The organizers of the 2013 Toronto International Film Festival have released the full list of films they're planning to screen during the Sept. 5 - 15 fete. It's a decidedly more down to earth list of titles than appeared at Cannes in May but may boast even more Oscar contenders: films like August: Osage County, The Fifth Estate, Mandela: The Long Walk to Freedom, 12 Years a Slave, Gravity, and one very special new film from Hayao Miyazaki, The Wind Rises. Here are five takeaways we had from this year's TIFF lineup, and below that, you'll find a list of select titles from the lineup for which we're especially excited.
1. Character is King — Deeply felt character studies dominate the lineup this year rather than movies driven more by visual flash. Some are more or less traditional biopics like Mandela: The Long Walk to Freedom, Bill Condon's The Fifth Estate, starring Benedict Cumberbatch as Wikileaks founder Julian Assange, and Steve McQueen's 12 Years a Slave. Ron Howard's Rush emphasizes the clash of personalities between Formula 1 drivers James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Bruhl) as much as it does the races. And Alfonso Cuaron's Gravity, perhaps the biggest visual spectacle on the TIFF lineup, is notable for being a portrait of a female astronaut (Bullock) and her struggle to survive after an accident while also dealing with her lingering emotional distress following the death of her daughter. Toronto this year is truly an actor's market. Even more so because...
2. A Bunch of Actors Are Trying Their Hand at Directing — Jason Bateman is making his feature-film directing debut with the spelling bee revenge comedy Bad Words, while James Franco is following up his (pretty much unwatched) Hart Crane and Sal Mineo biopics with his adaptation of Cormac McCarthy's Child of God. And of course Joseph Gordon-Levitt will unspool his directorial debut, Don Jon, which is also the first time we've seen him with a gelled-up pompadour.
3. Cory Monteith Is Well Represented – The late Glee star has not one but two films at TIFF, Gia Milani's All the Wrong Reasons and Josh C. Waller's McCanick, both of which will make their world premiere at the fest.
4. This is the Place for Smaller, More Personal Films — While Cannes can still celebrate movies that might not otherwise find an audience (like Abdellatif Kechiche's Palme d'Or winner Blue Is the Warmest Color, also at TIFF), Toronto goes all-in for small films. Just this past May Cannes got showy movies from big, flashy directors like Roman Polanski, the Coen Brothers, Baz Luhrmann, Nicolas Winding Refn, Stephen Soderbergh, and Takashi Miike. But this year Toronto will draw Steve McQueen, Kelly Reichardt, Stephen Frears, Jason Reitman, and Alex Gibney, often the makers of quieter, more introspective films — films that may not even have found a distributor yet. That's ultimately why...
5. Toronto Is More Important Than Cannes — Actor and Lars von Trier repertory member Jean-Marc Barr once told me, "Cannes is now like the G8 summit." It's pretty corporate and not as essential these days for films really looking for a distributor. Looked at another way, Palme d'Or winner Blue Is the Warmest Color still doesn't have a North American distributor. However, Toronto is the perfect laboratory for testing out films with a North American audience — if Franco's Child of God doesn't get a distributor after TIFF, it might not get one at all. You can also see Toronto as the first stop on the Oscar circuit. If there's a groundswell of support for Sandra Bullock for Best Actress consideration for Gravity, it'll be because buzz was first generated among potential Oscar voters at Toronto, not Cannes.
Here are some of the most notable films appearing TIFF 2013. What are you looking forward to?
The Fifth Estate Bill Condon, USA (World Premiere) OPENING NIGHT
Life of Crime Daniel Schecter, USA (World Premiere) CLOSING NIGHT
August: Osage County John Wells, USA (World Premiere)
Mandela: The Long Walk to Freedom Peter Chadwick (World Premiere)
Rush Ron Howard, United Kingdom/Germany (International Premiere)
All the Wrong Reasons Gia Milani, Canada (World Premiere)
The Armstrong Lie Alex Gibney, USA (North American Premiere)
Bad Words Jason Bateman, USA (World Premiere)
Blue Is The Warmest Color Abdellatif Kechiche, France (North American Premiere)
Child of God James Franco, USA (North American Premiere)
Dallas Buyers Club Jean-Marc Vallée, USA (World Premiere)
Don Jon Joseph Gordon-Levitt, USA (Canadian Premiere)
Gravity Alfonso Cuarón, USA/United Kingdom (North American Premiere)
Labor Day Jason Reitman, USA (World Premiere)
McCanick Josh C. Waller, USA (World Premiere)
Night Moves Kelly Reichardt, USA (North American Premiere)
Only Lovers Left Alive Jim Jarmusch, USA (North American Premiere)
Philomena Stephen Frears, United Kingdom (North American Premiere)
12 Years a Slave Steve McQueen, USA (World Premiere)
The Wind Rises (Kaze Tachinu) Hayao Miyazaki, Japan (North American Premiere)
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Pretty people just don’t understand—you’re not safe anywhere and all the sadists are after YOU! As the two geniuses in The Hitcher Grace (Sophia Bush) and her boyfriend Jim (Zachary Knighton) learn real quickly a cross-country trek to New Mexico in a beat-up car is especially risky. During their first night out on the open road it’s raining cats and dogs when they almost run over a man (Sean Bean) who’s standing aimlessly in the middle of the street his car apparently broken down. The young couple decides against lending him a helping hand with it pouring down rain and all. Bad move. When they stop for gas later Jim and Grace cross paths with the man who goes by the name of John Ryder. He asks the couple if he might hitch a short ride with them to a local motel. This time they oblige. Bad move. One aspect the studio must’ve loved about The Hitcher: Being shot primarily in a car the cast cannot feasibly be more than three deep—four tops. That also means that said cast must wear the tension well if the camera is to be on them throughout. Bush (TV’s One Tree Hill) the movie’s biggest asset as far as its target audience is concerned shrieks well and most importantly is smokin'. And when it comes time to fight back she doesn’t look so bad doing it even if there’s scant giggling in the theater at the now clichéd image of a weapon-wielding hot chick. As the hugely sadistic villain Bean (GoldenEye the LOTR movies et al) is more than adequately creepy. There’s something to be said with most of The Hitcher’s viewers’ inability to recognize him because an A-list movie star just wouldn’t work in this role. Obscurity aside Bean his face lurking around every corner will simply creep the crap out of the young audience. As for Knighton he seems and looks like the garden-variety up-and-comer and try as I might there’s nothing wrong with his biggest role to date—except a scene of um tug-of-war that is tough to watch or look away from. Veteran actor Neal McDonough also pops in with a brief role as a sheriff caught in the proverbial crosshairs. These days it’s tough to come up with anything new in a horror film—so directors just don’t bother. Save for neo-horror maestro Eli Roth there’s no originality to be seen especially when seemingly 99 percent of horror movies are remakes and when they’re not remakes they’re Primeval or Turistas. The Hitcher is much better than those two but director Dave Meyers truly eliminates most of the psychological aspect of the original 1986 Hitcher in exchange for a polished contemporary feel. Of course Meyers is one the most renowned music video directors of the past several years so it's no surprise when he mistakes volume for thrills; in fact the decibels will be the chief reason for almost all of the audience’s screaming. Not that there aren’t scary moments however. The writers Jake Wade Wall (When a Stranger Calls) and Eric Bernt (Romeo Must Die) actually get the film off to a brisk smooth start but they ultimately turn John Ryder into more of a Terminator-like character and ask for too many leaps of faith and suspensions of disbelief—again not that their intended audience won’t indulge them. At least the studio had the guts to retain the intended 'R' rating!
The heart of Whale Rider centers on an ancient legend of the Maori (indigenous people of New Zealand) who believe their ancestry dates back a thousand years to a warrior named Paikea. Legend has it Paikea escaped death after his canoe capsized by riding to shore on the back of a whale and since then his male heirs have each assumed the responsibilities as Maori chief. That is until now. Set in the present Whale Rider tells the story of Pai (Keisha Castle-Hughes) a feisty 12-year-old girl who lives in the fishing village of Whangara off the east coast of New Zealand with her stern but loving grandfather Koro (Rawiri Paratene) who is a direct descendent of Paikea and her grandmother the kindly Nanny Flowers (Vicky Haughton). Although granddaughter and grandfather have a special bond there is a sadness in Koro. He mourns the loss of his grandson Pai's twin brother who died in childbirth along with Pai's mother. Koro also has a hard time accepting the fact his own son Pai's father Porourangi (Cliff Curtis) has not chosen to follow his destiny but instead has fled Whangara in grief. Though he loves his granddaughter dearly a thousand years of tradition is hard to buck in this unyielding man's eyes; Koro refuses to see Pai as a rightful Maori chief and instead begins to look for an outside heir to the throne by training local village boys. But Pai isn't your ordinary blossoming adolescent girl; she embodies many of the qualities of a great Maori warrior--courage determination wisdom and an irrepressible spirit. Against all odds including the hurtful rejection from her beloved grandfather she finds a way to prove herself as the true heir to her rich ancestry--and your own spirit will soar as she succeeds.
The mostly Maori cast brings truthfulness to their words and actions making the Maori culture come alive. Yet the film solely belongs to Castle-Hughes who is so amazingly poised and beautiful it's hard to believe she's only 11 years old. She simply radiates as Pai showing a depth of emotion rarely seen in a first-time actress especially one so young--she joins a short list that includes Oscar winners Tatum O'Neal (Paper Moon) and Anna Paquin (The Piano). Every scathing word and scornful reproach Pai receives from Koro registers clearly on this little girl's face and it truly almost breaks your heart to watch her. Still it's tremendous strength that shines through in Castle-Hughes' performance. In one particularly heart-wrenching scene Pai gives a speech in the wharenui or the town's sacred meeting house dedicating it to her grandfather who has not shown up. Despite the pain her grandfather has caused her Pai bravely gulps down tears and recounts her family's history. By the end you're in a puddle of your own tears. As the young actress' counterpart the elderly Paratene (Rapa Nui)--one of New Zealand's most prominent actors--also turns in a finely tuned performance as Koro. You really want to hate this man but Paratene makes you understand Koro's grief--and how attached he is to his own deep-seated roots. Koro believes there isn't any other way to be but when the old man finally sees how wrong he has been how Pai is the only true heir to the throne Paratene plays the moment brilliantly as you see his steely resolve dissolve into painful realization.
Having won the Audience Award at the Sundance Film Festival this year Whale Rider has been steadily gaining momentum and has made already made over $2 million playing in only 163 theaters nationwide. Based on a book by Witi Ihimaera who has tribal links to the Whangara community New Zealand writer/director Niki Caro--who is not Maori--had to treat Whale Rider with kid gloves in order to preserve the great Maori traditions while at the same time craft an entertaining film. In adapting the book Caro delicately handles the legend of Paikea but centers the film on the relationship between Pai and Koro giving Whale Rider an emotional core and contemporary feel. Not since the gritty and powerful 1994 film Once Were Warriors which gave audiences their first glimpse inside a modern-day Maori family has a story about the indigenous people of New Zealand been so vividly played out. Caro also had to convince the elders in the Whangara community she was right for the job and that using their town and their sacred Maori grounds was the only way to effectively tell this story. Luckily they agreed. Caro captures the spirit of this rocky and magnificent coastline and its people showing how the rugged surroundings influenced this once-great warrior nation's customs and rituals. In the final scene the men perform a traditional warrior dance while the women chant and the community as a whole heaves off a long Maori boat symbolizing the rebirth of another rangatiratanga--or leader. It's a fitting end to a truly inspiring film.
If you're planning to see Ocean's Eleven, prepare yourself for some deja vu come 2002, as George Clooney will make his directorial with Confessions of a Dangerous Mind, starring Ocean's pals Brad Pitt, Matt Damon and Julia Roberts. The film, set to begin shooting in January, is a comedic biopic about Gong Show host Chuck Barris.
The early list of presenters and performers at the upcoming American Music Awards--set to air January 9 on ABC--has been released. Presenters include Alicia Keys, Chris Klein, LeAnn Rimes, Frankie Muniz, Method Man, Niki Taylor, Tyrese and many more entertainment stars. Performers include Lenny Kravitz, Kid Rock, Brooks & Dunn and Cher.
William Jovanovich, chief executive and chairman of publishing house Harcourt Brace Jovanovich, died of a heart attack on Tuesday in his home in Point Loma, Calif., his family announced Thursday. He was 81.
Cast Away director Robert Zemeckis pulled a disappearing act of his own on Tuesday: he secretively eloped, marrying actress Leslie Harter in Venice, Italy. This is Zemeckis' second marriage.
A life-size bronze statue was dedicated to late actor Cary Grant on Friday in the British city of Bristol, his hometown. Grant's widow, Barbara Jaynes, unveiled the statue, which was paid for by the people of Bristol.
On Thursday, Robert De Niro announced that he plans to launch a new event called the Tribeca Film Festival in lower Manhattan's Tribeca neighborhood. The festival, to be held just north of "ground zero," the location of the World Trade Center collapse, will commence May 1, 2001 and last for five days, showcasing 40 films from around the world.
While CBS pulled off a victory in total primetime viewers in the November sweeps, the Eye Network also performed well in late-night ratings for the month, according to Nielsen Media Research. The Late Show with David Letterman had its best November since 1997, up 21% in viewers 18-49, while The Late Late Show with Craig Kilborn shot up 25% in the same key demographic.
After three years on the hit NBC drama ER, actress Michael Michele--who plays Dr. Cleo Finch--is leaving the show due to physical duress caused by constant cross-country flights from New York to Los Angeles. Michele plays Will Smith's wife in the upcoming film Ali.
United Nations Secretary-General Kofi Annan taped an episode of Sesame Street on Thursday, The Associated Press reports. Annan will serve as a peacekeeper in the episode, teaching Elmo and the gang how to get along as friends.
Hot on the heels of the success of Harry Potter and the buzz surrounding The Lord of the Rings, Walden Media announced on Thursday that they have joined forces with The C.S. Lewis Co. to produce a live-action film based on the novel The Lion, the Witch, and the Wardrobe. Walden Media, a newcomer on the studio scene, plans to produce all seven of Lewis' popular "Narnia" novels.