This year's Toronto International Film Festival, the 37th of its kind, announced its award recipients today. With a variety of awards at stake, Festival highlights such as Silver Linings Playbook and Seven Psychopaths took home big honors. In a ceremony that took place at the Intercontinental Hotel in Toronto, eleven awards were handed out for their achievements. The full list of winners is below.
Best Canadian Short Film
Deco Dawson for Keep a Modest Head. The jury--comprised of journalist and author Matthew Hays, journalist Katrina Onstad and filmmaker Reginald Harkema--remarked: "For the winner of this year’s best short, we chose a film that expands the boundaries of documentary, one that perfectly reflects its surreal subject. The award offers a $10,000 cash prize. The honourable mention goes to Mike Clattenburg’s Crackin’ Down Hard for its unpredictable zaniness."
The City of Toronto + Canada Goose Award for Best Canadian Feature Film
Xavier Dolan's Laurence Anyways. The jury--comprised of producer and filmmaker Jody Shapiro, CPH PIX Festival Director Jacob Neiiendam, actor and filmmaker Valerie Buhagiar and director, writer and producer Patricia Rozema--remarked: "For its breathless cinematic energy and its entirely new love story, the jury felt honoured to watch such unfettered genius at play." This award is made possible thanks to the City of Toronto and Canada Goose and comes with a cash prize of $30,000.
The SKYY Vodka Award for Best Canadian First Feature Film
A tie between Brandon Cronenberg's Antiviral and Jason Buxton's Blackbird was announced. The jury--comprised of producer and filmmaker Jody Shapiro, CPH PIX Festival Director Jacob Neiiendam, actor and filmmaker Valerie Buhagiar and director, writer and producer Patricia Rozema--remarked: "For Best Canadian First Feature Film, we have made a decision that reflects the broad spectrum of Canadian styles and voices. The prize this year has been split between Blackbird, for its authenticity and clear-eyed social conscience, and for its ambitious commentary and visual sophistication, Antiviral." Generously supported by SKYY Vodka, the award carries a cash prize of $15,000. TIFF takes great pride in our role of supporting championing emerging filmmakers and as such, TIFF will be doubling the prize, so that both Brandon and Jason will receive a cash prize of $15,000 each.
The BlackBerry People's Choice Award
The BlackBerry People's Choice Award is voted on by Festival audiences. This year’s award goes to David O. Russell for Silver Linings Playbook. TIFF explained in a press release that "the film is an intense, loving, emotional and funny family story from the director of The Fighter, David O. Russell, in which Bradley Cooper and Jennifer Lawrence find themselves partners in a secret arrangement to rebuild their broken lives. Robert De Niro yearns to get closer to his son (Cooper), as he tries to keep the family afloat with his compulsive bookmaking. The award offers a $15,000 cash prize and custom award, sponsored by BlackBerry. First runner up is Ben Affleck’s Argo. The second runner up is Eran Riklis' Zaytoun.
The BlackBerry People’s Choice Midnight Madness Award
Martin McDonagh’s Seven Psychopaths. First runner up is Barry Levinson's The Bay, and second runner up is Don Coscarelli's John Dies at the End.
The BlackBerry People’s Choice Documentary Award
Bartholomew Cubbins for Artifact. First runner up is Christopher Nelius and Justin McMillan's Storm Surfers 3D. Second runner up is Rob Stewart's Revolution.
NETPAC Award for the Best First or Second Feature World or International Asian Film Premiere
Sion Sono's The Land of Hope. The jury--made up of Laurice Guillen (Philippines), Shelly Kraicer (Toronto/Beijing) and Azize Tan (Istanbul)--remarked: "For its subtle, complex and artful account of the social and political aspects of a national trauma that ends in hope and love, the 2012 Toronto International Film Festival NETPAC Award for best feature film is given to The Land of Hope by Sion Sono."
Grolsch Film Works Discovery Award
The inaugural award went to Rola Nashef for Detroit Unleaded.
For the 21st consecutive year, TIFF welcomed an international FIPRESCI jury for the competition. The jury members consist of jury president Peter Keough (United States), Jon Asp (Sweden), Ashok Rane (India), Louis-Paul Rioux (Canada), Juan Manuel Dominguez (Argentina) and Brian McKechnie (Canada). The following awards were decided upon by the above jury.
The Prize of the International Critics (FIPRESCI Prize) for Special Presentations
Francois Ozon's Dans la maison (In the House). The jury remarked: "For achieving an exquisitely crafted entertainment that blurs the distinction between the storyteller and the story told, and that assuages with playful complexity the tragedies of life with the consolations of art, the FIPRESCI award for Special Presentations goes to Francois Ozon's In the House."
Prize of the International Critics (FIPRESCI) for the Discovery Programme
Mikael Marcimain's Call Girl. The jury remarked: "With an intense sense of cinema reminiscent of the American thrillers of the 1970s, Mikael Marcimain’s debut feature achieves a portrait of an obscure world involving women’s rights and political corruption. Marcimain deals with his sensitive subject with immense ease and craftsmanship. Because of these accomplishments the FIPRESCI Award for Best Film in the Discovery Programme goes to Mikael Marcimain’s Call Girl."
[Photo Credit: TIFF]
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As with seemingly every other tentpole release to hit the multiplex this summer the action thriller Cowboys & Aliens is based on a comic book – albeit a lesser-known one. It’s directed by Jon Favreau whose previous comic-book adaptations Iron Man and Iron Man 2 proved how much better those films can be when they’re grounded in character. Unfortunately his latest effort is grounded not in character but a hook an alt-history scenario best expressed in the language of the average twelve-year-old: “Like wouldn’t it be awesome if like a bunch of 1870s cowboys had to fight a bunch of crazy aliens with exoskeletons and spaceships and super-advanced weapons?”
Like perhaps. The hook was compelling enough to get someone to pony up a reported $160 million to find out and the result is a film in which the western and science-fiction genres don’t so much blend as violently collide. After the wreckage is cleared both emerge worse for wear.
Daniel Craig stars as Jake Lonergan a stranger who awakens in the New Mexico Territory with a case of amnesia a wound in his side and a strange contraption strapped to his wrist. After dispatching a trio of bandits with Bourne-like efficiency he rides to the nearby town of Absolution where he stumbles on what appears to be an elaborate Western Iconography exhibit presented by the local historical preservation society. There’s the well-meaning town Sheriff Taggart (Keith Carradine) struggling to enforce order amidst lawlessness; the greedy rancher Colonel Dolarhyde (Harrison Ford) who really runs things; his debaucherous cowardly son Percy (Paul Dano); the timid saloonkeeper Doc (Sam Rockwell) who’s going to stand up for himself one of these days; the humble preacher Meacham (Clancy Brown) dispensing homespun spiritual advice; et al.
Jake of course has his own part to play – the fugitive train-robber – as we discover when his face shows up on a wanted poster and a sneering Dolarhyde fingers him for the theft of his gold. The only character who doesn’t quite conform to type is Ella (Olivia Wilde) who as neither a prostitute nor some man’s wife – the traditional female occupations in westerns – immediately arouses suspicion.
Jake is arrested and ordered to stand trial in Federal court but before he can be shipped off a squadron of alien planes appears in the sky besieging Absolution and making off with several of its terrified citizenry. In the course of the melee Jake’s wrist contraption wherever it came from reveals itself to be quite useful in defense against the alien invaders. Thrown by circumstances into an uneasy alliance with Dolarhyde he helps organize a posse to counter the otherworldly threat – and bring back the abductees if possible.
Cowboys & Aliens has many of the ingredients of a solid summer blockbuster but none in sufficient amounts to rate in a summer season crowded with bigger-budget (and better-crafted) spectacle. For a film with five credited screenwriters Cowboys & Aliens’ script is sorely lacking for verve or imagination. And what happened to the Favreau of Iron Man? The playful cheekiness that made those films so much fun is all but absent in this film which takes itself much more seriously than any film called Cowboys & Aliens has a right to. Dude you’ve got men on horses with six-shooters battling laser-powered alien crab people. Lighten up.
Craig certainly looks the part of the western anti-hero – his only rival in the area of rugged handsomeness is Viggo Mortensen – but his character is reduced to little more than an angry glare. And Wilde the poor girl is burdened with loads of clunky exposition. The two show promising glimpses of a romantic spark but their relationship remains woefully underdeveloped. Faring far better is Ford who gets not only the bulk of the film’s choicest lines but also its only touching subplot in which his character’s adopted Indian son played by Adam Beach quietly coaxes the humanity out of the grizzled old man.