Festival Hopping: Venice and Toronto
As Toronto fires up and Venice winds down, here’s a smattering of reviews of the higher profile films critics are talking about.
The Wrestler. Though he found the plot of Darren Aronofsky’s film predictable at times, THR’s Stephen Farber liked this story of a former wrestling star, especially the performances, calling Mickey Rourke’s a career-best:
“Rourke dispenses with all vanity to plumb the depths of this well-meaning but severely damaged man. [Marisa] Tomei delivers one of her most arresting performances, again without any trace of vanity. [Evan Rachel] Wood’s part is smaller, but she captures the scalding anger of a woman neglected for most of her life.”
Variety’s Todd McCarthy sounds even more positive:
“Rourke creates a galvanizing, humorous, deeply moving portrait that instantly takes its place among the great, iconic screen performances. An elemental story simply and brilliantly told, Darren Aronofsky’s fourth feature is a winner from every possible angle.”
Screen Daily’s Fionnuala Halligan heaps similar praise on Rourke and the film.
The Brothers Bloom. Cinematical’s James Rocchi calls Rian Johnson’s much anticipated follow-up Brick “a magic trick of a film.” He goes on to say:
“The second it’s over, you want to see it again so you can try to catch how you were tricked, but you also want to see it again so you can return to the joy and wonder of being wrapped up in the nimble, deck-shuffling hands of a born showman.”
In the interest of balance, it appears Jeff Wells offers a dissenting view of the film, but consider the source. As I quickly skim, I see his first issue is that one brother is referred to by his last name and the other brother by his first. This apparently is a deal breaker. If you like your festival coverage largely joyless and desultory, you’ll want to bookmark Hollywood Elsewhere.
Meanwhile, David Poland seconds the positive Telluride consensus regarding Rachel Getting Married after he caught the Jonathan Demme film in Toronto. He’s pretty high on Rachel, though for what it’s worth he thinks Anne Hathaway’s Oscar hopes might be marred by her performance being “too real” and lacking “gotcha movie moments.” That might be bad for Oscar, but it’s good for audiences if you ask me. Back over at Cinematical, James Rocchi finds that, at its best, Rachel is “a moving story that appeals to your heart and soul without insulting your intelligence, a film full of big scenes that never stoops to the most obvious possible iteration of those big scenes, a movie loaded with great and sincere performances from the top down.” He goes on to say the last third isn’t as successful as the first two, but he’s still mainly positive.
Variety’s Joe Leydon calls Guy Ritchie’s RocknRolla “a cleverly constructed, sensationally stylish and often darkly hilarious seriocomic caper.” Meanwhile, in a couple of non-festival reviews, Screen Daily’s Finn Halligan sees the film as a return to form for Ritchie while the UK Times’ James Christopher finds it all a little too familiar.
Nick and Norah’s Infinite Playlist. In this film starring Michael Cera and Kat Dennings, SpoutBlog’s Karina Longworth sees an attempt to recapture the old Juno. The fact it doesn’t quite succeed is actually a blessing that results in “more of a traditional teen romance, but also a more honest one.”
Filed under: Film Festivals
Tags: Anne Hathaway, Evan Rachel Wood, Guy Ritchie, Jonathan Demme, Marisa Tomei, Mickey Rourke, Rachel Getting Married, Rian Johnson, RocknRolla, The Brothers Bloom, The Wrestler, Toronto International Film Festival, Venice Film Festival
Related Posts: - Cannes 2008 - Che Sera Sera
- ‘Rachel’ Revives Venice
- Toronto Heats Up
- What’s Doing in Toronto
- Fox Searchlight Enters the Ring with ‘Wrestler’
As we all should know, Oscar doesn’t necessarily mean the best. That said, I feel that, although Rourke may be good in The Wrestler, the biggest coup he could muster would be a nomination.
I think I made Poland’s comments sound more negative than they really were. He liked the performance, but offered the caveat for people who view the world through Oscar colored glasses.
I’m not surprised Rourke gives a strong performance in Aronofsky’s latest. These critical raves have me wanting to see it more than ever.
It says something about the Oscars that when actors give performances “too real,” their chances almost always go down. Poland is right about that, though. It makes me more interested in Rachel Getting Married.
As Craig knows, I couldn’t help but comment on the Wells pan of The Brothers Bloom. It’s based on things like finding Rinko Kikuchi “relentlessly sullen,” (despite his love of Babel in which she was more than just sullen), and character actor Robbie Coltraine being too fat and needing to lose weight. Along with hating the movie because one Bloom brother is referred to by his last name and the other by his first name. Okay…
It was your post that inspired me to say something in the first place. I was just going to ignore it, but it couldn’t be helped. That’ll be my last review link to that place.
He hasn’t seen Wrestler yet, but he’s already ready to knock it because he can’t stand looking at Rourke’s face or something.
Obviously I am stoked about “The Wrestler” raves, and I am so glad to hear that Rourke is spectacular in it. There is no way in hell that I am missing this one, and if I end up not loving it I’d be very surprised.
I find it odd that critics seem so surprised by Rourke giving a good performance in THE WRESTLER. Where have they been the past half-dozen years or so? He was the best thing about both SIN CITY and SPUN, after all. Even before that, he was shaping up to be a formidable character actor, as evidenced by small but indelible turns in THE PLEDGE and THE RAINMAKER. Rourke being good should not be a shocker, folks.
Also, I’ve only got one night of moviewatching open to me this week, and I’m trying to decide which of the following I should see:
A. Elegy
B. Frozen River
C. Up the Yangtze
I’m thinking I’ll definitely see B, so it’s probably just a choice between A and C. Still, might as well ask.
Well, I’ve seen (A) and (C)… (C) is a consistently better (not to mention more informative) film, but (A) has a naked Penelope Cruz in it. I’ve only reviewed one of them, though, that being (A), yesterday. Craig and Daniel G. also wrote reviews of it, so if you’re willing to brave reading them, perhaps those could influence your choice, Paul.
Hahaha, Craig, you’re right, I’m sure Wells doesn’t want to look at Rourke’s face.
Rough choice for #2 Paul. I’ve seen both and my general feeling is you could go either way depending on your mood. Both are somewhat dark in overall tone although Yangtze has more humor in it, but Elegy has two strong central performances and lots and lots of Penelope Cruz.
Up the Yangtze probably won’t be around long, not sure how quickly it will hit DVD (or even if it will hit DVD). Elegy will definitely get a DVD release and probably bounce around a little longer.
But Elegy has lots of Penelope Cruz, which is always a good thing.
Are Penelope’s boobs a tipping point for you? If so, go with A.
Otherwise, C is probably the more popular choice (though I’m on record as liking A a bit more than average and only part of that is the boob factor).
Well, the issue is that I’m trying to see as many Muriel-eligible films as I can before the deadline, and it’s getting late enough in the year that some of the movies that are currently in release might not get released on DVD by the deadline. Because of this, I want to catch the biggies.
I figure FROZEN RIVER is more or less a gimme due to the hype for Leo’s performance. ELEGY and YANGTZE are more of a toss-up because I’m not sure how much they’ll factor. ELEGY has some possibilities in the performance categories, but YANGTZE may be a better film overall.
Right now, I’m leaning slightly toward YANGTZE largely for the reason Joel said- because of the small distributor, it’s hard to say how long it’ll take it to come out on DVD.
*rolls emerald green eyes heavenward*
Penelope Cruz…
Give me a break….
PLEASE…
Up the Yangtze is due for video 11/18/08. Elegy is scheduled for January 09.
If that helps you make a decision.
I’m beginning to think Elegy isn’t going to make a splash awardswise at all. For Kingsley, the Actor category is always so crowded and Penelope gave a flashier performance in VCB.
I just took another look at the box office listings for tonight, and I noticed that YANGTZE has fewer showings this week than ELEGY. So that, combined with the fact that YANGTZE is showing just down the street from FROZEN RIVER, has convinced me to watch that one. Thanks, all.
I love that your motivation is the Muriel contenders, Paul. Oscar-obsessives like myself are so passe now that Muriel’s come to town.
The thing I like best about Penelope Cruz is that she doesn’t make a big deal out of being attractive and fussing over herself or whatnot. Her best moments in Vicky Cristina Barcelona are when she looks totally trashy and crazy and just sort of _is_.
I wholeheartedly agree, Jeff. She brings a startling earthiness and to most of her roles, and Vicky Cristina Barcelona certainly had that in spades, while having the “trashy” and “crazy” appearance as well.
Good point Jeff. She’s not your typical American glamour puss at all and it makes her even more attractive.
I have seen The Wrestler, and I am thrilled about all the praise it has been getting, it is one of my favourite films of the year so far.
Thank you for commenting Kerry. I’m very much looking forward to The Wrestler and I see today it won the top prize at Venice.
I might have a chance to catch it myself in October.
Oooh, that’s cool. I might see it in November!
I’m not sure what to make of the word of mouth about The Wrestler. I read that Aronofsky gives up his adventurous visual style for something more run-of-the-mill. People seem t omean that as praise, but what’s the point of being Aronofsky if you’re not going to do things that are visually arresting? Doesn’t surprise me about Rourke, though. Standout in Sin City and Domino.
I don’t know. There’s a point where an over-reliance on visual flair is kind of childish and that perhaps this is a sign of maturity.
I’ll reserve judgement of course until I see it, but I remain hopeful.