The recently wrapped Toronto International Film Festival (TIFF) is traditionally the unofficial kick-off to the fall movie season, a period in which Hollywood's awards-season fare is unveiled and a number of the smaller films that garner critical love debut.
This year is no different, as one can tell by taking a gander at my TIFF 2011 round-up here — the majority of films I mention in the piece will get some sort of local release over the next few months, including anticipated new efforts from such directors asAlexander Payne, Lars von Trier, Gus Van Sant, George Clooney, Pedro Almodóvar and Steve McQueen.
After a quick post-production turnaround, George Clooney’s The Ides of March debuted at the Venice Film Festival last week (to a mixed critical response) before being unveiled Thursday at a packed press and industry screening (a few people were even sitting in the aisles) here on Thursday. (It opens nationwide Oct. 7.)
After several days of technological dissonance, I've finally gained access to our blog. The logistical reasons for said dissonance are far too tedious to recount here, so I'll get right to it: I've seen 10 films over the last 60 hours, some good, some OK and none less than interesting.
I just finished reading Shock Value, Jason Zinoman's entertaining look at “how a few eccentric outsiders gave us nightmares, conquered Hollywood and invented modern horror.”
The book celebrates a genre and group of filmmakers often ghettoized when compared to the better-known New Hollywood revolution of the 1970s, a rightly celebrated period and movement — roughly between Arthur Penn's Bonnie and Clyde (1967) and Martin Scorsese's Raging Bull (1980) — that was investigated in Peter Biskind's equally entertaining Easy Riders, Raging Bulls.
Cincinnati World Cinema continues its eclectic programing this week with The Perfect Host, a nasty little thriller featuring a gleefully perverse performance from David Hyde Pierce, which screens 7 p.m. today and tomorrow at the Carnegie in Covington.
Enter John Cooper, who took over as director in 2010, and who is intent on moving the festival back to its artist-driven roots. Cooper's efforts seem to be paying off, as Sundance 2011 unveiled a diverse, interesting crop of films, some of which are actually getting distribution and coming to a theater near you.
I said almost because there are still a few weeks left (the season traditionally runs Memorial Day to Labor Day) and, more importantly, there are still a handful of movies I've yet to catch — from high-profile studio stuff (like Cars 2, Rise of the Planet of the Apes and the latest Harry Potter) to smaller indie offerings (like Buck and Project Nim, not to mention a host of titles that have yet to open here — most notably Miranda July's The Future, Michael Winterbottom's The Trip, Azazel Jacobs' Terri and Raúl Ruiz's Mysteries of Lisbon).
This time I was struck by how different Jaws is compared to the sleek, sequel-laden, CGI-driven summer fare of today. Watching a drunken Quint (a thoroughly convincing Robert Shaw) stomp aroundJaws' grimy, pathetic boat — which is a character unto itself — is welcome aesthetic shift from the alienating pixelated mayhem of Thor, Transformers: Dark of the Moon, Captain America and the like.