Which is what I value most about the film festival experience in general: the chance it offers to discover a film, a filmmaker, an actor -- the operative word being discover. That's less and less of a factor at this particular festival these days. Instead, it seems stacked with pre-sold titles.
Jason Bateman makes his directing debut with Bad Words, the rudest comedy about an adult dealing with kids since Bad Santa.
After posing for cameras, Moby mingled with the growing crowd. I pulled out my recorder and inquired if I could ask him a question or two. "Sure," he said. "Why don't we go in the back and talk?" And just like that, I was in a small, darkened storage space with the global superstar of electronic music.
The Grammys presented an image that quietly disqualified those fears and judgments, an image captured in what should be seen as the beautifully universal light of love.
The Courmayeur Noir in Festival is an event that appears to go beyond the typical film festival format. Surrounded by sidebar conversations, exhibits and featuring a work in progress alongside titles by mainstream filmmakers, the festival has gained a following worthy of the noir genre.
In America we celebrate many liberties, among them the freedom to publish. The logical consequence of the right to produce books is the freedom to read. Now, this may be a "chicken or egg" dilemma, but whichever way you look at it, one action should naturally follow the other.
Who or what could upstage these musicians: Bruce Springsteen, Billy Joel, Alicia Keys, Michael Stipe, Chris Martin, Eddie Vedder, Roger Waters, The Ro...
I need to blow off some steam and where better to head than to LA's hottest FREE hotspot, Runyon Canyon? It's LA's equivalent to Everest's base camp: a smorgasbord of dogs, celebs, trannies, sweaty shirtless bods, gangsters, strollers, and every cliché LA has to offer.
On Nov. 29, 2005, I was on the red carpet for the historic premiere of Brokeback Mountain. Everyone in attendance that night became a part of history, helping launch a profound, heart-wrenching portrayal of the costs of the living in the closet.
"I'm a sports nut," explained Hugh Jackman, joyful that his son decided to join the school soccer team. The actor and song man was making his way arou...
There's more, though, than an old-fashioned sensibility connecting "Prisoners" and "Rush": both films are structured as two-handers, but where the dominant hand is played by the marketing campaign's secondary star.
Denis Villeneuve had two films at this year's Toronto Film Festival. The better one was called Enemy. The one that's getting the big studio release this week is called Prisoners.
Prisoners is an extraordinarily well-made popcorn movie. Like most thrillers, this one doesn't provoke us to take things so personally; that's why thrillers make for great escapism.
With Enough Said, Julia Louis-Dreyfus, one of TV's funniest women ever, has finally been given a perfect film vehicle.
The Pulitzer Prize-winning stage play about a dysfunctional Oklahoma family coping with the suicide of clan's patriarch translates well to the screen -- in the sense that I didn't feel like I was watching a recorded play. Though, it's certainly a performance film. So much scenery is chewed between Meryl Streep (as Violet, the bitter mother), Julia Roberts, Chris Cooper, Ewan McGregor and Benedict Cumberbatch, that the title of this movie could have been called August: Bubble Yum. Yet, even with all of those heavy hitters on board, Dermot Mulroney somehow manages to steal every one of his scenes.
Secrets and lies carried the day in most of the five films I saw Monday at the Toronto International Film Festival. But then, aren't the most interesting movies built around them? It's so obvious that Mike Leigh used the idea as the title of one of his finest efforts.