We just walked through Yorkville to line up for our next film. There must be someone famous eating dinner at Sassafraz ’cause there are a load of people standing outside with cameras. One woman actually stopped in the middle of the street — causing a huge line of traffic to pile up — while she talked to two plastic girls on the sidewalk. And sitting in the passenger side: a giant poodle. She might as well have painted “cliche” on her hood.

[tags]tiff, toronto international film festival[/tags]

Heroin junkies are tedious. So, when you go to see a movie about heroin junkies, all you can hope for that is that it makes the junkies a little less tedious. Candy (tiff | imdb) didn’t do that. In fact, it missed the one chance it had for an interesting angle: juxtaposing the ugliness of their addiction with the beauty of the leads, or their environs.

Everything this film tried to make tragic was ugly; everything they tried to make ugly was just weak. I gave it a 2/10 only because Heath Ledger and Geoffrey Rush made decent work of their roles. Avoid.

[tags]tiff, toronto international film festival, candy[/tags]

We arrived at the Paramount at 12:45 for a 1:30 showing of Candy to find the line already heading in. This caused some confusion; typically lines aren’t let in until 15 minutes before start time. I’m guessing they needed to clear out the lobby somewhat as there were some pretty big crowds waiting for other films. We were probably violating some fire regulation or another.

Not that I’m complaining; sitting in a padded seat is better than standing in line.

[tags]tiff, toronto international film festival, candy[/tags]

The Ryerson theatre was jammed full last night for the world premiere of Werner Herzog’s Rescue Dawn (tiff | imdb), a film retelling of his documentary Little Dieter Needs To Fly. Werner Herzog himself was there, as we two of the three American stars: Christian Bale and Jeremy Davies. Actually, Herzog was standing in the middle of the theatre chatting with people when we arrived, so it was funny to hear a guy behind us was telling his friends how much he loved Herzog and would try to get an autograph when he entered the theatre. Nellie turned around and pointed out that Herzog was the balding gentleman standing right over there in the blue jacket; the fanboy took off in search of an autograph without even so much as a thank you. Nice. Anyway, he got his autograph.

The film is, by Herzog’s own admission, a companion piece to Little Dieter Needs To Fly, and is — in my opinion — inferior to the documentary. Rescue Dawn is good in its own right, but it’s the story that makes it so, not the acting, the directing or the cinematography; for the real story of Dieter Dengler, you have to hear it from the man himself. I suspect Herzog felt compelled to tell the story of the interesting, inspiring man (who became his friend) to a wider audience. Hopefully the people who watch this film will then see the documentary as well, to get the whole story…which is even more fascinating in the documentary.

In the Q&A afterward Christian Bale took 5 minutes to answer one question; Jeremy Davies took about the same to answer his, but only used about 1/5 as many words as Bale. To the audience the real star was Herzog, an acknowledged master of the form and gracious to a fault. To Herzog, though, it was clear the true star of the evening was Dieter Dengler.

[tags]tiff, toronto international film festival, rescue dawn[/tags]

We just got in line for Rescue Dawn 55 minutes before the start time. The line was already all the way down Gerrard and a few hundred feet down Church. Since we got here the line’s grown by another hundred or so people. I guess Mr. Herzog’s a popular guy. He’d better have the finished print with him!

[tags]tiff, toronto international film festival, rescue dawn[/tags]

A few hours ago we saw The Wind That Shakes The Barley (tiff | imdb) at the Elgin. It was as compelling as advertised, and I felt none of the unevenness that other reviews have described. I thought the swings between the quiet conversations  — portents of what was waiting to erupt — and the bursts of violence mirrored the Irish conflict itself.

My two main problems were that I couldn’t understand most of what was said in the first 15 minutes, and that I was left wanting to know more about what happened…what led to the beginning of the story, what followed after, and what happened in parallel. Neither of these were really faults of the film; the sound was a bit too low and the accents very thick, and my own knowledge of the roots of the IRA are lacking. I also thought that the ending seemed to almost slip by, that it wasn’t as powerful as it might’ve been, but I suppose that’s Loach’s style.

The analogy to present-day Iraq (or any other occupied country) is obvious, but the world could do with a bit of blinding obviousness now and then. It presented a new side of such conflicts to me though, one that seems as wicked as it is unfair:  powerful countries hold all the cards in situations like Iraq, or Ireland, or Palestine, or colonial India. The reasons for occupying another country can be the most outrageous and unfair in the world; it matters little. The occupied citizenry, faced with violent oppression and having only the choice between peaceful resistance and violent opposition, usually opt to respond in kind; those opting for violent reprisal have no “official” military to muster and so are branded terrorists, whether deserving of the title or not. The occupying force then has moral authority to continue with the occupation.

History often remembers occupiers as imperialist aggressors and “terrorists” as revolutionaries, unless the revolutionaries becomes as corrupted by violence as the occupiers, in which case both sides find themselves in a morass, a cycle of violence with no morality or means of breaking free. No means, that is, except the spilled blood and declining memory of wasted generations.

[tags]tiff, toronto international film festival, the wind that shakes the barley[/tags]

I didn’t have the highest expectations for Citizen Duane (tiff | imdb); while I thought it interesting enough on my first scan through the book, it was one that Nellie wanted more than I. The few mediocre reviews I’ve read in the past couple of days didn’t give me much hope either, but it turned out a little better than I was expecting. Early in the film the acting felt quite…wooden, I guess. Forced, maybe is a better word; there were a few silences where presumably laughs were meant to be. It got better, and the humour picked up nicely, but it never really got very high off the ground.

In the end it was an ok movie with ok acting, nothing special. Thankfully, though, it provided a bit of levity in between German possession and Irish terrorism. And Vietnamese P.O.W. camp. And heroin addiction. And suicide. Yeesh.

Also: we started off the evening with a short film called True Love (tiff). Cute. Funny. Got a laugh out of an abandoned, parentless child, which always works.
[tags]tiff, toronto international film festival, citizen duane, true love[/tags]