that he feels the film's score isn't entirely appropriate and that it should have had "a more melodic, moody, conventional score."

Over at Cinematical, Eugene Novikov writes that the film is "gut-wrenching in a queasy, horror-movie way - a shield-your-eyes-from-the-screen, chuckle-in-relieved-astonishment sort of experience, done incredible well." However, despite praise for Franco's performance, Novikov doesn't seem convinced that it's really best-of-the-year material. He finishes his review by saying that the film is "extremely effective as a thriller, and moderately so as a minor character study. Adjust expectations accordingly and you'll have a good time."

Additional Reviews: [awaiting]

Telluride Verdict: A mesmerizing, harrowing depiction of Ralston's story, bolstered by superb direction from Danny Boyle and acting from James Franco.

Telluride Review Round-Up: "The King's Speech" [incomplete]

One of the remaining mysteries of 2010, Tom Hooper's The King's Speech, which has no official stills and no trailer, opened today in Telluride. Based on the true story of King George VI's struggle with a speech impediment, the film stars Colin Firth, Geoffrey Rush, and Helena Bonham Carter, all strong actors. Still, there was always the chance it could turn out to be another The Young Victoria in terms of reception and awards success. Apparently, that isn't the case, and the period piece is launching with some fantastic first reviews:

Variety's Peter Debruge kicks things off with a prediction that the film "should tap into the the same audience that made The Queen a prestige hit," and that "both roles provide a delightful opportunity for Firth and Rush to poke a bit of fun at their profession." He goes on to say that while Rush's performance seems - on the surface - to be showier, "the big scenes are indisputably Firth's." The Hollywood Reporter's Kirk Honeycutt is also extremely positive, and writes that "Firth doesn't just make a British king vulnerable and insecure, he shows fierce courage and stamina...it's not just marvelous acting, it's an actor who understand the flesh-and-blood reality of the moment and not its history."

But Firth and Rush aren't the only ones receiving attention; Honeycutt writes that Bonham Carter "is a revelation here despite a long career as a leading lady." Over at Incontention, Kris Tapely awards the film ***1/2 out of **** stars and says that "These two [Firth and Rush] have amazing, impeccable chemistry together. Each should comfortably find himself in the hunt for Oscar," and predicts that the film will have strong shots at Picture, Screenplay, and Art Direction.

Additional Reviews: [awaiting]

Telluride Verdict: A handsome and standard -yet-engaging royalty piece headlined by two fantastic lead performances.

Telluride Review Round-Up: "Never Let Me Go"

How silly of me to forget. September brings not one, not two, but three film festivals which should eventually overlap (and it might be four if NYFF starts this month...sheesh). Telluride has hosted some interesting films over the years, but from this year's line-up, none caught my eye as much as Mark Romanek's adaptation of Kazuo Ishiguro's amazing novel "Never Let Me Go."

The film's first review thus far certainly gets things off to a great start. Peter Sciretta from /Film writes, "The film is emotionally powerful, a haunting meditation about love, death, humanity, and acceptance," and says that the performances "are all top notch - fantastic performances across the board, but Carey Mulligan is center stage." His only complaint in his (9/10) review is a minor quibble with an aspect of the story (which I won't spoil or detail), which - having read the novel - is a somewhat valid question narratively, but I think there's thematic justification for it (how the film handles it, however, might be the reason for him taking issue with it).

Meanwhile, Movie City New's David Poland is equally, if not more, ecstatic, proclaiming Romanek's (he gives special praise to the director) second feature film to be a "masterpiece...a film we'll be discussing, frame by frame, in schools 20 years from now." Like Sciretta, Poland also gives across-the-board raves to the performances, and gives Mulligan the most credit, while also mentioning the strong work from smaller roles played by Charlotte Rampling and Sally Hawkins. He also mentions the recently released score (on Itunes) by Rachel Portman, which he says could be the one to be this year. Incontention's Kris Tapely has a different take, however, and says that the film "kept [him] at arm's length from frame one. There is a distance here, a cold sense of removal from what would otherwise be an extremely moving narrative." In the rest of the **/**** review, Tapely praises the performances, cinematography, and the score (which he claims is the film's best Oscar bet) but reiterates his point that the film left him cold. Awards Daily's Eric Bialas echoes this and writes that "the movie distances itself from the viewer too much to ever really shock viewers when its main emotional scenes arrives." Having read the book, this feels a bit like missing the point; the story is never meant to be built on shocks or 'gotcha' moments, though it's easy to see why one might believe that it's what the film is building towards.

Additional Reviews:

Variety: "...a fragile little four-leaf clover of a movie that's emotionally devastating, yet all too easily trampled by cynics." / "...Romanek has more on his mind than simply making people cry."

FirstShowing.Net: "There are many great elements to the film: Adam Kimmel's very beautiful cinematography, Carey Mulligan's phenomenal performance, Rachel Portman's mesmerizing score, Mark Romanek's careful direction, even the concept and story overall." (9/10)

Thompson On Hollywood: "...tells us a lot about who we are by showing us something that could be."

Telluride Verdict: It is strongly acted, shot, and scored, yet Romanek's direction and Alex Garland's adaptation will most likely prove to be extremely divisive.

Venice Review Round-Up: "Somewhere"

Day 3 in Venice brings the latest from another heavy hitting writer/director: Sofia Coppola. Since Somewhere was announced, people have been waiting to see if it falls more in line with Lost in Translation or Marie Antoinette, not just in themes, but in actual quality. The film has also been buzzed about because of its casting; not only does Elle Fanning (younger sister of Dakota) have a lead role, but her co-star is Stephen Dorff, who could be in for a Mickey-Rourke-esque comeback if Somewhere takes off. Based on the (still early) word coming out of the festival, it's more in the vein of the Lost in Translation, and even for someone like me, who wasn't crazy about that film, that's definitely a good thing:

The film gets off to a good start from The London Evening Standard's Derek Malcolm, who writes, "The film has no big dramatic moments, just a series of sequences gradually making the watcher aware of just why there's a text on Johnny's phone stating: Why are you such a ****?" He goes on to say that "Dorff and Fanning play naturally well," and that, "[the film] may last a little more in the memory than Marie Antoinette, if not quite as long as Lost in Translation." Over at Incontention, Guy Lodge gives the film ***1/2 out of **** and claims "both actors are a delight...this [is] Dorff's finest hour" and Elle Fanning "is a quietly rewarding screen presence, perceptive rather than precocious."

David Jenkins of Time Out London, however, isn't quite so enthusiastic. Despite awarding the film ***/*****, his review gets off to a rather nasty start: "A cloying sense of deja vu radiates from Somewhere, Sofia Coppola's long-gestating follow-up to her divisive postmodern historical biopic Marie Antoinette." However, Jenkins also writes that "The relationship between Johnny and Cleo is beautifully modulated, satisfyingly free of the torrent of sentimental heart-to-hearts that a lesser film would have bludgeoned us with." He praises both performances, but is more enthusiastic about Fanning, who he calls "a revelation." However, Jenkins concludes his review by saying that Coppola perhaps too frequently borrows from Lost in Translation.

Additional Review(s):

Variety: "...A quiet heartbreaker"/"[Coppola] further hones her gifts for ruefully funny observation and understated melancholy..."

Empire: "...some audiences may struggle with finding sympathy with for Johnny and his zombified state of spoiled-brat ennui. But if you roll with it, Somewhere is a rich and sophisticated film that draws its world so deftly it's easy to forget it isn't ours."

Thompson on Hollywood/Indie Wire: "Witty, spare, and gorgeously framed, Somewhere should play well for the young smart-house set."

Venice Verdict: Though it will strike some as a retread of Coppola's earlier work, Somewhere is a quiet, un-eventful, yet compelling look at relationships.

Venice Review Round-Up: "Miral"

Day 2 of Venice brings the first reviews of Julian Schnabel's (The Diving Bell and the Butterfly), Israel/Palestine orphanage/liberation movement drama Miral. Schnabel's previous film was a big hit with critics and landed a number of major Oscar nominations (including Best Director). Unfortunately, if the first batch of reviews are any indication, his next Oscar hopeful (which the Weinsteins have reportedly made their #1 Oscar priority) isn't getting off to the best start:

Incontention's Guy Lodge specifically takes Schnabel's direction to task, and writes that he "awkwardly welds his pet visual and sonic tics onto a narrative that struggles to support them," and that "his approach feels both shoe-horned and fairly disingenuous in this context." Lodge also refrains from giving praise or criticism to the performances, though he suggests that Hiam Abbass is wasted in an old lady wig. ThompsonOnHollywood's Anne Thompson is slightly more positive, and writes, "while Miral packs an emotional punch, [Schnabel] tells the wrong story," and goes on to say that the film's bookend sections which focus on "the great Hiam Abbass" had her in tears.

Unfortunately, she's less kind to the sections that focus on Freida Pinto's titular Miral. Thompson writes, "[Miral's] story remains expositional and flat," and says that Pinto is "not an expressive actress." Derek Malcom of The London Evening Standard awards the film 3 out of 5 stars, and amidst a review that is mostly description/plot summary (boooo) says that the cast play their roles "with an emotional skill that points up the story convincingly."

Additional Reviews:

Variety: "Schnabel's style feels misapplied..."

The Hollywood Reporter: "Although too schematic and unfocused to garner much critical support, it has the kind of direct simplicity that could reach out to historically challenged audiences and politically minded festival juries."

The Independent (UK): "Miral is plodding at times, choppily edited and unevenly performed"/"At its most leaden, this is more like a school lecture on in Middle East history than it is a piece of drama." (***/*****)

Empire: "...simply dreadful...It's a film so obsessed with being about Big Important Stuff that it forgets all the important little stuff - er, like characters and good writing - and, as a result, it's a chore to sit through."

Venice Verdict: Schnabel misfires with a film that mishandles its subject matter, characters, and story, with performances that are hit and miss.

Tomorrow: Venice turns 67 with help from Natalie and Darren

Tomorrow marks the kick off of the star-studded Venice Film Festival, the most prestigious festival behind Cannes. But unlike Cannes, Venice (and even more so, Toronto) can actually be a good launching point for Oscar hopefuls. A number of major contenders will be premiering in and out of competition, including Julie Taymor's The Tempest and Darren Aronofsky's festival opener Black Swan. 'Swan,' is one that I'm particularly excited for, especially after the incredible first trailer that premiered roughly two weeks ago. This is Aronofsky's record at Venice is 1-1. 2006's The Fountain received many mixed and negative reviews and was even booed by portions of the audience, while 2008's The Wrestler was widely praised and won the top prize, the Golden Lion. By tomorrow afternoon, given the time difference, we'll finally have an answer as to whether Aronofsky racks up another win or loss.