Toronto Sum-Up, Part 1

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So what exactly happened at the Toronto Film Festival? Which films surged, died, took blows, and moderately gained or lost momentum? Sitting here at the Starbucks on Yorkville and possessed of nothing paralyzing in terms of insight or wind-sensing, here's how the post-Toronto, award-level situation seems to be shaping up to me.

The biggest winner hands down was Sidney Lumet's Before The Devil Knows You're Dead, which had little or nothing in the way of headwind coming in and is now regarded by every critic I've spoken to so far as one of the year's absolute best, and by some (myself included) as a Best Picture contender. Costar Phillip Seymour Hoffman is, I feel, an undeniable Best Supporting Actor contender off of this.

The second biggest winner (in my eyes, at least) was Joe Wright's Atonement. I'll be flabbergasted if it doesn't end up a Best Picture nominee, and it seems nearly certain that a Best Supporting Actress nom is Vanessa Redgrave's for the taking.

Todd Haynes' I'm Not There, Sean Penn's Into The Wind, Anton Corbijn's Control, Andrew Dominik's The Assassination of Jesse James and Tony Gilroy's Michael Clayton received the third, fourth, fifth, sixth and seventh biggest success d'estime bumps.

The Coen brothers' No Country for Old Men held its own and then some. Anyone who knows anything recognizes this film as a landmark achievement, and perhaps the greatest mainstream art film built upon chases and killings and societal degradation ever made. I spoke to one major Midwestern critic who said he didn't care for it all that much, but no one else was murmuring stuff along these lines.

Although Paul Haggis's In The Valley of Elah did well with a clear majority of critics (it's currently hovering around 60% positive on Rotten Tomatoes) while bombing out with a few, I started to get an idea that it's going to play even better with paying audiences and Academy members. The great Tommy Lee Jones' performance as a sad, confused father of a murdered Iraq War veteran is the ace in the hole.

Elizabeth: The Golden Age was the biggest crash-and-burn. It came in a presumptive Best Picture contender, and is now regarded as a film that may play commercially (no guesses ventured but some people go nuts for this kind of thing) and may snag a few tech nominations (costumes, production design) but that's all.

The second biggest "damage" movie was Alan Ball's Nothing Is Private. I don't agree with the neg-heads at all -- I think it's a strong, well-written, provocative drama with good characters. I understand why everyone was so upset, but I don't think they're fully considering the source (Alicia Erian's "Towelhead") or giving the credit that Ball is due for handling the sexual stuff with restraint.

Jason Reitman's Juno kept its Telluride Film Festival momentum rolling, but the handicappers I spoke to seemed more respectful and moderately approving than elated or given to cartwheel orgasms.

Noah Baumbach's Margot at the Wedding deserves points for being a Chekhov play about a group of deeply fucked-up egotists who possess almost no redeeming characteristics, and for throwing in almost nothing that soothes or charms or mollifies except for the occasional laugh (of which there are relatively few). I truly respect Baumbach for playing it this way -- he's a ballsy director -- but the fact is that it's a fairly dislikable film in more ways than you can count. Almost everyone I spoke to felt this way, but it's a film you have to at least respect.

Ang Lee's Lust, Caution played decently. My sense is that it's a respected film. Nobody I spoke to slammed it with any fervor. It's more of a double than a home run, but you can't hit it into the bleachers every time.

George Romero's Diary of the Dead picked up mild buzz, but I heard some disses as well. I missed my last shot at seeing it last night, but a major L.A. critic said it has Iraq War echoes and metaphors that makes it arguably analagous to Brian DePalma's Redacted (which I never got around to seeing either) and Nick Broomfield's Battle for Haditha -- neither of which seemed to gather huge fan bases.

Julie Taymor's Across The Universe was seen as a total wipe out. More than any other emotion or judgment or what-have-you, the thing it leaves you with is the question "why?" As in why was this made and who cares? One good thing: the high school-age lesbian singing "I Want To Hold Your Hand" at a slow, steady tempo to a girl playing soccer nearby during gym class.

Sorry to be the bearer, but Terry George's Reservation Road didn't seem to turn anyone on very much. It kind of fizzled, truth be told.

I didn't see Lars and the Real Girl, but the universal consensus was that Ryan Gosling had added another notch to his cool-Brandoish-actor belt.

And Cate Blanchett emerged with serious Best Actress (or Best Supporting Actress) momentum for her I'm Not There performance as Bob Dylan.

I'll run a Part Two on this piece later tonight or tomorrow, as it's obviously incomplete. If anyone has any detections or assessments they feel should be added, please feel ree.

Lumet at the Intercontinental<< previous | next >>Del Toro, Che & Rolling Stones

Posted by Jeffrey Wells on September 14, 2007 at 11:27 AM

comment #1

J. Huff says ...

Ebert gave 4 stars to Across The Universe. Not that his current reviews can really be trusted all that much, but I was very surprised after hearing what an amazing train wreck it was. Watched the trailer on The Pursuit of Happyness DVD the other night, thought it looked...um...a little overdone, maybe? (Of course, it makes the perfect trailer for The Pursuit of Happyness, which slathered on the pathos as if nobody could get the point already.)

Posted by J. Huff at September 14, 2007 1:06 PM

comment #2

MiraJeffAICN says ...

It seems like this will be remembered as a damn good year for movies. To be honest, nothing you've written surprises me, although it's a shame about Reservation Road. I thought it was pretty good and thought Ruffalo's performance was fantastic. I'd love to see him score a Supporting Actor nom.

Posted by MiraJeffAICN at September 14, 2007 1:08 PM

comment #3

bmcintire says ...

Three posts in, and you've had Lumet's film mis-titled (and misspelled, for that matter) as TILL THE DEVIL. . . It is actually called BEFORE THE DEVIL. . .

Posted by bmcintire at September 14, 2007 1:13 PM

comment #4

Ian Sinclair says ...

What happened at Toronto? Nothing that we didn't know after Venice. Elizabeth is going to be fine -everyone I know wants to see it more than anything else and the mainstream media are still yakking it up for Best Picture and Actress - it's bulletproof Academy catnip.

Posted by Ian Sinclair at September 14, 2007 1:15 PM

comment #5

pm123 says ...

It's more than just irony that your pick for best film was directed by an 80-something year old who's been around for decades. I would bet that the reason it's so well-liked (even if this isn't articulated by all the critics) is that Lumet understands that filmmaking is the art of telling a story through PICTURES, not words. So many younger filmmakers have absolutely no sense of where to place the camera, how and when to move it, how to light the scene, and perhaps most importantly, how to get actors to act with their entire bodies, not just their lips! Just saw "3:10 to Yuma" - how ineptly is that film made!? Nothing but a series of flatly-lit medium close-ups. One brief shot of the main character's false leg!? Imagine what Howard Hawks would have done with that leg! The director seems to have spent all his time figuring what the characters were going to say, and then went out and captured images that were already cliches 40 years ago! It makes no difference what your characters SAY if your images are nothing more than R-rated scenes from Bonanza!

Posted by pm123 at September 14, 2007 1:18 PM

comment #6

MilkMan says ...

Have to agree with pm123 about 3;10 to Yuma. How Mangold has been allowed to get away with such hackery is beyond me. His parents should ask him for a refund, since they paid for his Cal Arts education and it appears that he learned absolutely nothing while he was there. They could have saved some money and sent him to that Los Angeles Film School place that's across from the Arclight.

Posted by MilkMan at September 14, 2007 1:24 PM

comment #7

actionman says ...

still no reaction worth posting about REDACTED huh?

Posted by actionman at September 14, 2007 1:34 PM

comment #8

swhitty says ...

Actually the George film is "Reservation Road," not "Revolutionary Road" (which is a different movie, based on the Richard Yates novel). An easy mistake to make. I happened to like the George movie more than you did, Jeff, and the Lumet film less, but I think that's really a stylistic preference -- I'm just getting tired of gimmicky screenwriting that scrambles up narrative and points of view, and the Lumet picture would have worked better for me done in a more linear style. As for "Nothing Is Private" -- well, I think the filmmaker has sort of worn out his "Gee, aren't the suburbs sterile and the heterosexuals who inhabit them deeply perverted?" theme.

Posted by swhitty at September 14, 2007 1:35 PM

comment #9

Zimmergirl says ...

I will believe it when I see it. And isn't Blanchett up for supporting for the Dylan movie?

Posted by Zimmergirl at September 14, 2007 1:36 PM

comment #10

actionman says ...

oh, my bad, i just read u didn't see it. For some reason I am very curious about REDACTED. does anyone know if Mark Cuban is going to air the film on HD net simultaneous with the theatrical release?

Posted by actionman at September 14, 2007 1:37 PM

comment #11

alynch says ...

Based on various reviews I've read, isn't Hoffman more of a lead character in this movie than supporting. I'd think they'd want to push for an old pro like Finney in the supporting category.

Posted by alynch at September 14, 2007 2:11 PM

comment #12

Scott Feinberg says ...

Jeff, It was nice to run into you in Toronto, and I enjoyed reading your analysis. The one thing with which I have to disagree is your lukewarm analysis of "Juno." I don't know if you were there the first night it played, or for any of the subsequent screenings, but this thing is gonna go far... I'm talking a nomination for Ellen Page, a nomination for Diablo Cody, and quite conceivably nominations for Jason Reitman and the film itself. The public and the critics both loved it, as I think Ebert's analysis afterwards pretty much captured. What say you?

Posted by Scott Feinberg at September 14, 2007 3:15 PM

comment #13

Zimmergirl says ...

Slow down there Scott. There are a lot of movies still to open.

"His parents should ask him for a refund, since they paid for his Cal Arts education and it appears that he learned absolutely nothing while he was there. They could have saved some money and sent him to that Los Angeles Film School place that's across from the Arclight."

Yuma is the bright light of the year so far other than Ratatouille. And puleese. No comment on the rest of your tower-climber rant.

Posted by Zimmergirl at September 14, 2007 4:43 PM

comment #14

christian says ...

jeff, what about ACROSS THE UNIVERSE?

this sounds DOA...

Posted by christian at September 14, 2007 4:58 PM

comment #15

Wixy says ...

I was lucky enough to catch a test screening of Lars and the Real Girl back in spring. Dunno about the 'Brandoisms' in Goslings performance (he actually reminded me of a chubby David Arquette!!!) but there's no denying that it's an absolutely fantastic, endearing performance..and the same goes for the supporting cast. It's a small, almost 'cosy' film that doesn't overreach itself and it's refreshingly warm and positive. My unexpected favourite of the year so far. I left the theatre with the same fuzzy feeling I got first time I saw The Straight Story..like all was right in the world for a wee while. Can't wait to see it again. Gush over.

Posted by Wixy at September 14, 2007 5:27 PM

comment #16

EDouglas says ...

"I'm talking a nomination for Ellen Page, a nomination for Diablo Cody, and quite conceivably nominations for Jason Reitman and the film itself. The public and the critics both loved it, as I think Ebert's analysis afterwards pretty much captured. What say you?"

Let's not get too carried away... it'll get a nomination for original script in what's going to be a weaker than normal year (I expect Superbad and/or Knocked Up and/or Ratatouille to be in there too)... Ellen Page is guaranteed a Golden Globe nomination, but will it get into the five actress noms? There's still a lot that hasn't been seen and I wouldn't rule Blanchett out for BOTH Elizabeth and I'm Not There just yet... the former is MUCH more of an Academy movie than the latter. Page has certainly given better performances than Juno and I don't think it'll be as universally as loved as Little Miss Sunshine, it just won't happen. And Poland's claims that Lars and the Real Girl (as much as I loved that movie) will fill that slot... that's not happening either, not with MGM involved. I'll be amazed if they can figure out that they have a crowdpleaser with it. Nicole Kidman is out for Margot at the Wedding, that's for sure.

My question is whether they put Keira Knightley in the lead for Atonement even though she doesn't have nearly as much screen time as Saoirse Ronan.

Posted by EDouglas at September 14, 2007 8:00 PM

comment #17

EDouglas says ...

christian, I've heard from a lot of sources that Across the Universe is doing TONS of business tonight, lots of sellouts in NY and L.A.... don't think it'll get any major awards but I think those who aren't critics will like it more than the critics.

Posted by EDouglas at September 14, 2007 8:02 PM

comment #18

Scott Feinberg says ...

Ed, Interesting points. I'm especially interested to see if there is anything to the idea of Knightley going supporting--this is the first I'm hearing of it, but it makes a lot of sense, since she could certainly jump right to the front of a pretty iffy field, right? PS- You sat two rows in front of me at the WB press conferences and I wanted to introduce myself, but you left too quickly! All best, Scott

Posted by Scott Feinberg at September 14, 2007 8:39 PM

comment #19

Geoff157 says ...

Actionman-- the original plan was to make REDACTED available as an on-demand title both on HDNet and in other outlets (such as satellite, etc.) three weeks prior to a release in theaters and on DVD. But after Venice, the thinking seems to be that a more traditional platform release pattern would be appropriate. The details of that remain vague, and I think that is because they are still trying to feel it out and then decide what to do with it.

Posted by Geoff157 at September 14, 2007 9:16 PM

comment #20

JD says ...

While I'm Not There is a likable, appealing mixed-bag, I think Cate Blanchet should WIN best actress for the movie. What I didn't understand until I saw the movie is that it isn't one seventh Blanchet, one seventh Ledger, etc. It's more like an ensemble film, but all the characters are Bob Dylan. It jumps back and forth from Dylan to Dylan in such a way that Blanchett is always at center stage. In terms of screen time, it's much more of a lead performance than Anthony Hopkins gave in Silence of the Lambs... and her performance is inspired. It's not just an impersonation, it's a really bold, precise INTERPRETATION. All the best moments in the film are Blanchett moments. I also have to give credit to Ledger for doing some really interesting things without really reminding me of Bob Dylan, particularly. Christian Bale was much less effective, even though he is quite reminiscent of the real deal.

Posted by JD at September 14, 2007 9:22 PM

comment #21

truefaith says ...

I seriously hope Cate Blanchett does NOT win the Oscar for her performance in "I'm Not There." Don't get me wrong--I love Blanchett. I think she's one of the greatest actresses around right now. But I am so tired of actors and actresses winning Oscars for living/dead people (e.g., Ray Charles, the country singer that Reese Witherspoon portrayed (can't remember her name), Katharine Hepburn, the dictator that Forrest Whitaker portrayed, Queen Elizabeth 1 & 2, and I'm sure there's a bunch of others). Since when did acting become an imitation of other people? Has acting sunk so low that actors have lost all sense of imagination to create a character of their own? This is precisely why I was rooting for Ryan Gosling ("Half Nelson") and Kate Winslet ("Little Children") to win the Oscars last year.

Posted by truefaith at September 15, 2007 12:52 AM

comment #22

Chris Willman says ...

"Since when did acting become an imitation of other people?"

Isn't all acting an imitation of other people?

Posted by Chris Willman at September 15, 2007 1:05 AM

comment #23

JD says ...

I agree with your sentiments truefaith, but I'm Not There isn't a literal-minded biopic. As I said above, Blanchett's performance is an interpretation, not an impersonation (that should be clear from the fact that a woman has been cast to play a man). In fact, the movie works best as an alternative response to the conventional rock biopics of recent years. It's deconstructing the genre, not re-enforcing its tired conventions.

Posted by JD at September 15, 2007 4:45 AM

comment #24

EDouglas says ...

"PS- You sat two rows in front of me at the WB press conferences and I wanted to introduce myself, but you left too quickly!"

Yeah, sorry... I saw you at the press conference when you asked your questions but didn't see you again after that. I had to run upstairs to get to a 1:1...which I then had to wait over an hour for... so I probably wasn't in as big a hurry as I always think I am :)

Posted by EDouglas at September 15, 2007 5:00 AM

comment #25

thatmovieguy says ...

I hope ACROSS THE UNIVERSE does some business: It's wacky as hell, but the parts of it that work are captivating and, if nothing else, Taymor certainly has imagination and energy to spare. I thought it might be a fiasco, but it was actually fun. JESSE JAMES won converts in Toronto? You certainly weren't at the same screening I was. After about an hour, people weren't even making an effort to stifle yawns and there was a whole lot of watch-checking going on. The acting is generally fine and the photography is great, but this is HEAVEN'S GATE all over again: pretty to look at and plodding from start to finish. I talked to a critic who saw it with an audience in New York and she said it went over like a lead balloon: lots of walkouts and "what a snooze" comments afterward. And even though you insist ELIZABETH was a wipe-out it got a very warm reception at the public screening I attended. But BEFORE THE DEVIL KNOWS YOU'RE DEAD really is something else and you're certainly on the right track about ATONEMENT: People were practically swoony over it, and Saoirse Ronan deserves a best supporting actress nomination (she's also very good in DEATH DEFYING ACTS, playing Catherine Zeta Jones' crafty daughter). I'd also be surprised if Michael Douglas doesn't get nominated for KING OF CALIFORNIA (loved it). INTO THE WILD was also terrific.

Hollywood Elsewhere

Eye-Openers

Toronto Sum-Up, Part 1

J. Huff says ...

MiraJeffAICN says ...

bmcintire says ...

Ian Sinclair says ...

pm123 says ...

MilkMan says ...

actionman says ...

swhitty says ...

Zimmergirl says ...

actionman says ...

alynch says ...

Scott Feinberg says ...

Zimmergirl says ...

christian says ...

Wixy says ...

EDouglas says ...

EDouglas says ...

Scott Feinberg says ...

Geoff157 says ...

JD says ...

truefaith says ...

Chris Willman says ...

JD says ...

EDouglas says ...

thatmovieguy says ...

kimi98 says ...

kimi98 says ...

kimi98 says ...

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