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    SFIFF58: Week 2 in Review

    Love & Mercy Written by Oren Moverman & Michael A. Lerner Directed by Bill Pohlad USA, 2015 Based on the life of The Beach Boys’ Brian Wilson, Love & Mercy depicts the singer’s descent into mental illness at the peak of the band’s popularity in the 1960s, while in the 1980s a chance meeting with […] More

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    TIFF 2014: ‘Maps to the Stars’ is a huge disappointment

    There’s something theatrical about this new version of Cronenberg. Not in the way we think of Stratford or Shaw. More like pseudo-artistic interpretive theatre that happens during one’s experimental phase in University. Maps to the Stars is a colossal disappointment, offering stilted performances, a disjointed and predominantly ineffectual script, and bewilderingly bad sound design. What appears on the surface to be an interesting dialogue on child stars, the vapid, all-consuming and destructive nature of celebrity, and the superficial nature of Los Angeles very quickly reveals itself to be something else altogether – the tired, lazy half-measures of an auteur riding on his own coattails. More

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    TIFF 2014: ‘Maps to the Stars’ never quite comes together

    Hollywood could easily be the perfect fantasy world of Cronenberg’s obsessions. The themes associated with body horror, from the fascination with decay to the battle between body and mind, are staples of the torrid extremes of Tinsel Town. In 2012, David Cronenberg’s son, Brandon, tackled these ideas with his feature debut Antiviral. That film explores a dystopian future in which the obsession with celebrity is taken to extremes of consumption. In Antiviral, the masses purchase meat grown from their favourite celebrity’s cells and head to a special clinic in order to be infected with the same venereal strain as their Hollywood Idol. The film externalizes the growing cultural obsession with fame, and concentrates that obsession through corporeality and sex. More

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    Cannes 2014: ‘Maps to the Stars’ the darkest comedy of Hollywood aspiration

    Los Angeles, the city that homes the superstars and studios responsible for mainstream cinema culture, has consistently received its due criticism from those who either reject it or work within it. Look no further than Thom Andersen’s nearly comprehensive Los Angeles Plays Itself to see the town utilized as an easy space for shooting, a battleground for the melodrama of the privileged, and home field for telling stories about the storytellers. The business-driven artistic culture that pervades the town has been satirized in Who Framed Roger Rabbit, The Player, and Barton Fink to the point that a simple update of finger-pointing to the 21st century may be seen as a rehashing. Bruce Wagner’s crazy script for David Cronenberg’s Maps to the Stars instead paints the town as a machine capable of rehashing through its own ghostly presence of the-machine-that-once-was: a cycle so foreboding that it must be spoken of through horror tropes. More

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    Fantastic Fest 2013: My Top 5 Anticipated Films

    There are just two—count ‘em, two—days until Fantastic Fest 2013 kicks off in Austin , Texas, at the Alamo Drafthouse Lakeline. In case you hadn’t been keeping track, I’ll be there for the majority of the festival covering as many movies as possible. (I will be a movie-watching/reviewing machine, just you watch.) If you’ve been […] More

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    ‘The Frozen Ground’ is bolstered by pacing and a strong performance, but let down by its poor characterisations

    Serial killers have provided ripe material for film for several years, both directly and indirectly. Alfred Hitchcock’s seminal horror classic Psycho famously had a lead character modelled after Ed Gein, while David Fincher’s Zodiac notably took a different tack by focusing on an ultimately unsuccessful investigation. More

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    ‘Lee Daniels’ The Butler’ shows life only when indulging in campy melodrama

    Lee Daniels’ The Butler is an intensely silly film, but all things considered, it’s silly for unexpected reasons. A movie that offers up the image of John Cusack playing President Richard Nixon, with the only distinction between Cusack’s normal visage and his Nixonian veneer being a Pinocchio-like nasal extension, should have its silliness all sewn up in such goofy celebrity casting. But instead, what makes Lee Daniels’ The Butler almost entertainingly ridiculous is less the eclectic, deliberately weird cameos and more a flat, sappy, and inconsistent-to-the-point-of-being-schizophrenic script that very badly wants to tie its title character to Important Events of the 20th Century without fleshing said character in at all. More

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    Fantastic Fest 2013: Second wave of films announced, including ‘A Field in England’ and ‘The Congress’

    Anyone reading this likely knows that the end of summer portends a few important milestones in a moviegoing year, chief among them the proliferation of film festivals in locations as diverse as Venice; Toronto; Telluride; and, of course, Austin, Texas. Yes, we’re just over 5 weeks away from Fantastic Fest 2013. Today, the organizers announced […] More

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