Machete, which turned veteran character actor Danny Trejo into a leading man, was a wild and wildly violent action-comedy, a spoof of exploitation films of the 1970s. So, obviously, is Machete Kills. How much of a spoof?
Ever since that day in 2011 when I read about this free-to-the-public festival with a magical ability to bring together masters and students in a most positive way, I have been eagerly awaiting a chance to attend.
This year's Toronto International Film Festival is the perfect programming blend of independent projects and big studio films, master filmmakers and some recently discovered greats, short films with heft and long movies with a light heart.
In an upcoming film titled Side By Side, Keanu Reeves as well as director Chris Kenneally and producer Justin Szlasa ask a provocative question: What does the future of filmmaking hold, and can the two formats -- digital and film -- both survive and thrive, "side by side"?
Behold: the cerulean sparkle of the Cote d'Azur, the endless waft of chain-smoked Gitanes over the Croisette, the private yachts. Cannes. And its megaton line-up has arched the eyebrow of even the most indifferent cineastes this year.
Reading subtitles is a lot like riding a bicycle. Practice not only makes perfect, soon enough it's second nature so you don't even notice you're doing it. This particularly holds true when you're watching something great.
The cacophony of voices here in the United States rises and the confusion continues. I will (and urge you to) stay away from all of these pundits, as much as possible and keep on trying to get more voices from in there.