Coast to Coast: Review of Wild

TIFF EXCLUSIVE 

Wild

Director: Jean-Marc Vallee

By Alex Watson

Numerous times in film we have seen people walking to get somewhere, and there are forever obstacles along the way. Just look at movies such Walkabout, Into The Wild and more recently the Mia Wasikowska starring Tracks. But the individual behind is always seeking a higher purpose and this route they are taking, can often be determining their course in life. French-Canadian director Jean-Marc Vallee has this year brought us a stirring adaptation of Cheryl Strayed's memoir Wild which documents her 1000 mile trek along the Pacific Coast Trail. With Reese Witherspoon on board, this could be a journey of a life time.

After years of reckless behaviour, including a divorce from her husband, Cheryl Strayed (Reese Witherspoon) decides to walk along the 1000 mile trek of the Pacific Coast. Through this she attempts to heal the wounds of her old life and begin to find herself and become the person she had always wanted to be. But she must put up with several difficult obstacles among the desert and mountain terrain before completing her journey.

After his Oscar winning effort, The Dallas Buyers Club, Jean-Marc Vallee scores highly again and Wild proves to be a very prominent and beautiful filmed movie. From the Mojave Desert to the Forests of Oregon, this tale makes use of the immense space that it has to distinguish it from the more recent efforts. Combined with the stunning cinematography of Yves Belanguer, it effortlessly sums up the loneliness and isolation that comes with such a journey and what nerves and suspicions can come from such wide open spaces.

Refreshingly Cheryl isn't a woman who is running away from her problems, she is walking to change them. Vallee and screenwriter Nick Hornby decide against playing out her troubled back story in its entirety and only drip feed us moments of her drug fueled and promiscuous past. These images are presented to us as being like a horrific dream that she is only waking up from. But it's the tragic and premature death of her mother Bobbi (an excellent Laura Dern) that lingers heavily over this movie. Through her anguish and pain, Cheryl lost her way and she is now striving to get back on track to become the woman her mother would have been proud of. This may seem formulaic and awards tailored to some viewers, but Vallee finds a way to make this work and it gives his movie an air of lift towards it, particularly as we view the free spirited yet strong woman that Bobbi once was.

The perils of danger along her journey though are forever hanging on the air, and there are any number of stomach churning encounters such as rattle snakes, snow covered hills, raging rivers and in one frightening sequence, some drunken and frisky hunters in the midst of a large, lonely forest. A slightly nauseating opening sequence sees Cheryl have to remove a septic toe-nail onto top of a high ravine, only to have one of her trusty boots fall helplessly below! Experiencing these problems though only strengthen her resolve and for maybe the first time in life, she begins to come into her own.

Reese Witherspoon, despite being alone for the majority of this film gives a performance that is one of her best in some time. After some missteps following her Oscar win for Walk The Line, Witherspoon demonstrates that she has truly earned her critical praise with a determined yet sensitive turn. She doesn't seek to play Cheryl as an out and out victim of life, more a woman who looking to get back on the rails and begin living again. Whether she will be nominated for the big prizes will remain to be seen, but after this she hasn't certainly earn another shot at glory.

Wild is an adventure movie worth experiencing and gives more light to the talents of both Vallee and his star Witherspoon. This journey, like many before it is not a straight forward one, but it will certainly grab at your heart and refuses to let go.

Canvas of Life: Review of Mr Turner

TIFF EXCLUSIVE

Mr Turner

Director: Mike Leigh

By Alex Watson

When a Mike Leigh picture rolls into view, it is time for critics to sit and take notice. One of the great visionaries of British cinema from years gone by, Leigh has an uncanny knack for being able to convincingly portray the problems of every day people to stunning effect. This year, after a glorious reception at the Cannes Film Festival, his picture Mr Turner, based on the final years of painter JMW Turner has arrived at the Toronto Film Festival as part of the Special Presentations. Leigh has only once before ventured into a period drama with his Gilbert & Sullivan picture, Topsy Turvy, so will this picture be as memorable as his earlier ones?

Looking at the last years of great but unconventional British painter, JMW Turner (Timothy Spall) it explores such events as the tragic death of his beloved father William (Paul Jesson), his travels around the country for inspiration and his love/hate relationship with the public and the art world over his particular style of painting. But in the midst of his work, he will meet widower who Sophia Booth (Marion Bailey) will go on to be one of the changing factors of Turner's life.

Mike Leigh's Mr Turner is a movie that has thoroughly earned the plaudits bestowed upon it and gives us one of the strongest offerings of British cinema this year. This may prove to be a slow journey for some and the almost Dickensian dialogue will no doubt prove difficult for some to grasp, but those who stick with this are richly rewarded. Dick Pope's Special Jury Prize winning photography brings the film alive and give us a visual feast to gaze our eyes and convince us on numerous occasions that they are like works of art themselves.

As a man Turner is not completely loveable, but Leigh never intends this to be picture that glorifies him. He is a puffy, grunting individual who enjoys the freedom that his success has brought him. Through this he is able to venture from place to place and to bluntly speak his mind to any number of men at the Royal Academy of Art. His large belly is always full from the rich tables he eats from, but yet he has a confidence that never crosses over into arrogant territory and in some ways he is kind towards his rivals, such as debt ridden failure Haydon (Martin Savage), with whom he refuses to recall a loan!

But in many ways he is a man who is continuously seeking company and there is a strong sense of loneliness that accompanies him. In one scene he engages a prostitute, but upon seeing her semi naked, he bursts into a unique crying moan. Cleverly, we are not sure whether this over the beauty of art, or his horror at her young age? There are former wives such as the neglected Sarah Danby (Ruth Sheen) whose children he refuses to acknowledge as his own. He occasionally sexually exploits his faithful housekeeper Hannah (Dorothy Atkinson) but later falls for Margate based landlady Sophia Booth, with whom he strikes up a peculair but everlasting romance.

Mr Turner's strongest element, is showing just how dedicated the artist was to his craft, one memorable sequence show him strapped to ships mast in the height of a storm to be able to accurately paint one! His picture are spat upon for him to achieve the cloudy canvases that are tolerated by his contemporaries but sometimes mocked in unison by the general public. Even in his ailing later days, Turner strives to be creative and being denied of this sends his older self into a depressing spiral.

Winner of the Best Actor Award at Cannes, Timothy Spall turns in a mesmerizing and career best performance as JMW Turner. His zest at finally get this meaty role shows throughout Leigh's picture and Spall splendidly gives the famed artist a sense of sympathy among his harrumphing figure. A regular of his directors work, Spall at last makes the transition from solid professional to potential winner of major prizes! There are also solid turns from Dorothy Atkinson as his loving, yet continually overlooked housekeeper and Marion Bailey who puts in a just and believable performance as life love, Mrs Booth!

Mr Turner is an experience to remember to all lovers of Mike Leigh and artistically this a high for this man and we can hope to see it reap a deserved reward come the awards season. JMW Turner is one of Britain's great painters and he is given a rightful picture tribute.

A Dangerous Woman: Review of Miss Julie

TIFF EXCLUSIVE 

Miss Julie

Director: Liv Ullmann

By Alex Watson

Liv Ullmann is a true icon of both Swedish and World Cinema in so many ways. As an actress, the Norweigan was the centerpiece of a great number of Ingmar Bergman's masterpieces such as Persona, Autumn Sonata and Cries and Whispers. She had a presence that was unmistakable and she proven to be an influence to many actress after. She has also turned her talents behind the screen by directing Sofie, Private Confessions and Faithless. For the last 15 years though, Ullmann has been absent from our screens, but this year she returns behind the camera adapting August Strindberg's play, Miss Julie. Today I was fortunate enough to attend the TIFF premiere at the Winter Garden Theatre, complete with introduction by Ullmann herself!

Set in Fermanagh, Ireland in 1890, midsummer's eve is upon the region and all are out celebrating. That is all except the troubled and mysterious Miss Julie (Jessica Chastain), the daughter of an Anglo- Irish baron who has chosen to stay behind with only the valet Jean (Colin Farrell) and the cook Christine (Samatha Morton). As the night approaches, Miss Julie attempts to seduce Jean, leading them down a dangerous path and differences classes will come into play.

Ullmann's return to the screen is by far one of the most glorious and affecting of 2014 and Miss Julie is a work of immense power. Changing the setting from Sweden to Ireland, from the very outset, there is a gloomy shadow cast upon the house where the Baron's power unquestionable. Miss Julie is a person who people continuously wonder about and her recent erratic behaviour is starting to trouble people. Jean however, has no interest at first but as the night unfolds lives are gradually changed forever.

There is a highly charged sexuality to the feel of this movie and through Ullmann's skillful direction, the smallest gestures such as Julie silkily requesting Jean kiss her hand makes gigantic waves. Set largely amongst the mansion kitchen and bedrooms, lust and unrequited desire fill each room to unbearable levels. Jean and Julie are two people feeling trapped in life and this feeling of desperation adds a fantastic simmering tension as the pair are both fighting playing their cards right. But this also leads to trickery on both sides as each uses their sexuality as a weapon for different means and often to devastating effects. 

Class position plays a important role and this causes friction throughout Miss Julie. Our heroine is sneered upon by the other servants for being a snobby rich girl. But in one brilliant monologue, we learn that power is not what she desires and she in fact the cruel creation of the differing emotions of her parents and truly, doesn't not know love or happiness. Miss Julie comes across as a caged animal inside a large, empty house who is slowly succumbing to madness. Jean is the definition of the working man and all his life he has looked upon Julie's life with a sense of wonder and scorn and although drawn to his mistresses advances he also feels insulted by them.

Jessica Chastain once again proves that she is one the finest actress around today with an eclectic performance as the forementioned Miss Julie. Her presence on the screen is one of ethereal beauty and sheer fragility and she succeeds in wonderfully bringing to life what is a high complex role. Chastain steals our hearts throughly, particularly during the closing act when Miss Julie is literally brought to her knees in panic and anguish. Expect to see this name again come awards season!

Colin Farrell proves to be a just sparing partner for Miss Chastain and his performance could well be in contention for the big prizes as well. Jean is tricky fox to predict and oozes sexual prowess from every corner. But it is his inner conflict with himself that makes Farrell so memorable as he brings to light Jeans urgency to attain a better life, but fearing stepping outside the servants world because there is nothing else he knows! One of the more underrated big name actors, Farrell hits pay dirt with this part and deserves a large reward.

It may have taken 15 years for her return, but Liv Ullmann's adaptation of Miss Julie is not only destined to be one of TIFF's finest films, but of 2014 as well! This is one piece of work that is incredibly touching but also unbearably heart breaking, it may just be one of the finest bits of work of Ullmann's career! As a man who is practicing to learn Swedish, may I end by saying, Välkommen tillbaka Fröken Ullmann , är det bra att se er igen !

Under a Blazing Sun: Review of The Reach

TIFF EXCLUSIVE

The Reach

Director: Jean-Baptiste Leonetti

by Alex Watson


Imagine if you will, being stuck in the most unforgiving terrain on earth! You have no shelter and literally you are having to run and survive. Movies such as The Grey, Walkabout and Life of Pi showed us both the hardship and the psychological trauma that comes with such a journey. Yesterday (through some fortunate coincidences) I managed I secure a ticket for the World Premier of Jean-Baptiste Leonetti' film The Reach at the Princess of Wales Theatre! Set in the Mojave desert, this thriller has temperatures that are set to rise.

Ben (Jeremy Irvine) is hired to accompany rich and arrogant business man John Madec (Michael Douglas) on a hunting trip in the Mojave Desert.  Whilst they are there, John accidentally kills a local man while blindsided by the sun. Although horrified, Ben is forced to assist in deposing of the body when Madec blackmails him. But when he reneges on the deal, Madec becomes enraged and sets out to murder him by making Ben wander the unforgiven terrain exposed to the burning heat!

Despite a few neat moments, The Reach is a dull and pretty predictable thriller by Leonetti. Beautifully shot by Russell Carpenter against the scorching landscape of the Mojave Desert, this one element does succeed in making the unforgiving terrain as the ultimate enemy of the picture. Leonetti's thriller starts out interestingly enough, as we open on a scared and burned Irvine running frantically through the desert. When Madec is introduced, instantly he gives off a negative vibe with his expensive looking jeep which a variety of quirky bells and whistles. But although he looks the part, Madec is essentially just a gun touting version of Gordon Gekko!

When the cat and mouse game begins, the picture begins to develop a flat and uninviting taste. There is no real hint or menace or plausible threat in the interactions between the two men. When the big incident happens, Ben barely puts up a fight and then seems to willingly wander into the desert. After a while, Madec foiling Ben at every turn with his super vehicle becomes frustrating! Leonetti tries his hardest to raise this thriller to a competent level, but his direction in this one just feels very wayward and not helped by some painful comical dialogue by Stephen Susco, "Fool me once, shame on you! Fool me twice, I KILL YOU!!!!"

Also the logic gets confused very early on in The Reach and viewers may find themselves sniggering in disbelief at any number of incomprehensible scenarios. For example, at point Ben whilst navigating a hidden cave, just so happens to stumble into the living quarter of a man he used to know! These moments would seem more plausible if the movie had more going for it, but in this case they just come over as very poor story planning. Also things are not helped by a terminally silly ending which even the most open minded person will have trouble swallowing.

Michael Douglas tries to finds his joy where he can as John Madec, but even he cannot find a rhythm to succeed in this moment. His character is one with a variety of tricks (including a loud speaker) but he is not able to command any real intimidation and instead comes off as a smug rich man getting his kicks. Jeremy Irvine is equally stranded in a thankless role as Ben. His character is not giving a quality that endears him to the audience and although a talented young man, Irvine spends majority of his time just running around revealing his torso!

The Reach is a movie that may have a name attached, but it is unlikely to get a wide distribution outside of festival screenings. Leonetti shows some visual flair but his weak direction cannot take the film where it needs to be. Though this may come in handy as a survival guide for those wanting to trek through the desert.

In The Name of the Father: Review of The Judge

TIFF EXCLUSIVE

The Judge

Director: David Dobkin

By Alex Watson

Returning home to your old surroundings is always a hard thing, because it always stirs up emotions and memories (sometimes even regrets) that you thought you had once left behind. We are never sure of the reactions that will have when we see our loved ones, but we hope they are pleasant. For my first Toronto International Film Festival, I was lucky enough to catch a gala screening today of the Robert Downey Jr starring The Judge (complete with an introduction by director David Dobkin) at Roy Thomson Hall. This has opened to some mixed yet positive acclaim, but will this be a TIFF 14 darling?

Hank Palmer (Robert Downey Jr) is a successful Chicago attorney who is forced to abandon an important case to attend his mothers funeral in Carlinville, Indiana. For Hank, this means having to re-establish contact with his father Judge Joseph Palmer (Robert Duvall) whom he loathes. But when he arrives in town, a major bombshell is dropped when his father is charged with first degree murder! Forced to defend his fathers honor and reputation, slowly a variety of bombshells will hit Hank and he soon learns the man he hates could well be a very different man than he imagined.

The Judge is a movie that while very heart rendering and emotionally prominent, isn't quite the sturdy drama that we were hoping for. At the centre of the film, the father and son relationship is one that is very strained from years of disconnection. Hank is a character that has to fight to win our respect because when we first meet him, he is an arrogant hot-shot attorney who defends the guilty and is preparing to face a bitter divorce with his cheating wife. Joseph, a man of honest integrity openly scorns the man his son has become and rejects his help at every turn. Both men are equally as stubborn and bitter as each other, but now they are forced to work together and they resent it!

David Dobkin is a surprise choice for this type of film given his more comedic roots, and in places his lack of confidence handling this type of drama shows through. Our characters are never given the space they need to flourish and while tempers are frayed and tears are wept, it cannot help escaping the fact that Dobkin hopes we will look past this and be swayed by the heart melting content such as Hanks reconnection with old flame Sam (Vera Farmiga). I admire Dobkin for his efforts, and he his showing signs of moving forward and perhaps being a solid director. But this effort just feels too drawn out  to really be a contender for the big prizes.

Family matters play an important part of this movie and each member of the Palmer household is suffering individually. Older brother Glen (Vincent D'Onofrio) was robbed of a baseball career by a rash act by Hank, and quietly has suffered in silence ever since. Joseph however, is a man who mind and body are starting to betray him and his claim of having no memory of the night of incident, only fuels Hank's belief that the recovering alcoholic has fallen off the wagon. But as we frequently learn, things are not so straight forward and secrets will come to light that threaten to make Joseph's defense sink or swim.

While The Judge has its moments of great laughs and humor, such as Hank's excellent put downs on three hard drinking locals, it is the courtroom scenes that provide the real fireworks. The relationship between the two men is literally being put on trial and this is the ground they will use to make or break things. The introduction of vengeful prosecutor Dwight Dickham (Billy Bob Thornton), who drinks from his own retractable silver cup gives the proceedings the gripping feel it requires. The finale though, will melt even the toughest of hearts as Hank grills Joseph on the stand. What comes next is truly earth shattering! Prepare your bottom lip for severe shaking.

The element that keeps this film alive however, is the electric chemistry between Downey Jr and Duvall. Currently stepping out of his Iron Man suit, Downey Jr shows just what a versatile actor he can be as Hank. Thankfully, it is his underplaying of any number of emotionally charged moments that make his performance so memorable and he succeeds in winning over a once skeptical audience that Hank is worthy of our love and attention. Duvall, in his strongest and most featured performance in some time is a revelation. Joseph is a sour and miserable old coot, but the 83 year old finds the ground the work with to raise him up to a level that we can appreciate. A once proud man, Joseph has now been reduced to a decaying wreck that is on his last legs. Through Duvall, we feel this pain thoroughly.

While we had hoped that The Judge would be an affair to remember, it slightly misses the mark needed. The performances of Downey Jr and Duvall are most certainly award worthy. But it is let down by a rather formulaic direction and script. But on the affecting scale, this scores very highly and gives us hope for Dobkin's future in film. 

TIFF Schedule Update

So today it is finally here, the 2014 Toronto International Film Festival is underway!

On this fine day before I tread the boards of the magnificent Scotiabank Theatre, I am pleased to inform everyone that I have secured a place for Friday's Gala Screening of The Judge starring Robert Downey Jr and Robert Duvall at Roy Thomson Hall! This movie has been getting some great press in the last few months including some glowing praise for former Wedding Crashers director, David Dobkin so it could well prove to be one of the hits of the festival. So it appears that the first ever TIFF review on this blog will be coming to your screens sooner than anticipated!

Also on Tuesday 9th, along with seeing A Second Chance by Susanne Bier, I have also been able to attend a screening of Jean-Marc Vallee's highly anticipated film Wild starring Reese Witherspoon at the Visa Elgin Screening Room (where three out my five viewings will take place). Canadian director, Vallee is a talent on the rise so I am very excited about this chance.


Welcome to Ontario Film Lovers- enjoy your stay at the friendly film festival

5 Great Job Quitting Scenes

American Beauty 

As Lester Burnham (Kevin Spacey) boredly stats to his boss "For 22 years, I have been a whore for the advertising industry." But his exit is a masterclass is skillful blackmail and his ever increasing glee at the fantastic upper hand he holds over his smug boss, makes our hearts sing. This should serve as a prime example for anyone who has dreamed of going out will all guns blazing!

Wanted 

We have all had a boss like super bitch Janice, the kind who exploits the limited power she has over you to a level that borders on bullying! So when Wesley (James McAvoy) finally releases his pent up anger, he unleashes a speech that all of us have rehearsed in our minds over and over again! Also, he teaches us how a keyboard is a useful tool when dealing with any asshole 'best friend'

Fight Club 

 The Narrator (Edward Norton) sits down to what he hopes will be an formal job chat/extortion with his boss- but things don't go to plan he decides to get creative! What follows next is both a shocking yet awe-inspiring as his boss can only watch in horror as Ed beats himself to a pulp! Truly 'Jack's Smirking Revenge!'

Reality Bites

Out of all the job exits, Winona Ryder's one has to be the most original! Routinely belittled and insulted by self serving morning TV host Grant Grubler (John Mahoney), she decides to get revenge on him in the coldest way possible. Presenters take note, never mess with the intern who organizes your cards. You never know what they might decide to write down!

Jerry Maguire 

Sports agent Jerry Maguire (Tom Cruise) has recently had a crisis of conscience and it has resulted in him losing his clients and his job that he once held so dear. But as he departs, he makes sure that goes out in a desperate yet utterly rousing fashion (along with a Goldfish in a bag). He may make us squirm, but when that one person reaches out to him, our hearts soar!