They say if you make it in New York, you can make it anywhere, so it's no wonder the 50th Annual New York Film Festival is enjoying so many buzzed about films in its lineup, which was recently announced. Aside from the previously announced opening and closing night films — Ang Lee's Life of Pi, which will open the festival with NYFF's first-ever 3-D screening, and Robert Zemeckis' Flight — NYFF has laid out 32 films to be screened at this year's fest. And the list includes a few projects you've probably already caught wind of.
The Bill Murray-starrer Hyde Park on the Hudson is the film in which the classic comic actor takes on Franklin D. Roosevelt. Cineophiles who've been waiting patiently to see the winner of the Cannes Film Festival Palm d'Or can rejoice because Amour is also gracing the long list of films hitting New York's Lincoln Center. Other highlights include Christina Hendricks as an unhappy mother in Ginger and Rosa and Rachel McAdams and Noomi Rapace in Brian DePalma's erotic thriller Passion.
Check out the full 2012 lineup and check back in September for coverage from Hollywood.com:
Amour (directed by Michael Haneke)
Araf—Somewhere In Between (Yesim Ustaoglu)
Barbara (Christian Petzold)
Beyond the Hills/Dupa dealuri (Cristian Mungiu)
Bwakaw (Jun Robles Lana)
Camille Rewinds/Camille Redouble (Noémie Lvovsky)
Caesar Must Die/Cesare deve morire (Paolo Taviani)
The Dead Man and Being Happy/El muerto y ser feliz (Javier Rebollo)
Fill the Void/Lemale et ha’chalal (Rama Burshtein)
First Cousin Once Removed (Alan Berliner)
Flight (Robert Zemeckis)
Frances Ha (Noah Baumbach)
The Gatekeepers/Shomerei Ha’saf (Dror Moreh)
Ginger and Rosa (Sally Potter)
Here and There/Aquí y Allá (Antonio Méndez Esparza)
Holy Motors (Léos Carax)
Hyde Park on Hudson (Roger Michell)
Kinshasa Kids (Marc-Henri Wajnberg)
The Last Time I Saw Macao/A Última Vez Que Vi Macau (João Pedro Rodrigues)
Leviathan (Lucien Castaing-Taylor)
Life of Pi (Ang Lee)
Like Someone in Love (Abbas Kiarostami)
Lines of Wellington/Linhas de Wellington (Valeria Sarmiento)
Memories Look at Me/Ji Yi Wang Zhe Wo (Song Fang)
Night Across the Street/La Noche de enfrente (Raul Ruiz)
No (Pablo Larrain)
Not Fade Away (David Chase)
Our Children/À perdre la raison (Joachim Lafosse)
Passion (Brian de Palma)
Something in the Air/Après Mai (Olivier Assayas)
Tabu (Miguel Gomes)
You Ain’t Seen Nothin’ Yet/Vous n’avez encore rien vu (Alain Resnais)
NYFF kicks off Sept. 28 at New York's Lincoln Center.
[Photo Credit: Fox 2000]
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The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.