TIFF '17 Day 7: Suburbicon, Eye on Juliet

By Jorge Ignacio Castillo

Suburbicon (USA, 2017. Dir: George Clooney): There is no way Suburbicon could be considered an average film. It’s topical (fear of the “other” prevents us from noticing the true monsters in our society) and is directed by proven commodity George Clooney, from a script from the Coen Brothers. In spite of it all, it doesn’t add to more than the sum of its parts.

Matt Damon taps into his dark self as Gardner, a presumably average suburban dad in the 50’s. His home is invaded by a couple of thugs and his wheelchair-bound wife (Julianne Moore) is an unintended casualty of the break-in (or is she?). Meanwhile, their entire neighborhood is up in arms because a black family has moved in, oblivious to the horrors taking place a few doors down.

The film could be described as a mix of Fargo and Blood Simple by the way of Tim Burton. It’s undeniably entertaining but is hard to shake the feeling we have seen all this before. Furthermore, Clooney’s films are often staged to a fault and this one feels particularly airless. Oscar Isaac as a wily claims investigator provides the one breath of fresh air in this otherwise hermetic cautionary tale. Three stars. Distribution in Canada: Theatrical.

Eye on Juliet (Canada, 2017. Dir: Kim Nguyen): After the hard-hitting Rebelle and the fierce Two Lovers and a Bear, it’s no surprise writer/director Kim Nguyen has chosen a gentler piece as a follow-up. Eye on Juliet is a romantic drama in which technology acts as an accessory to amorous pursuits in unexpected ways.

Recently dumped by his girlfriend, Gordon (Joe Cole, Green Room) is on the brink of a nervous breakdown. His behavior has started to affect his job operating security robots remotely. In the midst of his pity party, Gordon becomes smitten with a young Arabic woman who hangs out near the pipeline his bots are protecting. The girl’s parents have arranged her wedding, unaware that she has a boyfriend and hopes to escape to Europe with him. Particularly susceptible to love stories, Gordon attempts to help them, but his involvement causes more trouble than good.

Even though the premise has potential and the visuals rise to the occasion, Eye on Juliet leans heavily on narrative clichés and corniness. The “growing tension” hardly registers and the final five minutes are blatantly borrowed from a 90’s travelogue classic. The film is not without merits, but it could have used a better story. Two and a half stars. Distribution in Canada: Theatrical.

TIFF ’17 Day 6: A Fantastic Woman, The Disaster Artist

By Jorge Ignacio Castillo

A Fantastic Woman (Chile, 2017. Dir: Sebastián Lelio): One of the two films Chilean filmmaker Sebastián Lelio is presenting at TIFF, A Fantastic Woman is an intimate portrait of three particularly bad days in the life of Marina (star-making turn by Daniela Vega), a transgender singer.

Orlando, Marina’s much older partner, has died of an aneurysm, but she is not allowed to grief. Marina must face mistrust and prejudice at every level, as if she was responsible for Orlando’s death.

A Fantastic Woman is a superb character study and a severe indictment of a society that’s more hypocritical than open-minded. The film does falter every so often (I call for a moratorium of sex dungeons in movies), but overall it underlines Lelio’s talent to write female characters. Considering Gloria, A Fantastic Woman and the upcoming Disobedience, the Chilean director is poised to give Almodóvar a run for his money. Four stars. Distribution: Theatrical.

The Disaster Artist (USA, 2017. Dir: James Franco): A dramatization of the behind-the-scenes of The Room (the infamous cult classic renown only by its awfulness) is a minefield of outlandishness: If the subject itself is already laughable, how could you top it? Can you impersonate The Room star/writer/director Tommy Wiseau without turning him into a caricature?

Director James Franco doesn’t quite succeed at turning The Room into a triumph of the human spirit, but damn if he doesn’t come close. The Disaster Artist approaches the figure of Tommy Wiseau sideways, through his sidekick (and the author of the book that inspired the movie) Greg Sestero. Originally struggling actors from San Francisco, Tommy and Greg decide to try their luck in L.A. After a number of discouraging encounters and Tommy’s desire to be cast as the hero, not the villain, Wiseau decides to make his own movie. This, in spite of being a terrible actor, writer and not having directed a thing in his life. The rest is movie history.

The film doesn’t even try to respond the most pressing questions about Wiseau (first of all, where does he get the money from). Instead, it focuses on the friendship of Greg and Tommy. Wiseau is strange, difficult and prone to outbursts, and Greg enables him for longer than expected. The film (and The Room itself) hints at a history of betrayal that explains Wiseau’s behavior, but doesn’t dig further. The Disaster Artist is undeniably fun, but just skin deep. Three stars. Distribution: Theatrical.

The Surrounding Game Is No Pastime

When you think of Go, think of chess in steroids.

By Jorge Ignacio Castillo

THE PLOT: A documentary about the oldest board game in the world, The Surrounding Game focuses on Go as much as on the players. In theory a very simple game (the goal is to surround and eliminate your rival’s stones), Go allows by far more variations than chess. Because of the number of possibilities, you can only plan to a limited degree and thinking on your feet is encouraged. Go is detail oriented, but the board is large and keeping an eye on the big picture is key to win.

Unsurprisingly, Go incites obsession: The more you know, the least educated you feel. Far more popular in Asia than in the Western world, the film zeroes on a handful of American players trying to break into the upper echelons of the circuit.

CRITIQUE:  Terrifically entertaining, you don’t need to know how to play Go to enjoy it (in fact, it’s very likely you’ll want to give it a shot after the doc ends). The Surrounding Game straddles the line between special interest documentary and crowd pleser. The film tries to cover the many crooks and bends of the Go culture (history, competitions, rankings) and for the most part, succeeds.

The movie’s biggest flaw is structural. Because of the all-encompassing approach, it feels episodic and the pieces don’t quite come together. A tournament to determine the US’ first certified Go professional gives The Surrounding Game a spine of sorts, but is not as interesting as the many detours the film takes. Given the magnitude of the endeavor, it’s a forgivable misstep.

WHAT WORKS:

* The interviewees are chosen wisely: The young Americans trying to break into the big leagues, the number one player who sees the game as art, the nonagenarian content with having spent big chunks of his life playing Go. All compelling.

* The film is very didactic and gets every point across with relative ease.

WHAT DOESN’T:

* The film’s top half is far more interesting than the rest. Watching other people playing Go it’s not exactly riveting.

* Similarly, the cinematography opens strong, but can’t keep it up.

RATING: ***

RATING (CANADIAN CURVE): ***½

The Surrounding Game will play this Saturday, June 10th (11.30 AM, at TIFF Bell Lightbox) as part of the Canadian Sport Film Festival.

#AnAmericanDream You Won’t Remember

Ken Finkleman tackles America’s follies and is surpassed by reality.

By Jorge Ignacio Castillo

THE PLOT: William Bowman, a happy-go-lucky kind of guy, realizes that to make it in today’s world, he has to go along with less than reputable characters. Much like Forrest Gump, William lands himself in recognizable scenarios (corporate boardrooms, reality TV, the gun control debate), which unveil the pervasive soullessness of modern America.

CRITIQUE: Through most of his later-day career, Ken Finkleman (The Newsroom, Good Dog) has traded in heightened reality and distrust of the media. #AnAmericanDream is a catalyst to his fixations. Finkleman has a dark, dyspeptic sense of humor, which I can get behind. The problem is that his brand of comedy not very funny or poignant.

The concept of “American Dream” has been mocked pretty thoroughly, and the writer/director’s observations in #AnAmericanDream are a both obvious (American legislators using religion to justify their less than humane actions is hardly ground-breaking, modern media lacks ethical or moral compass) and fail to add anything new to the debate. The film is a feel-bad journey without a payoff.

WHAT WORKS:

* 18-year-old newscaster Tally Pepper, not quite jaded to be a Fox News blonde, but well on her way to become one. Her appearances provide the funniest moments of the film, next to the prostitution-obsessed news crawl.

* The structural narrative of #AnAmericanDream feels fresh. In spite of the many elements it juggles (faux documentary, first-person perspective, episodic structure), it unfolds fluidly. It’s Finkleman’s forte.

WHAT DOESN’T:

* Jake Croker as William Bowman. Granted, the script asks for a blank-faced performance, but a little personality could have helped getting the audience on his side.

* The framing (Jake suffers a concussion that gives him a glimpse into the future) is unnecessary and the ending negates the very premise the film is built on.

RATING: **

RATING (CANADIAN CURVE): **½

#AnAmericanDream is playing at the Royal Cinema from Friday, June 2nd, to Sunday, June 4th.

HotDocs Film Festival - Day 9: Donkeyote

By Jorge Ignacio Castillo

Donkeyote (UK/Germany, 2017): Finding documentaries that make you feel good about the human condition is often challenging. Donkeyote is one of them: Manolo, a septuagenarian farmer, enjoys days-long walkabouts across Southern Spain alongside his donkey, Gorrión. His dream is to one day walk the 2200-mile Trail of Tears in the US, but not only it’s expensive, bringing Gorrión is a whole other thing.

The film follows Manolo in his efforts to put the trip together, but the campaign is just an excuse to spend time with a compelling figure, an uncomplicated man who embraces life with gusto, but slowly realizes the world may have passed him by. Donkeyote could have used a sturdier structure (towards the end, the movie feels aimless), but it’s a guaranteed good time.

3/5 stars. Donkeyote will play Sunday 7th at the Scotiabank Theatre.

HotDocs Film Festival - Day 8: Ramen Heads

By Jorge Ignacio Castillo

Ramen Heads (Japan, 2016): A man with a cause can be a powerful force, even if that cause is to create the best bowl of ramen eight dollars can buy. The figure in question is Osamu Tomita and he is as obsessive as a Michelin-anointed chef.

Tomita believes strong flavors can be balanced, so his broth is as thick as mud He is as picky with the noodles, the ingredients and the service. The outcome is memorable. I tasted it.

Ramen Heads doesn't entirely focus on Tomita, but he is the star of the show. The film covers the history and entire process of making ramen in dynamic fashion. The utterly dry narration manages to add more flavor to an already well seasoned dish.

3.5/5 stars. Ramen Heads will also play May 5th and 6th at the TIFF Bell Lightbox and the 7th at the Hart House Theatre.

HotDocs Film Festival - Day 6: PACmen, Integral Man, Recruiting for Jihad

By Jorge Ignacio Castillo

PACmen (USA/Australia, 2017): Of the many dramatic threads to emerge from last year’s election in the US, Dr. Ben Carson provided one of the weirdest. On the strength of a single speech, Carson was jettisoned to the Republican presidential race and for a brief moment, the neurosurgeon gave Trump a run for his money… until he opened his mouth. Unsubstantiated claims about his childhood and bizarre statements (the pyramids were built for storage purposes!) quickly derailed his candidature.

PACman focuses on the two super-PACs formed to support his candidacy: “Run Ben Run” and “Extraordinary America”. As a man of faith, Carson attracted a number of Christian-conservatives who struggled to understand how other Republicans could fall for a rube like Trump. As Carson continued to fall on the polls, increasingly desperate supporters could only blame the media and find solace in prayer.

The film is somewhat reminiscent of Weiner, with the major disadvantage that Carson’s downfall wasn’t nearly as entertaining as the former NY representative’s. PACmen offers very little new information on how Super-PACs operate and even less on the Carson’s campaign (well documented by the media) to justify its existence. It is, however, dryly amusing.

2/5 stars. PACmen will also play May 3rd at the Hart House, the 5th at TIFF Bell Lightbox and the 6th at the Fox Theatre.

Integral Man (Canada, 2016): The most published mathematician since Euclid, James Stewart was a man of many passions: Gay rights, music and architecture. His success allowed him to build a residence with very particular specifications: Heavy on glass and wood, mostly curve. The outcome -Rosedale’s Integral House- would go on becoming a sanctuary for classical music and benefit events.

More than a documentary, Integral Man is closer to architecture porn. Despite being barely an hour long, most of the length is used on repetitive shots of the residence. There is some input from the team that designed the house that’s neither illuminating nor insightful.

It’s unfortunate, considering Stewart’s considerable legacy. His contributions to calculus are barely paid lip service, let alone his activism (judging from the footage alone, all he did was hosting dinners). First-time feature director and landscape architect Joseph Clement does the very minimum (the house, the house at night, the house in winter, the house empty, the house with people) and failed to venture outside his zone of comfort, at the expense of the subject.

1.5/5 stars. Integral Man will also play on May 3rd at TIFF Bell Lightbox and May 5th at the Fox Theatre.

Recruiting for Jihad (Norway, 2016): There is a fundamental problem with this doc about a Jihadist connecting radicalized young men with the Islamic State: In order to gain access, the filmmakers gave the recruiter decision power regarding content. The film is illuminating, but comes short in showing the mechanics of the process.

2.5/5 stars. Recruiting for Jihad will play one last time Saturday 6th at TIFF Bell Lightbox.

HotDocs Film Festival - Day 5: The Workers Cup

By Jorge Ignacio Castillo

The Workers Cup (UK, 2017): Much has been said about the brutal conditions foreign workers must endure while building stadiums for the 2022 Qatar World Cup (high temperatures, excessive hours, disproportionately low wages). Their plight has seldom been documented: Press access to worksites is severely restricted.

Director Adam Sobel takes advantage of a PR move to gain access to the workforce. The embattled contractors have organized a soccer championship to show concern for the wellbeing of their employees: The Workers Cup. The overworked personnel fails to see the tournament as a publicity stunt and happily become involved.

The harsh realities of being a foreign worker in Qatar seep through the supposedly wholesome competition. Unsavory situations like being unable to leave camp at will, or a man getting stabbed by his roommate so he could be sent back home pepper the daily lives of the migrant workforce.

Much to the film’s credit, The Workers Cup treats its subjects as individuals with agency and not as victims, which makes their plight much more relatable. Their story has only started to unfold

3.5/5 stars. The Workers Cup will play one last time on Sunday 7th at the TIFF Bell Lightbox.

Hot Docs Film Festival - Day 4: The Road Forward

By Jorge Ignacio Castillo

The Road Forward (Canada, 2016): A blend of musical and documentary too ambitious for its own good, The Road Forward attempts to tackle First Nations’ most significant struggles of the last century (the Native Brotherhood, the Constitution Express, residential schools, missing aboriginal women) via information and music. The outcome is so scattered, it’s hard to become fully immersed in the film.

As if recent history wasn’t enough, The Road Forward dedicates a fair amount of time to the performers’ own battles. Their stories are compelling in their own right, but become lost in a bombardment of minutiae, particularly in the top half. Five years ago, the stylistically similar The Art of Killing succeeded by limiting its scope.

The rise of Canada’s first indigenous newspaper -The Native Voice- gives the film a vague framing, but the outcome cries for structure. The music comes close to provide one (“Indian Man” is so catchy it should transcend the film), but the result is far from cohesive.

 2/5 stars.

The Road Forward also will play May 1st and May 6th at the Scotiabank Theatre.

Hot Docs Film Festival - Day 3: City of Ghosts, Shiners

By Jorge Ignacio Castillo

City of Ghosts (USA, 2016): Documentaries don’t get any timelier and pressing than director Matthew Heineman’s follow-up to Cartel Land. The filmmaker chronicles the struggle of a group of Syrians who, as a response to ISIS taking over their city, started the site called “Raqqa Is Being Slaughtered Silently”, which would go on to win the Freedom of the Press Award.

Unless, let’s say, America’s citizen journalism (often an angry white guy with a blog and a lot of venom to spew), the RBSS journos risk their lives even outside Syria. The Islamic State has put a price to their heads and there is no shortage of fanatics willing to go hunting.

The footage is brutal and often hard to watch (the executions are horrifying and the indoctrination of children is plain sinister). The film excels at portraying the danger the reporters face and the value of the information they get out of the country. Anyone who wants to find out what’s at stake in Syria should look out for this doc.

4/5 stars. City of Ghosts will also play May 6th and 7th at the HotDocs Ted Rogers Cinema.

Shiners (Canada, 2016): This terrific doc takes on a trade that exists around the globe -shoe shinning- and uses it to shed light on different cultures and the way this activity is perceived. The formula is simple: Five different cities, one or two shiners per town.

In New York and Toronto, shoe-shinning is a hipster trend, a craft practiced by people who find the occupation soothing. In Tokio, it’s a science: The main practitioner has learned everything there is to know about leather and delivers footgear that looks better than new. In Sarajevo, it’s a matter of pride: A shoe shiner’s father never stopped working, even in the midst of war, and the son wants to honor him by continuing the tradition. In La Paz, there is shame involved, to the point shiners must wear masks to avoid recognition and possible discrimination.

The film is both illuminating and touching. Every subject has a compelling story to tell, even the clients. One only wishes a sixth city could have been included so the film could beat the ninety-minute mark.

3.5/5 stars. Shiners will also play April 30th and May 4th at the Hart House Theatre. 

Hot Docs Film Festival - Day 2: Mermaids, Blurred Lines, Brimstone & Glory

By Jorge Ignacio Castillo

Mermaids (Canada, 2016): A fascinating phenomenon per se, women who find personal fulfillment by becoming “mermaids” are a lot more common than expected. Mermaids focuses on three of them, each one going through a challenging journey: A transgender woman, a grieving sister and a bipolar Latina coming to terms with a history of abuse. Each one has discovered that rubber tails free them from all their burdens, however briefly.

Mermaids does a good job humanizing a potentially ludicrous practice: Midway through the film, director Ali Weinstein digs deep on what makes this women tick and finds gold. The documentary could have used some professional insight, but as it stands, it’s quite entertaining.

3/5 stars. Mermaids will also play Saturday, April 29th, at the Isabel Bader Theatre, Monday, May 1st, at the TIFF Bell Lightbox and Friday the 5th at the Scotiabank Theatre.

Blurred Lines: Inside the Art World (Canada, 2017): This academic doc by Barry Avrich (Stratford Festival’s mainstay director) is a good example of a compelling topic comprehensively researched. The matter at hand is the business of art: Billions of dollars change hands with little regulation and often with merely speculative purposes. The result is a mercenary market that shapes artists’ output and not for the best.

Avrich spares us any lecturing about how art and money are mutually exclusive. The filmmaker puts together an impressive array of interviewees, including contemporary figures like Marina Abramovic and Julian Schnabel, collectors, consultants, gallerists and museum directors. You won’t find any dealers, but there is a good reason for that. Blurred Lines benefits of a visually enthralling subject and delivers an agreeable experience, if a notch sterile.

3.5/5 stars. Blurred Lines will also play Saturday, April 29th, at the HotDocs Ted Rogers Cinema and Sunday, May 7th, at the Isabel Bader Theatre. 

Brimstone & Glory (USA, 2017): There isn't a better format to register collective madness, in this case, the National Pyrotechnic Festival in Tultepec, Mexico. The entire town lives for this event, even though very few have the education to create fireworks (most of the instructions come from tradition and trial and error) and many have lost limbs, if not their lives.

The event itself is at a whole other level of crazy. Most of the fireworks go off at eye level and in the middle of the crowd. Embers landing in people’s eyeballs are a common occurrence. Not surprisingly, the film is visually enthralling (director Viktor Jakovleski uses traditional and GoPro cameras to capture the action), although it could have used more research or characters to follow.

3/5 stars. Brimstone & Glory will also play Saturday, April 29th, at the Scotiabank Theatre and Saturday, May 6th, at the TIFF Bell Lightbox.

HotDocs Film Festival - Day 1: Bee Nation

By Jorge Ignacio Castillo

Bee Nation (Canada, 2017): The definition of a crowd-pleaser to kick off this edition of HotDocs, Bee Nation revolves around an event with tension, drama and personal achievement ingrained in its DNA: The First Nations Provincial Spelling Bee competition. The first ever for aboriginal community.

It’s Documentary 101: Director Lana Slezic pics a handful of kids from different First Nations communities in Saskatchewan and shows their lives and how they prepare for the event. The approach allows some distressing information to seep through, like the fact schools in reserves receive considerable less money per student and, forcing administrators to make some hard decisions regarding their curriculum.

The children Slezic picks as main subjects are all overachievers, but they have a personality of their own (for William, failure is devastating; Savannah is a model of personal drive). In each case, their parental figures see education as a way out, a chance to see a world beyond the reserve. Heartbreak is unavoidable (the winners of the provincial chapter head to Toronto to compete against private school kids with tutors), but makes for great cinema.

Bee Nation is a bit stately (it’s presented under the CBC Docs banner), but is worth your attention.

3/5 stars. Bee Nation will also play Friday, April 28th, at the HotDocs Ted Rogers Cinema, and Saturday, May 6th, at the Isabel Bader Theatre.

REVIEW: The Second Time Around: Maybe the Third One

This amiable senior drama could have used some teeth.

By Jorge Ignacio Castillo

THE PLOT: Katherine (Linda Thorson, The Avengers’ Tara King!) is a vivacious, music-loving septuagenarian who -following an accident at the opera- lands at a seniors’ home. Despite assurances from her daughter that it’s a temporary arrangement, Katherine couldn’t possibly be unhappier.

Things begin to look up when she meets Isaac (Stuart Margolin, The Rockford Files), a retired tailor whose incipient arthritis doesn’t prevent him from doing patch jobs for his housemates. After a rocky start, Katherine and Isaac tentatively embark in a romantic relationship, but at their age, the stakes are higher and the challenges, numerous.

CRITIQUE: A low-key drama with one too many troupes, The Second Time Around caters to a very specific niche, the one that flocks the 5th Avenue Cineplex in Vancouver and the Varsity in Toronto. The straightforward narrative has a clear drive (seniors being the driving agents of their own lives), and if you don’t mind predictability, it may satisfy. The one thing the film doesn’t deliver is fresh insight.

Linda Thorson and especially Stuart Margolin succeed at making the often stilted dialogue tolerable. It’s the younger cast members who are not as successful at making the script their own.

WHAT WORKS:

* Not only Stuart Margolin is the movie’s MVP. He gets to sing a couple of songs in Yiddish worth your attention.

* There is some chemistry between Margolin and Linda Thorson. The courtship features some charming, quiet moments, all too infrequent in modern cinema.

* The movie looks favorably at indulging and enabling our elders, a rather unexpected message for a film of this nature.

WHAT DOESN’T:

* The cinematography is very dull. The production design is particularly unimaginative.

* Most of the comedy falls flat and, when it doesn’t, it’s too gentle to register.

* You wouldn’t believe the number of 360-degree dolly shots this movie has.

RATING: **

RATING (CANADIAN CURVE): **1/2

The Second Time Around is now playing in Montreal, Toronto and Vancouver.

TIFF '16 -Day 9: Trespass Against Us, The Belko Experiment, Little Wing, The Net

By Jorge Ignacio Castillo

Trespass Against Us (UK, 2015): I would normally praise an A-lister for going back to his native land to do a cheaper movie, but Michael Fassbender is rather miscast in this mildly compelling drama. Fassbender is Chad, the second in command of a band of outlaws living in the forest. Chad is good at what he does and is one hell of getaway driver. He is also a family man and has slightly more common sense than his fellow thieves.

When it becomes clear his son is likely to end up as one of the inept criminals that surround him, Chad begins to consider the possibility of jumping ship. The only obstacle is his father (Brendan Gleeson), a powerful figure that keeps Chad under his thumb using putdowns and guilt-tripping.

It just takes one look at Fassbender to realize he is no shrinking violet, a detail that makes his character hard to swallow. He is not the only problem: Trespass Against Us often feels aimless, the premise is stretched over ninety minutes for no apparent reason. While we care about the outcome, the film could have use a rewrite and a less-chiseled star. Three stars.

The Belko Experiment (USA, 2016): Imagine The Hunger Games without the terrible romance, or Battle Royale without the mystique. It’s just an every-man-for-himself brawl set in corporate America, and it’s predictably nasty and entertaining. Three stars.

Little Wing (Finland, 2016): The issue of immature parents who lean emotionally on their children is a recurrent one in this edition of the festival. In Little Wing, the subject is treated matter-of-factly: A twelve-year old girl basically raises herself as her self-involved mother sees her more as a clutch than as a person. That is, until the kid goes missing. Too low key to cause a splash, but worth looking out. Three and a half stars.

The Net (South Korea, 2016): Controversial filmmaker Kim Ki-Duk (Moebius, Pieta) delivers his most traditional film to date, but one with edge to spare. Through the story of a North Korean fisherman who unwittingly finds himself south of the demilitarized zone, Kim depicts the two Koreas as the mirror images of one another. According to The Net, neither country can claim moral superiority, not quite the narrative we hear in the Western World. Three and a half stars.

That’s it for me folks. Four to five movies a day take a toll on you. See you at the movies.

For more #TIFF16 up-to-the-minute updates, follow me on Twitter at @jicastillo.

TIFF '16 - Day 8: The Girl with All the Gifts, Ma' Rosa

By Jorge Ignacio Castillo

The Girl with All the Gifts (UK, 2016): Between The Walking Dead and all the low-rent undead flicks, it’s hard to give a fresh twist to the zombie subgenre. The Girl with All the Gifts does its darndest to achieve it, but the surplus of ideas ends up hurting the outcome.

The film opens intriguingly enough. A group of inoffensive-looking children are treated like Hannibal Lecter by an overzealous military unit. One of the kids is the dependably polite Melanie (newcomer Sennia Nanua), who hangs pictures of a cat on her wall when no one is looking. Slowly we come to realize the children are partially zombified, but retain a semblance of humanity.

The matter of the kids’ right to be treated as people is one of the many issues the movie hints at, but doesn’t develop (likely, the novel that inspired the film is more thorough). One element I haven’t seen in other zombie movies is the suggestion that mankind is screwed anyway and we should just let it happen.

The Girl with All the Gifts may have been better suited for a TV series. As a feature, too much info falls through the cracks. Two stars.

Ma' Rosa (Philippines, 2016): I was not familiar with the filmography of Philippines most noteworthy filmmaker, Brillante Mendoza. Getting introduced to his work through Ma’ Rosa is akin to being thrown into the deep end of the pool: Gritty, relentless and depressing.

The drama follows 24 hours in the life of Rosa, a convenience store owner/crack dealer. Life in poverty has hardened the mother of three, and her relationship with her kin is punctuated by abuse. This day in particular her store is raided by the police, and the only way she can escape time in the clink is by ratting out her provider and put together a considerable amount for her “bail” (bribe).

The movie revolves around Rosa, but takes breaks to follow her children as they try to get the money in heartbreaking sequences. Also, we get to see the utterly corrupt police force try to make the most of the arrest (financially, that is). Brillante Mendoza employs a visual style very similar to late-period Michael Mann (handheld HD video), only in this scenario is more appropriate than say Miami Vice. Ma’ Rosa just looks chaotic, but has structural clarity and purpose. Four stars.

For #TIFF16 up-to-the-minute updates, follow me on Twitter at @jicastillo.

TIFF '16 - Day 7: Christine, Sand Storm

By Jorge Ignacio Castillo

Christine (USA, 2016): In 1974, Sarasota news reporter Christine Chubbuck responded to management pressures for more exciting stories by blowing her brains off on live TV. Since there is no mystery about her fate, this biopic focuses on the many factors that led her to take such drastic decision.

As depicted in the film, Christine Chubbuck (Rebecca Hall, Vicki Christina Barcelona) was the smartest reporter in the room, with hopes to go to a bigger market. Christine was also struggling with depression, infertility and an unrequited crush on the news anchor (Michael C. Hall, Dexter).

The film is broad but successful at exploring all the elements involved in Chubbuck’s suicide. But the movie’s biggest asset is a powerhouse performance by Rebecca Hall, who builds a sympathetic character without betraying the integrity of the person who inspired it. If Christine wasn’t an indie struggling with distribution, I would call Hall a shoe-in for an Oscar nomination. Three stars.

Sand Storm (Israel, 2016): As problematic as the issue of arranged marriages is in the Middle East, there are only so many outcomes available to filmmakers. Sand Storm finds a less explored strain, but fails at distinguish itself from other similarly themed films (Academy Award nominee Mustang hit theatres just last winter).

The eldest daughter of a Bedouin family, Layla believes that because her father allows her to drive and pursue an education, she can pick her own beau. She would be wrong. Mere days after bringing the boyfriend home, she is engaged to a less than stellar individual from her community.

Layla’s stern mother, Jalila, appears initially as the villain of the piece (she is the first one to oppose the young woman’s relationship), but soon becomes clear she is a realist with a better grasp of her husband’s character. Jalila is also fighting her own issues, namely the arrival of a second wife, much younger than her.

Sand Storm brings attention to the limited opportunities women have in this environment and hints at the resilience of patriarchal tradition. Worth watching, if you haven’t been exposed to the subject before. Three stars.

For #TIFF16 up-to-the-minute updates, follow me on Twitter at @jicastillo.

TIFF '16 - Day 6: Deepwater Horizon, Mean Dreams, Manchester by the Sea, The Salesman

By Jorge Ignacio Castillo

Deepwater Horizon (USA, 2016): Given director Peter Berg’s previous output (the disreputable Lone Survivor), I was honestly expecting this movie would be on British Petroleum’s side. Thankfully, Deepwater Horizon sticks to the official story and slaps some action scenes for good measure.

Berg’s go-to leading man, Mark Wahlberg, is Mike Williams, the second in command at the ill-fated oil platform. Because of greed inspired BP directives, a number of security checks are bypassed, so when they finally agree to a checkup, all hell breaks loose.

Even though Berg goes way over the top with the jargon, the filmmaker does a good job explaining the events that lead to the oil spilling (the environmental catastrophe that ensued is only mentioned in passing). But for all the didactic exposition and superb execution of complex action sequences, the characters are one-trait ponies. Kate Hudson is in this movie solely to pace around the house and look worried (and gorgeous). Two and a half stars. 

Mean Dreams (Canada, 2016): In any other year, Mean Dreams would have shined among TIFF’s Canadian offerings. However, given the strong crop in display this festival, it comes out as pedestrian.

In a rural area near Sault St. Marie, two troubled teens fall in love. Jonas (Josh Higgins, Max) is the son of an impoverished farmer who must quit school to help with the land. To the house next door arrives Casey (Sophie Nélisse, The Book Thief), a sweet girl with a rageaholic father (Bill Paxton). They soon fall for each other, but Casey’s dad doesn’t approve of the relationship. Two caveats: The father is a police officer and has a drug business on the side.

Outside beautiful fall scenery, there nothing particularly moving about Mean Dreams: The lovers on the lam angle has been explored a thousand times and this film doesn’t have anything original to add. That said, Mean Dreams is competently made and Nélisse -who got started as one of Monsieur Lazhar students- is becoming a talent to watch. If nothing else, Bill Paxton’s scenery chewing is worth checking out. Two stars.

Manchester by the Sea (USA, 2016): Playwright, screenwriter and director, Kenneth Lonergan has a knack to capture the depths of an individual just by watching it go through their day. His dialogue never feels forced, but is revealing all the same. His movies are a low-key wonder.

Manchester by the Sea is only his third movie and the most complete one to date. Lee Chandler (Casey Affleck, never better) is a taciturn janitor sleepwalking through his life. The death of his brother takes him back to his hometown, a visit that troubles him for reasons that slowly come into focus. There is also a surprise in stock for Lee: He has been named his 16-year old nephew’s guardian, a task he believes he’s not up to, despite having an easy rapport with the kid.

As is tradition in Lonergan’s work, comedy and tragedy mix seamlessly. Teenage self-centeredness and Lee’s unsociable behavior lead to perfectly relatable (and often gut-busting) clashes. The writer/director doesn’t avoid the leg work and turns those minor indignities of everyday life into representations of inner turmoil. An early frontrunner for the Academy Awards, at least in acting and writing categories. Four stars. 

The Salesman (Iran, 2016): While Iranian director Abbas Kiarostami was celebrated for the lyricism of his work, Asghar Farhadi deserves credit for being the filmmaker who best has captured the country’s modern quandaries.

The Salesman is less well-rounded than Farhadi’s previous film -A Separation-, but is just as provocative. Emad, a teacher-cum-actor is forced to abandon his home when the shoddy building he lives in starts to fall apart. He believes he has found a bargain when a friend offers him another apartment, but not even a couple of nights after moving in his wife is attacked. A hunt for the perpetrator ensues, without the assistance of the police or the traumatized victim.

It’s never explicitly said, but the film strongly hints the assault was sexual in nature. Farhadi depicts a society unprepared to deal with crimes of this ilk, and men struggling to see women as their equals. That said, the picture of Iran is of a society much closer to the Western World than other countries in the region are. The Salesman may challenge some preconceptions, without losing sight of the problems that still affect the country. Three and a half stars.

For #TIFF16 up-to-the-minute updates, follow me on Twitter at @jicastillo.

TIFF '16 - Day 5: La La Land, Window Horses, Paterson

By Jorge Ignacio Castillo

La La Land (USA, 2016): Director Damien Chazelle’s follow-up to the superb Whiplash shows a filmmaker willing to explore outside his zone of comfort. Narratively, La La Land is pat, but the visuals, music and choreographies more than make up for it.

The story is pure Hollywood lore: Mia is a small town girl (Emma Stone) struggling with getting her acting career off the ground. As she makes her way through Tinseltown, she encounters a jazz musician (Ryan Gosling) with whom she falls in love with. Opportunity doesn’t have a sense of timing and their careers get in the way of a fulfilling relationship.

La La Land is visually stunning and goes from feat to feat (the opening sequence set on a freeway is one for the books), yet it remains profoundly human. Gosling and Stone are top notch, both as song-and-dance partners and in the more dramatic sequences. The film features a coda so brilliant, it practically eclipses the rest of the movie. A strong candidate to best of the fest. Four and a half stars.

Window Horses (Canada, 2016): A phenomenal animated drama that proves you don’t need millions of dollars or Pixar-like precision to trigger an emotional response, Window Horses could be the surprise of this edition of TIFF.

Rosie Ming (voiced by Sandra Oh) is a young writer with little life experience who gets the surprise of a lifetime when she is invited to a poetry festival in Shiraz, Iran. It’s not entirely out of the blue: Rosie is of Persian and Chinese descent, and is curious about her absent father’s land. The culture shock is considerable, but more so the discovery of how little she knows about her craft.

An already captivating plot is further improved with the incorporation of traditional Iranian poetry and dollops of history. The film’s looks are deceptively simple (Rosie is a stick figure, but there is a good reason for that) and enables the participation of guest animators for the most lyrical sequences. There isn’t a weak link in this chain: Sandra Oh’s voice acting is on point, Don McKellar as a conceited German poet is a hoot and the narrative builds up to a powerful climax. Four stars.

Paterson (USA, 2016): Following a career apex (the superb Only Lovers Left Alive), Jim Jarmusch takes a step back and delivers a deceptively simple meditation on routine and art.

Not one to abandon his indie roots despite widespread recognition, Adam Driver plays the title character. Paterson is happy with his lot in life, a whimsical and loving wife, a pub that suits his sensibilities and a job (bus driver) that allows him to rove around his beloved city… Paterson, New Jersey. The only element that distinguishes him is his appreciation for poetry, both as a reader and as a writer.

Paterson flirts with surrealism, but never leaves the viewers hanging. For the most part, his approach is charming, like reencountering the leads of Moonrise Kingdom as teenagers with a rebel streak. Jarmusch’s attempt to achieve transcendence through repetition is daring, although the verdict on whether he succeeded or not may vary from one viewer to the next. Three and a half stars.

For #TIFF16 up-to-the-minute updates, follow me on Twitter at @jicastillo.

TIFF '16 - Day 4: Denial, Julieta, American Honey, It's Only the End of the World

By Jorge Ignacio Castillo

Denial (UK, 2016): A fascinating story that could be more at home on TV than on the big screen, Denial rises above pedestrian filmmaking thanks to the power of the material and strong turns by Rachel Weisz and Timothy Spall (Mr. Turner).

The court drama pits American historian Deborah Lipstadt against British rabble-rouser David Irving. Lipstadt accused Irving of fabricating and misrepresenting historic documents in order to support his belief that the Holocaust never took place. Rather unexpectedly, the neo-Nazi icon sued the academic for libel. Since in the UK the burden of proof lies with the accused, Lipstadt found herself having to demonstrate the systematic killing of Jewish prisoners during World War II.

The film is bursting with fascinating info (even when defeat seemed unavoidable, the Nazis went out of their way to hide all evidence of the Final Solution) and serves as a primer on Britain’s justice system. Just as important as the Lipstadt-Irving showdown are disagreements within the historian’s defense team. While Irving’s position is indefensible, the debate over calling Holocaust survivors to the stand is a riveting one.

Denial goes above and beyond to provide a fluid narrative and a traditional climax (a challenge in films based on real events) and not always succeeds. Nevertheless, movies of this substance shouldn’t be dismissed. Three stars.

Julieta (Spain, 2016): Pedro Almodóvar’s work for the last decade has been hit-and-miss. A telling sign is whenever he abandons traditional structure: His weakest films are his most indulgent (I’m So Excited, Broken Embraces). I’m happy to report Julieta is one of his best efforts, up there with All About my Mother, a movie that shares a similar DNA.

Julieta unfolds as a mystery within an enigma. We first meet the title character (Emma Suárez) as she bails from moving to Portugal with her boyfriend. Soon we are informed the reason is her estranged daughter. Extended flashbacks reveal how young Julieta (the stunning Adriana Ugarte) came to meet the father, a fisherman, and how her entire existence has been marred to a feeling of guilt.

I don’t wish to spoil the surprises Julieta has to offer. Suffice to say the emotional punches are consistent and land more often than not. A soberer than usual Almodóvar depicts guilt as a destructive force that reproduces itself. Julieta’s dad offers a nice counterpoint to the lead character: Move on or become consumed by remorse.

Julieta works in most aspects, except for the over the top, melodramatic score. Not even Greek tragedies call for such violin abuse. Four stars.

American Honey (USA, 2016): A fairly new phenomenon in American cinema is the portrayal of the impoverished regions of the country. From to Beast of the Southern Wild to Hell or High Water, there seems to be an appetite for social cinema that wasn’t there five years ago.

American Honey falls in this category. It’s a character study (another anomaly in American cinema) with sociocultural undertones, simultaneously hard and compassionate towards millennials. Star (impressive debut of Sasha Lane) is a teen on the run from an abusive home. She joins a group of adolescents who roam across the southern states selling magazine subscriptions. While they maintain the illusion of free living, the collective is ruled with iron fist by Krystal (a terrific Riley Keough) and the charismatic Jake (Shia LaBeouf). Star and Jake begin a clandestine relationship, placing the newcomer in an awkward and potentially dangerous position.

Director Andrea Arnold (Fish Tank) pushes the envelope further than expected and ties the proceedings to a feeling of hopelessness. American Honey is never boring, but it’s hard to justify a 163-minute length. The film is challenging, but compulsively watchable. Three stars.

It’s Only the End of the World (Canada, 2016): I think I have Xavier Dolan figured out. Because of his early start as a director, he only trades on emotions. Rationality or any thinking matter have no place in his movies. This is all well and good for a couple of films, but the continuous praise has stunted his evolution. His latest is frankly unbearable. The most impressive francophone cast imaginable (Vincent Cassel, Marion Cotillard, Lea Seydoux, Nathalie Baye) is wasted on having them yelling at each other. Also, they play no recognizable human beings. Only Dolan’s stand-in -Gaspard Ulliel- survives this smorgasbord of overacting, mostly by staying quiet. One star.

For #TIFF16 up-to-the-minute updates, follow me on Twitter at @jicastillo

TIFF '16 - Day 2: Free Fire, Elle, Snowden

By Jorge Ignacio Castillo

Free Fire (USA/UK, 2016): Ben Wheatley is without a doubt one of the most interesting contemporary filmmakers at work, but his filmography is far from immaculate. He often engages in self-indulgence and glamorization of violence.

Free Fire embodies both of Wheatley’s main flaws. In fact, more than a movie, Free Fire feels like an exercise in style, following the infinitely more complex and ambitious High-Rise.

1978, Boston. A group of IRA members intents to purchase a number of automatic weapons from a shifty South African dealer at an abandon warehouse. The already tense exchange shifts into hyper-drive when men at both sides of the transaction succumb to the pressure.

The impish shoot’em up is undeniably entertaining, even though Wheatley fails to establish a visual geography to better follow the dispute. A number of recognizable actors (Cillian Murphy and Armie Hammer as the pros, Sharlto Copley and Sam Riley as the hotheads, Brie Larson as the liaison) are game to some down-and-dirty action, but Free Fire is just a minor detour for a filmmaker who can be more than another Tarantino clone. Three stars.

Elle (France, 2016): Perennial provocateur Paul Verhoeven has been very quiet lately. Outside a more or less traditional WWII flick (Black Book) and a forgettable short, the man who turned Hollywood on its head in the nineties has kept a low profile since.

His latest, Elle, is perhaps a career best. Verhoeven mixes genres with remarkable dexterity and is still capable of building a complex protagonist: The credits haven’t even finished rolling in when Michele (Isabelle Huppert, never better) is raped at home by an intruder. Reporting the attack is low in her list of concerns: Her son is about to move in with his pregnant girlfriend even though he may not be the baby’s father, her videogame company is developing a product that could make or break her business, and her long-time jailed father is up for parole.

You would think Michele is on the edge, but she remains in control and more together than everyone else around her. So much so, that the idea of being powerless becomes a thrilling one. You can figure out where this is going.

A layered mystery with a dollop of black comedy, Elle is very wrong in the best way possible. A contained Verhoeven is as good as his most debauched self, with the invaluable assistance of Huppert in a bravura performance. Four and a half stars.

Snowden (USA, 2016): It has been a long while since Oliver Stone was last relevant. His last few movies have gone from goofy (W.) to flat (World Trade Center). Even his attempt to be commercial (Savages) lacked the pizzazz his best efforts had.

While not entirely a return to form, Snowden is at least a fully shaped film that makes clear why the actions of the NSA contractor are worth our appreciation, regardless of the authorities’ scorn. Stone gives Edward Snowden the hero treatment: A former soldier of conservative tendencies appalled by the liberties the American government takes with civil surveillance. As the titular character, Joseph Gordon-Levitt does a remarkable job matching the man himself, from the voice pitch to the deceptive composure.

Snowden does a much better job than Oscar-winning documentary Citizenfour filling in the audience on the programmer’s trajectory and his motivations. Once again though, Snowden’s partner Lindsay Mills gets the short shift, in spite of a spirited performance by Shailene Woodley. It’s never clear why Mills has stuck through thick and thin with the whistleblower. Love only gets you so far. Three and a half stars.

For up-to-the-minute #TIFF16 impressions, follow me on Twitter at @jicastillo.