Cinefilles

And the Oscar Didn't Go to ... : Brokeback Mountain

2012-02-24T12:00:00.001-05:00

The Academy Awards are coming up this Sunday. While we're excited to enter multiple pools and prep themed food with our families, we're also kind of depressed about the whole thing because we're really disappointed with the nominees. (No Gosling = No Go!) And we know we'll be even more disappointed with the winners. Because, well, it's happened plenty of times before ...

THE YEAR: 2005

THE OTHER NOMINEES:

Good Night and Good Luck
Crash
Capote
Munich

THE WINNER: The star-stuffed, racially charged Paul Haggis-directed wreck (sorry, I hated it) that was Crash.

WHY IT (PROBABLY) DIDN'T WIN: There may or may not be some homophobes left in the Academy. To them, voting for this film, an Ang Lee adaptation of the Annie Proulx short story about two cowboys (Jack and Ennis) who have to hide their love, would have been like waving a giant rainbow flag in the face of the nation. They did award Lee the trophy for Best Director though, demonstrating that, despite their prejudices, they appreciated it on some basic, artistic level.

WHY IT SHOULD HAVE: Unlike Crash, which just came off as a mediocre, melodramatic rip-off of every overlapping story-centric film ever made, Brokeback Mountain trotted rarely charted territory, bringing a non-stereotypical same-sex relationship to mainstream audiences and turning the western genre on its all-too-unsurprising head. And it did it with immense style--gorgeous, sprawling cinematography, subtle yet stirring performances (Heath Ledger and Jake Gyllenhaal could have tied for Best Actor), and truly haunting score (which was later remixed to serve as a gay dance anthem).

Because they were both deathly afraid of what their loved ones and peers might think, there was so much left unsaid between Jack and Ennis, literally and figuratively. (There were a lot of awkward pauses as they sat by that pre-coitus campfire.) While many people found these extended, unscripted moments boring, considering the message of the film, they were truly inspired. In this pointed silence, Lee, Ledger and Gyllenhaal brought to life a harsh reality that, despite changes in legislature and mindsets, sadly still lives on in modern society.

And the Oscar Didn't Go to ... Moulin Rouge! /The Fellowship of the Ring

2012-02-23T12:00:00.095-05:00

THE YEAR: 2002

THE OTHER NOMINEES:

A Beautiful Mind
Gosford Park
In the Bedroom

THE WINNER: A Beautiful Mind, a story about mental illness, genius and love, based on the bestselling book.

WHY THEY (PROBABLY) DIDN'T WIN: Up against, like I said, a movie that gracefully and movingly tells a story about mental illness, genius and love, these two epics didn't have much of a fighting chance. The Lord of the Rings: The Fellowship of the Ring received five more nominations than A Beautiful Mind (which had eight, the same as Moulin Rouge!), and would take home four (the same as A Beautiful Mind, Moulin Rouge! won two), however, in lesser recognized categories, ie., A Beautiful Mind won for Picture, Director, Supporting Actress and Adapted Screenplay, while FotR and Moulin Rouge! brought back awards for sound and visuals.

Though why'd it all go down that way? Moulin Rouge! would've been a bold choice, in all its glittery song and dance. With FotR, the series was bound to get more dramatic and presumably even more impressive as it went along (and it did!), so why not save the award for the last installment (and they did)?

WHY THEY SHOULD HAVE: These are two of my most favourite movies ever, and maybe for the reason that they're two of the most epic movies. They're both insanely dramatic, gorgeously composed and styled and beautifully written. Moulin Rouge! perfectly tied up Baz Luhrmann's Red Curtain Trilogy (what great name) with one of the most heart-breaking love stories, punctuated by an amazing soundtrack, stunning sets and charming direction. Meanwhile, FotR (still my favourite of the trilogy) introduced Tolkien fans to an annual tradition worth counting down to (which returns this year with The Hobbit), leading with a killer intro before delving into a magical, moving story with storylines of love, friendship, courage and loyalty.

And the Oscar Didn't Go to ... Lost in Translation

2012-02-22T12:00:00.070-05:00

THE YEAR: 2003

THE OTHER NOMINEES:

The Lord of the Rings: Return of the King
Master and Commander: The Far Side of the World
Mystic River
Seabiscuit

THE WINNER: Lord of the Rings - the final film in Peter Jackson's J.R.R. Tolkin-inspired fantasy series.

WHY IT (PROBABLY) DIDN'T WIN: After losing the last two Best Picture trophies to A Beautiful Mind and Chicago, Jackson and his hobbits entered the Oscar race for the last time, dead set to rule them all. Voters probably felt back for not recognizing the previous films, and thought this would serve as the sweetest, shiniest consolation prize. (Well, next to the ring.)

WHY IT SHOULD HAVE: Whereas LOTR: Return of the King was chockful of impressive effects and larger than life storylines, Sofia Coppola's follow-up to The Virgin Suicides was and is as real as you can get. Featuring equally award-worthy performances from Bill Murray and a young, pleasantly undone Scarlett Johannson, one of the best soundtracks of the last ten years, wonderfully wistful Tokyo-set cinematography, and a emotionally and comically biting script (penned by Coppola), Lost in Translation is a one-of-a-kind find that speaks to being disconnected in our overly connected times.

The Vow

2012-02-22T09:00:00.066-05:00

Directed by Michael Sucsy. Starring Rachel McAdams, Channing Tatum, Scott Speedman, Sam Neill and Jessica Lange. 120 minutes. 14A

I saw this movie on Valentine's Day (hold your judgement) and on a discount Tuesday, so needless to say, there was a line wrapping around the movie's entrance. And while I can't say it was completely worth the wait, it wasn't entirely regrettable. Actually, I can't say I hold any firm stance on this movie at all.

I love romances. But that being said, I'm extremely picking about the romances I see. I'm not really into rom-coms, unless it stars Drew Barrymore, though I've seen nearly all the Jennifer Aniston, Jennifer Lopez and Kate Hudson ones, plus more. I'm into what I feel is a representation of true, honest, passionate love, ie. the likes of Moulin Rouge!, Cold Mountain and such. Truthfully, I probably wouldn't have seen The Vow if not for some convincing from my own real life love (and when else better to be lovey dovey than on Valentine's Day). Turns out, it's watchable. Though that's about it.

The story follows young married couple Paige (Rachel McAdams) and Leo (Channing Tatum) who are truly, madly, deeply (cue the Savage Garden song) in love, until she smashes her head through the wind shield in a car accident and forgets who he is.

Full disclosure: I became a Channing Tatum un-fan just prior to seeing this movie. For me, and I'd think most, hosting SNL the weekend before this movie came out probably hurt it more than promoted it because he was so utterly unfunny. I fell asleep after I could take no more of the stripper jokes. Had The Vow actually been really good, I might have been convinced that I was wrong about him, but instead, I've discovered that he's neither good at comedy nor romance. I'm not betting on drama or anything else really.

McAdams was cute and charming as usual, though that wasn't enough to make it through bad writing. The movie a much sadder concept than its execution. I could get teary just thinking about it. I didn't feel for these characters, yet I felt for the real-life couple whose actual story I never really knew. Meanwhile, Jessica Lange could use more screen time (as she always could).

Admittedly, it wasn't as corny as I'd expected. It had potential. It just wasn't executed well. I have an idea! Let's rewrite it! Ryan Gosling can star as the lead, it'll be set in the 1940s in South Carolina and they will share a very passionate kiss in the pouring rain. Ah, much better. B-

And the Oscar Didn't Go to ... Good Will Hunting

2012-02-21T12:00:00.052-05:00

THE YEAR: 1998

THE OTHER NOMINEES:

As Good As It Gets
The Full Monty
L.A. Confidential
Titanic

THE WINNER: I'll give you one good guess. Titanic. You know, the one with the ship.

WHY IT (PROBABLY) DIDN'T WIN: Need I remind you of the competition? Titanic is one of the most epic romances of all time (though maybe not one of my personal favourites) and to this day is still highly praised for its stunning visuals. It was the highest-grossing film ever at the time (only until James Cameron would surpass himself with Avatar). Plus, who'd really heard of Matt Damon and Ben Affleck?

WHY IT SHOULD HAVE: It was beautifully written by two yet-unknown film stars waiting to break out who showed off that they could also act. It's got some of the best one-liners, with one of my favourite soundtracks of all-time (mostly song-writing genius Elliott Smith), brilliant acting from nearly everyone, and it's completely inspiring in not-at-all cheesy way. It's entertaining, charming and it makes you feel really uncomfortable before making you feel so much better. That's not to say that of all the movies nominated that year that I didn't like the one about the ship, but this one was so much more relatable, especially for young people who are bitter, confused or lost and need a subtle reminder that things can work themselves out.

Home Theatre Tuesday (Feb. 21)

2012-02-21T09:00:00.030-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Don't rent: J. Edgar

For a film about a man that tightly controlled his message, J. Edgar doesn’t really know what it’s trying to say.

Clint Eastwood’s latest directorial effort has us travelling back and forth through the life of J. Edgar Hoover (Leonardo DiCaprio), the controversial and mysterious former director of the FBI. The film spans 50 years, following his rise from a twenty-something Justice Department employee obsessed with Bolsheviks and bomb-loving radicals to his fastidious creation and dictatorship of the Bureau.

Read the rest of Jelena's review.

Don't even rent: Tower Heist

Despite an all-star cast of Eddie Murphy, Ben Stiller, Matthew Broderick, Casey Affleck, Alan Alda, Téa Leoni, Michael Peña and Gabourey Sidibe, this "comedy" (if you can call it that) completely failed to deliver. It came with way too much hype that it couldn't live up to, flaunting its big names and promising to be hilarious. (Sound familiar? Cough--Rush Hour 3--cough. Sorry, Ratner.)

And the Oscar Didn't Go to ... Pulp Fiction

2012-02-20T12:00:00.033-05:00

THE YEAR: 1995

THE OTHER NOMINEES:

Forrest Gump
The Shawshank Redemption
Four Weddings and a Funeral
Quiz Show

THE WINNER: Forrest Gump, a.k.a. that actually really charming, All-American weepie made for box-of-chocolate lifers and starring Tom Hanks.

WHY IT (PROBABLY) DIDN'T WIN: Quentin Tarantino's hyperactive, bad-ass motherfucker of a flick, which featured a brunette Uma Thurman twisting at a diner and then near-overdosing, Ving Rhames getting raped and terrorized by two men and a "Gimp," and John Travolta and Samuel L. Jackson shooting the shit about Big Macs (or rather, Royales with Cheese), was probably a little too violent and foul-mouthed for most voters' elderly tastes. Although they did present Tarantino with the Best Original Screenplay trophy that same year.

WHY IT SHOULD HAVE: Unlike Gump (which is great in its own, superbly saccharine way), Pulp Fiction was groundbreaking for its time period. With its exploitation-style exposition and run-on sentence heavy script, it was both an action movie for people who didn't like action movies, and a drama for people who didn't like drama. And more importantly, due to its over-the-top references and not-so-slight nods, it was a film for people who, like Tarantino, loved films a bit too much. And you know the Academy appreciates that. (See: 2012 Best Picture nominees The Artist and Hugo)

Maybe if QT had kept the swearing and sex on, well, the QT, and amped up the sepia and subtitles, he would have been golden. But then the movie wouldn't be so fucking tasty. Or Tarantino.

Don't You Forget About: Role Models

2012-02-20T09:00:00.070-05:00

Sure, it's fun to catch the latest flick at the multiplex, or grab the newest release at a video store, but sometimes you just gotta say, "Out with the new, and in with the unknown." There are plenty of older flicks out there that are worth a rental, but never registered on your radar. In Don't You Forget About, we remember the long-gone gems, so you don't have to.

ROLE MODELS

WHAT it's about: When energy drink salesmen Danny (Paul Rudd) and Wheeler (Seann William Scott) interrupt the towing of their company car, driving it into a school statue, they're sent to do community work with Sturdy Wings, a Big Brothers Big Sisters type program. When Wheeler gets paired with Ronnie (Bobb'e J. Thompson) a.k.a. Chris Rock Jr. and Danny with live action role-player Augie (Christopher Mintz-Plasse, better known as McLovin), things get hilarious.

WHO'S in it: Upcoming star of Wanderlust Paul Rudd and Goon's Seann William Scott, alongside Thompson, Mintz-Plasse, Elizabeth Banks, pre-Glee Jane Lynch and pre-Community Ken Jeong. Plus, for MADtv fans, Nicole Randall Johnson and Keegan-Michael Key!

WHEN IT CAME OUT: 2008

HOW come you haven't heard of (or just seen) it: Chances are, you have heard of it, but I wouldn't be surprised if you'd forgotten about it. Some critics knocked it as childish and stupid, never fully living up to its potential. Possibly worst of all, an "Apatow imitation." Ouch. Personally, I find it way undervalued, even by those who thought it was "good."

WHY you need to watch it--immediately!

By far, the strongest part of this movie is the chemistry of the cast. They completely riff off each other and come across as completely believable, like they really do hang out together off-screen, despite Rudd's and Thompson's age gap of 27 years.
Although they work amazingly as a team, each actor is hilarious on his own: Thompson's one-liners, Scott's idiocy, Rudd's sarcasm and Mintz-Plasse's, well, dorkiness. Perfect blend, right?
As I mentioned before, MADtv cast cameos! Although this was pre to MADtv's cancellation, I can't help but root for their always small appearances.
It's charming. No really, it works itself out in a somewhat-cliché but kind of sweet way.
It's a great follow-up for Mintz-Plasse after Superbad, giving him a shove into the film world and showing us that he's got a lot more promise.
Paul Rudd is funny! I know I already mentioned the cast, but this deserves its own point. He's had a pretty bad run recently (see: Dinner for Schmucks, How Do You Know, Our Idiot Brother), but it's nice to be reminded of a better time in his career. And with Role Models writer-director David Wain and writer Ken Marino bringing us Wanderlust soon, here's hoping Rudd is back on track.

Gimme Five!: Dysfunctional Families

2012-02-19T14:00:00.002-05:00

Join us every other Sunday as we treat you to a handful of the best and worst movies, characters, scenes, lines and or other significant cinematic moments. At least in our opinion.

With family day right around the corner, what better way to celebrate than by being thankful that we aren't a part of some of the most dysfunctional families we've seen in comedies. Although we love to watch and laugh at misfortune, drama and sheer insanity, we're grateful that we're not one of them.

5) THE BARNES FAMILY

Thanks to a remake of the well-loved British dark comedy Death at Funeral, we've been introduced to the Barnes family. What begins a solemn reunion after the death of the family patriarch turns into a mess of blackmail, murder (or so they think), a Valium high, a revealed affair and more, all unravelled through sometimes inappropriate, sometimes childish and always hilarious humour.

4) THE TENENBAUM FAMILY

Three sibling child prodigies grow up and fall into a slump, as their father tries to win back their and his separated wife's affections, faking cancer after he's kicked out of the hotel he's been living out of. Meanwhile, one son falls in love with his adopted sister, fighting for her affections with his best friend and her much older husband, plus a wreck of other problems. Though it works itself out in the end. Sort of.

3) THE MCCALLISTER FAMILY

The McCallister's are one of my favourite movie families of all time, with some of the best one-liners I've ever heard (and not nearly enough screen time as they deserve). "Look what you did, you little jerk." "You're such a disease." "You're what the French call les incompetents." Of course, all directed at eight-year-old Kevin, who they leave home alone when they go on a family vacation to Paris, unintentionally. No really, it was unintentional.

2) THE HOOVER FAMILY

In 2006, Little Miss Sunshine was the little indie flick that works its way into everyone's hearts, winning awards, critical praise and box office success. But what made this a movie that everyone could fall in love with was just as much its ridiculous scenarios as it was its quirky characters: a teenager taking a vow of silence, a suicidal uncle, a foul-mouthed grumpy grandfather and an aspirational, naive seven-year-old and her parents. The family treks across states to the Little Miss Sunshine beauty contest in a VW bus that always needs a push start so that Olive can win the judges over (or not) with the routine her grandpa taught her to Rick James' Super Freak.

1) THE GRISWOLD FAMILY

When it comes to dysfunctional families, the Griswolds are a classic. In a road trip from Chicago to LA's Walley World, the nutty, ridiculous family comes across robbery, death, getting lost and utter chaos. And even when they've had enough, despite pleas, their father Clark is determined to make it to Walley World, "America's Favourite Family Fun Park." But that just leads to more insanity.

The Fille Files (February 12 - 18)

2012-02-18T17:00:00.001-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

The Ship of Fools (Roger Ebert's Journal) - One of all-time favourite male movie critics, uh, ships one of our (or, at least Emily's) favourite sick day/Sunday/everyday movies, the Celine Dion soundtrack-set epicness that is Titanic. (Don't tell me I'm the only one anxiously anticipating the 3D release!)
Inside the all-black (almost!) reading of 'Reservoir Dogs' (EW) Jason Reitman keeps staging these awesome-sounding, star-studded cold readings of classic screenplays (see also: The Princess Bride, The Breakfast Club). But we're particularly intrigued by this one, which changes up the race of the cast of Tarantino's ultra-violent first opus, subbing in Terrence Howard, Cuba Gooding Jr. and Laurence Fishburne for Michael Madsen, Tim Roth and Harvey Keitel.

An Illustrated Recap of What It Was Like to Watch The Vow (Vanity Fair) - A funny, illustrated review of what is admittedly an easy butt of jokes, The Vow.
I Liked You Better Before: Movie Makeovers that Never Should Have Happened (Hello Giggles) - Yeah, really. She's All That's Laney Boggs was so much cooler pre-makeover.
Hollywood ate my novel: Novelists reveal what it’s like to have their book turned into a movie (The Independent) - For those into both lit and film, a look at what happens when a novel becomes a movie, from the authors themselves.

WEEKEND WATCHES

Photo: Twentieth Century Fox

This Means War - Okay, this rom-com starring Chris Pine, Tom Hardy, Reese Witherspoon and Chelsea Handler looks mighty lame. But we loved Reese enough to see Four Christmases, so I suppose we'll see this too.
The Rum Diary (DVD) - We never got a chance to catch this, the latest Hunter S. Thompson-inspired Johnny Depp flick, in theatres. And although it got semi-awful reviews, it looks kind of gorgeous. And we've had a girl crush on Amber Heard since All the Boys Love Mandy Lane.

TRAILER OF THE WEEK: Abraham Lincoln: Vampire Hunter

This trailer, for the film based on the book of the same name, is a tad underwhelming. And there's an explained shot of the Lincoln Memorial thrown in randomly. However, we're fascinated by the fact that Abe seems to be able to keep his signature top hat in place while beheading the undead.

DVDs for V-Day: Love Stories

2012-02-14T14:00:00.123-05:00

I'm a hopeless romantic and as such, I can't help but be drawn to epic romance stories. I'm not too big on campy rom-coms (though I've seen too many of them) and I'm not into second chances (true love gets it right the first time). I'm into stories about deeply honest, pure love that goes to no ends to make sure that it is fulfilled. It also helps if someone tragically dies at the end.

This Valentine's Day, I'd like to ask you to suspend disbelief for a few moments and indulge in these moving, deeply emotional stories about love.

4) COLD MOUNTAIN

While Inman (Jude Law) and Ada (Nicole Kidman) are separated throughout most of the film, it's their enduring distant love that pulls you in. Although conscripted in the American Civil War, Inman can't help but follow his heart back to Ada, even if it means deserting the war. Meanwhile, as he treks his way back to her, Ada is left to worry about his safe return, while mourning the death of her father and trying to work the family farm without him. It's a story about hope and faith in a love that endures what feels like endless time to findally be reunited.

3) THE NOTEBOOK

It's tough to put The Notebook on this list without fear of being cliché, but I have to do it. There's a reason that this movie resonates as one of the greatest modern love stories of all time. It's about a guy, Noah (Ryan Gosling), who's unrelenting in chasing his true love, Allie (Rachel McAdams), when things being to fall apart after their picture-perfect summer. Through years of pain and waiting, Noah is unyielding, making for a very bitter-sweet ending.

2) KITES

This underrated Bollywood movie has been one of the most surprising movies I've seen in the past couple years. While it seems much of Bollywood dismisses it because it's so different from their usual fare (no dance numbers, a mix of languages, and extremely rebellious), it's gone mostly unnoticed by the rest of the world who don't look out for Bollywood exports. J (Hrithik Roshan) is an American who marries immigrant women to get them green cards, but when he marries Mexican woman Linda (Bárbara Mori), he feels there's something more there. Meanwhile, she's actually engaged to someone else and plans for divorce once the arrangement is through. But after discovering their true feelings, divorce is out of the question. Of course, her fiancé doesn't take it well and the two flee the country, running from guns and threats and car chases, until they can finally be alone together.

1) MOULIN ROUGE

This is my favourite movie ever. Of all time. Just watching the trailer nearly makes me teary. It's the most epic love story I've ever seen. Christian (Ewan McGregor) is a "penniless writer" who falls in love with Satine (Nicole Kidman), a courtesan and star of the Moulin Rouge night club. Of course, their love can never be; her job prevents her from falling in love, especially with someone who can't afford to keep up with her demands. But their love is destined to be and despite all odds, they see it through. Aside from being a beautiful story, it's also got some of the most stunning set and costume design, along with truly convincing acting. It is the most emotional movie I've ever seen.

DVDs for V-Day: Love/Hate Stories

2012-02-14T12:00:00.005-05:00

I swear I'm not here to piss on love stories.

In all honesty, I have much love for more than a few well-known wistful weepies (see: the Brokeback Mountain still kicking around my bedroom wall). But, to build on an idea dreamed up by a possible plagiarist of an Englishman, I think love is much more interesting (not to mention real) when its either sprung from, or becomes remains steeped in, some form of highly repressed hate. And no, it's not because I'm perpetually single. (Although, I'm sure it helps.)

This Valentine's Day let's buck the happily ever afters and those til-death-do-us-part paramours, and celebrate the anti-romances we can't help but love.

4) WHO'S AFRAID OF VIRGINIA WOOLF?

When I was in high school, I read the Edward Albee play which this 1966 film based on. Immediately, I compared it to my then-favourite movie, American Beauty. Looking back now, I admit there are some similarities between the two - American dreams indefinitely deferred, fully grown couples acting like children towards one another - but this is much more heartbreaking. While American Beauty takes moments to grace our cheeks with rose petals and smidgens of helpless hope, Who's Afraid of Virginia Woolf? laps up the irksomeness, focusing solely on an awkward dinner party between jaggedly jaded, long-married man and wife, George and Martha (real-life doomed duo, Richard Burton and Elizabeth Taylor), and their clueless newlywed guests. Martha's words are so cutting towards her husband at times, her tongue ought to fly off.

3) BLUE VALENTINE

This 2010 drama was almost completely ignored come awards season due to its adverse effect on audiences, who apparently wanted to see Michelle Williams and Ryan Gosling cuddle and make like Mr. and Mrs. Smith (no, not the Angelina/Brad kind) for two hours. What they got instead was something groundbreaking - an up close and too personal (both in script and suggestive shooting) exploration of a relationship that never really was and thus, never really can be, through the eyes of two, equally unremarkable characters. What they got was far too many people's harsh truth.

2) REVOLUTIONARY ROAD

Before this film, an adaptation of the Richard Yates novel of the same name, was released, it was touted as the much-awaited Jack and Rose reunion we had been waiting for since '97. But unlike Titanic, which brought a fresh-faced Leo DiCaprio and a fire-haired Kate Winslet together through the bow of a boat and the belts of Celine Dion, Revolutionary Road doesn't even try for a happy, heaven-set ending. Every aspect of this 1950s suburbia-set drama - the bleak coloured clothes, the slow-progressing storyline, and DiCaprio and Winslet's brilliantly vacant, Oscar-deserving (but not nominated) performances - is depressing. But then again, so were plenty of marriages back then, when divorce was a fate worse than death.

1) SID AND NANCY

This one takes the poisoned chocolate cake simply because its doomed subjects - who led destructive, drug- and dagger-addled side-by-side lives until one of them died in a hotel bathroom - were real. The 1986 biopic documents the way-highs and skin-crawling lows of the infamously short-lived romance between Sex Pistols bassist Sid Vicious and his peroxide-happy girlfriend, Nancy Spungen.

Vicious and Spungen's journey was a dirty, sex, suicide pact and syringe-filled one, a fact that is not only admitted in this film, but embraced with reckless artistic abandon. Director Alex Webb brings out an unmatched (unless you count this), brutally infected rawness in his stars, Gary Oldman and Chloe Webb, making much of the movie, which is made up mostly of long-winded verbal and physical fights followed by rabid love-making, near-unbearable to watch. But there's also macabre beauty to all of it, like when Oldman takes to an empty, florescent light-covered stage to sing Vicious cover of "My Way" to his barbed wire crowned babe, or the bloody pair embrace in what will become one of their death beds.

Weekend

2012-02-13T10:00:00.002-05:00

Directed by Andrew Haigh. Starring Tom Cullen and Chris New. 96 minutes

We meet Russell and Glen. Both late 20s gay men living in England and trying to work out what they want in life. They meet Friday night and sleep together. Instead of ending it there they decide to see each other again later that day and realize they are really enjoying their time together, until Glen reveals he’s leaving for art school on Sunday. This is a sad reality for everyone of their (and my!) generation: expiry dates. There is always somewhere to go and something to do. It isn’t an issue for the two guys at first as they just spend time together and get to know each other. They’ve made an unlikely and real connection, even though they are very different and about to be separated.

I had heard that this movie was “the best gay movie ever” and it turned out to be one of the most accurate and genuine movies about my generation I've seen as well as a real step forward for queer cinema. I’m going to ignore the “Queer Cinema” aspect of this film for a second. The movie is about two young people doing what two different trendy young people do. One hangs out with old friends, works a steady job, bikes to work, dresses comfortably, quiet and reserved, lives alone with Value Village type kitchen wear. The other is a career-driven, art school student, outspoken and restless, lives with a trendy roommate, has a trendy job that’s “just for now,” and is constantly waiting/planning to leave. These two characters are everyone my age, in one sense or another. There’s a general sense of dissatisfaction and restlessness, and on the other hand, there is a back to basics, down to earth need.

This movie still falls under the category of “Queer Cinema” and when looking at niche film markets there will always be some really bad films. Whether they are ground breaking or very significant to the genre, they’re just bad. This film on the other hand is everything “queer cinema” has been needing. A lot of queer cinema over the years has been overly campy, overly sexual, lacking in plot, lacking in complex characters and too preachy. It’s so nice to see a film that is clearly about young gay men and about modern gay culture in England, but also about a real relationship and realistic characters. There are for sure some political issues being addressed during their time together (for example, the pair argue about gay marriage and showing affection in public) and there are sex scenes but they are all just backdrop to the connection these two men are feeling. The real thing that makes this film unique from other queer films is the details. The details are true to the characters and the story, not to the niche market.

What really makes this movie are the two players and the director, that sounds obvious but I really mean it! Andrew Haigh is a fairly new director (this the first film I've seen by him) and its obvious he knows what he wants to say. This whole film looks like iPhone photos taken in a friends apartment. The (very limited) soundtrack is carefully chosen and the lighting is almost all natural. The scenes look natural and comfortable. If he's trying it doesn't look it. The two actors (Tom Cullen and Chris New) are like comfortable old slippers; all their dialogue feel improvised, they are easy to watch, they have completely absorbed their characters. This movie is just an honest love story with all the inevitable bummers of a present day setting. I'm obviously thoroughly impressed by this film but I also just really liked it. A

By Isa Montagnese

Dream cast: Gene Wilder. That's it.

Never Seen It! Sunday: My Bloody Valentine (1981)

2012-02-12T12:00:00.094-05:00

You know when someone asks if you’ve seen their favourite movie and say you seen “parts of it” because you don’t want to seem like a total pop culture pariah? Yeah, we do too—and we hate ourselves for it! That’s why every other week, we’ve vowed to watch at least one movie we’ve put off, ignored, rejected or just plain-out forgotten about. Join us as recount the popping of our cinematic cherries, complete with awkward, over-analytical details!

Photo: Paramount Pictures

MY BLOODY VALENTINE (1981)

DATE RELEASED: February 11, 1981 (U.S.) / February 13, 1981 (Canada)

DATE WATCHED: February 11, 2012

WHY NOW? With that day where all elementary school kids have to pretend to like each other in exchange for candy coming up, I have been craving some suitably-themed fare. This seemed like a natural choice, given the title and subject matter. (Also, I already watched my regular V-Day go-to, 2001 David Boreanaz slasher Valentine, two weeks ago. )

WHY NOT THEN? Unfortunately, I wasn't even an atom when this Canadian horror classic (shot in Sydney, Nova Scotia, yo!) was released. I was around for the 2010 remake though, and unlike many other reviewers, I found it to be frothy, fucked up fun.

EXPECTATIONS:

A plot pretty similar to the one in the recent 3D adaptation - a miner taking revenge on the people involved in a horrific underground accident a decade or so ago.
Said minor wearing his old-school mining outfit while killing not-so-innocent townspeople.
A hospital-set massacre of some kind.
A haunting, Prom Night-esque soundtrack. (It was done by the same composers.)
Lots of epic, V-Day-centric puns, used to describe the wholly unromantic events.
Some vaguely recognizable B-list Canadian actor that I have to IMDB in order to realize I don't actually know them or their generic name.
At least one literally ripped-out heart. And a whole bunch of other, totally apt and brutal kills.
Some super unflattering '80s sweaters worn by not-quite-good-looking, yet overdeveloped girls. Hipster flannels and Chuck Taylors on the just-mediocre guys.
At least some traditional, early slasher POV shooting. Perhaps with heavy breathing, made even heavier by the gas mask.

WHAT I ACTUALLY GOT...

A epically cheesy title card in which the Os in Bloody were replaced with animated hearts.
A highly suggestive opening sequence in which a yellow-teethed blonde fondled the hose of a gas mask (ewww) and then got a pick axe to the tattoo heart, which was conveniently located right above her actual heart.
So many ripped out aortas I lost count.
A town called - get this! - Valentines Bluffs.
Lots and lots of V-Day puns, found on valentines sent out to the killer's various soon-to-be victims.
A gas-masked villain named Harry Warden, supposedly traumatized from getting trapped in a mine with a pile of dead coworkers (and then having to eat them to survive!) 20 years back.
The dead-old-lady-in-a-dryer gag! And my 12-year-old self presumed that was a I Still Know What You Did Last Summer original!
Some terribly overwrought acting on the part of the wholly unrecognizable cast. That might sound like a criticism, but considering its a slasher movie, it was perfect as it took the already over-the-top story to a guilty pleasure precipice.
Some definite Nova Scotian accents. (Maritime pride!)
Tons of POV slasher shooting, complete with the gas mask breathing.
More chest hair than a Bee Gees concert in the 1970s.
A slightly too-long finale, with a sudden, ill-explained twist that no one could possibly see coming. Although, it was a lot better than the "He's got a split personality!" end of the remake.

ONE NIGHT-IN STAND OR SECOND DATE POTENTIAL? I see this as a once-a-year fling and possible third wheel to Valentine. I'll just have to keep any heart-shaped sweets at bay during our rendezvous.

The Fille Files (January 29 - February 11)

2012-02-11T15:00:00.002-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

50 Greatest Lord Of The Rings Moments (Total Film) - If you love LotR, as one of us filles does, you will love this. A quick run through some of our favourite moments in the trilogy amid all the hype about The Hobbit. (But of course, us LotR fans will also watch all three again before December.)
5 Big Questions for Movie Geeks in 2012 (Screen Rant) - Very important questions for very nerdy people, including Q's about The Hobbit, The Avengers and other great and geeky movies.
Janet McTeer: 'In the second minute I go bonkers' (The Guardian) - Get to know Janet McTeer a bit better, cross-dressing alongside Glenn Close in Albert Nobbs, psycho mother communicating with her dead son in The Woman in Black. Seems like we'll be seeing a lot of her.
Romcoms: the end of the affair? (The Guardian) - A rundown of rom-coms over the years. Nostalgic if you're older, disappointing if you're younger.
Behind The Scenes Of Inception (Total Film) - Why talk about Inception now? No reason really. But we love Inception, which is always reason enough. This piece looks at Christopher Nolan's inspiration and ideas behind the mind-warp of a film.
Interview with Ti West (A.V. Club) - The Innkeepers and The House of the Devil director talks about inspirations, indie horror and not actually believing in ghosts.

WEEKEND WATCHES

We Need to Talk About Kevin - Because Kevin did something horrific. And maybe his mother is partly to blame. And maybe she never really ever loved him. Tilda Swinton and John C. Reilly star in the drama about what Kevin did and its downward spiralling effect on his mother.

TRAILER OF THE WEEK: Seeking a Friend for the End of the World

Keira Knightly being funny? No way!

Home Theatre Weekend (February 10 - 12, 2012)

2012-02-11T09:00:00.002-05:00

Each week, we bring you a quick run-down of what's out on DVD so
you don't miss the hits and you can skip the misses.

Photo: amazon.ca

Rent it: The Twilight Saga: Breaking Dawn, Part 1

Like the first half of the book it's based on, Breaking Dawn, Part 1 doesn't totally suck. It's what every 17-year-old looking vampire should be: fun, sexy and from the right angle, drop dead gorgeous. Even those who don't own a Team Edward or Jacob baby tee may find themselves harbouring a Twi-hard-on by the badass end credits (seriously, they're really cool) of this easily entertaining film, arguably the best in supernaturally popular teen series.

Read the rest of Emily's review.

The Woman in Black

2012-02-10T09:00:00.131-05:00

Directed by James Watkins. Starring Daniel Radcliffe, Ciarán Hinds and Janet McTeer. 120 minutes. 14A

I don't read horror movie reviews and I don't believe horror movie hype. Good or bad, they make me sceptical. Unless it's coming from a horror buff, I don't feel horror is taken seriously enough. The capabilities of the genre, the storytelling, the styling, the characterisation... It's all often ignored when it's got the "horror" label on it.

This movie's been generating hype since it was announced, though largely thanks to Potterheads-turned-Radcliffe-fans, but also because the general public was interested to see if he had acting chops beyond the 8-part epic series. And although I avoid the reviews, once the film was out, it was tough to shield myself from hearing that it was being received pretty decently (for horror), so I was, as usual, sceptical. Compounded by the fact that this was the horror movie I'd most been looking forward to all year, heading the theatres was a nervous venture. But it ended up being more than I expected.

Set at the turn of the 20th century (as much good horror lit is), the story follows widower and lawyer Arthur Kipps (Daniel Radcliffe) as he works on the case of Alice Drablow's estate, Eel Marsh, a creepy mansion on a hill surrounded entirely by water when the tides rise. He travels ahead while his son and nanny plan to meet him in a few days. However, when he arrives in in the new town to begin his work, he's greeted by folklore, that a woman in black haunts Eel Marsh and has plagued the entire town with a curse.

In a one-word review, this movie is creepy. It's possibly the creepiest movie I've ever seen. And if you think the trailer is any indication of the creepiness in this movie, think again, because it gets even creepier. Much of this creepiness owes to the time and setting: old musical toys, a creaky and withered house, frail hand-written letters, tattered black and white photos. But it's also the genuine horror of it all: quick glimpses of darkened faces, silently nearing of shadows, shattering screeches. It's all gorgeously styled to give you goosebumps.

The cast is small and nothing without Radcliffe, who proves to be much more than a boy wizard. Although it is tough to picture him as a father, and the distant relationship doesn't help, a reminder of movie's era lets it pass (a time when parenting itself seemed distanced).

With a great, chilling back story from the legend's incarnation to the havok wreaked on the townspeople for years, combined with its creepiness and beautiful styling, The Woman in Black makes for what I'm sure will be on the best horrors of the year. A

We Dig Music: The Tracey Fragments

2012-02-09T09:00:00.060-05:00

As much as we love film, we also dig music. Once a month, we strum though films that wouldn't be what they are without music.

The movie: Tracey Berkowitz is looking for her younger brother Sonny, who thinks he's a dog. The movie tells the story of fifteen-year-old Tracey traipsing through the city's dark slums, encountering sketchy figures, in sessions with her shrink and dealing with adolescence until she ends up on a bus wearing nothing but a shower curtain. Ellen Page takes the lead in this Bruce McDonald-directed non-linear montage, released pre-Juno in Canada, post-Juno in the States. Though grossing only barely more than $40,000 worldwide, it's one of my favourite movies: daring visually and challenging narratively.

The soundtrack: What better fit for an angsty Canadian indie film than angsty Canadian indie music? Well, sort of. The 11-track soundtrack features a small handful of artists: Broken Social Scene, Duchess Says, The Deadly Snakes, FemBots, Rose Melburg and (also starring in the movie) Slim Twig. What makes this soundtrack so great isn't only that it's in keeping with the homegrown feel of the movie, but it's also sets the mood perfectly throughout, sometimes pulsing and pounding, sometimes soft and airy.

The playlist:

"Horses" by Broken Social Scene
"Who's Gonna Know Your Name" by Fembots
"Each New Day" by Rose Melburg
"Ccut Up" by Duchess Says

"Horses" by Broken Social Scene

Home Theatre Tuesday (Jan. 31, 2012)

2012-01-31T09:00:00.001-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Photo: amazon.ca

Buy it now: Drive

Three quarters of the way through Drive, Ryan Gosling's character, a stunt driver who doubles as a late-night criminal chauffeur, takes Carey Mulligan into a elevator and kisses her with reckless, slow-mo abandon as a overwrought romantic soundtrack thumps. Then, suddenly, he turns towards the other guest in the elevator and bashes the dude's head in with his feet. It's a morbidly gorgeous scene and a spot-on summary of Nicolas Windling Refn's way-cool ode to dimly-lit '80s action thrillers.

Read the rest of Emily's review.

Rent it: The Thing

Back in October, the Filles went to see this prequel to the '80s Kurt Russell-starring sci-fi horror film of the same name. The next day, we did a live blog about the experience, discussing the distractingly off-the-mark special effects, the nods to its classic predecessor and our favourite part - the film's driving force: self-sufficient, scream-free survivor girl, Kate (Mary Elizabeth Winstead).

Read the Filles' live blog.

Gimme Five! Faux Footballers

2012-01-29T12:00:00.004-05:00

Join us every other Sunday as we treat you to a handful of the best and worst movies, characters, scenes, lines and or other significant cinematic moments. At least in our opinion.

For this Cinefille, football movies are automatic touchdowns (Remember the Titans may have been my all-time favourite movie from Grade 7 to Grade 9). They are always drama-filled, slightly violent and feature a handful of good-looking dudes in tight shiny pants. And unlike actual football games, they're super fast-paced, cutting right to the stuff that matters - the field goals and the debauchery of the dressing room celebrations that follow.

With the Super Bowl - the only tolerable pigskin-themed sporting event of the year (because of the often-uncomfortable half-time shows and chili!) - airing one week today, I thought it might be fun to give my favourite big-screen sport a pass, counting down the best football movies of all-time. But I found that way too hard. There are just so many good ones - Friday Night Lights, Any Given Sunday, Rudy, All the Right Moves, Lucas, VARSITY BLUES!

After much deliberation and rummaging through my DVD collection, I decided to offer you the next best thing .... the Cinefilles' very own fantasy football league! Or rather, the most ballin' film football players who don't actually seem to play football.

5) MIKE DEXTER (Can't Hardly Wait)

He's a god. He's a role model! And he'll kick everybody's ass in this room!

Mike Dexter is a textbook example of a species often seen in '90s high school comedies: the douchey, yet hella popular senior quarterback (see also: Dean Sampson in She's All That, Stifler and Oz in American Pie). His supposed team membership made him the hottest shit for four years, but as soon as he fumbled, screwing up his knee (probs partying at the pool house with some imaginary, but really hot twins) and thus, losing his scholarship, his life turned to actual shit. Or so we're told.

4) RANDALL "PINK" FLOYD (Dazed and Confused)

By the time we caught up with Mr. Floyd and his stoner buddies on their last day of school before summer, the hip, hip ladies man had already decided to hang up his helmet. When his coach asked him to sign a waver stating he would give up drugs, he decided to give up the game for good instead. And honestly, I'm glad he did. With his lanky frame, David Cassidy hair and love of shell necklaces, he seems better suited to getting high (and getting laid) than getting touchdowns.

3) ANDREW CLARK (The Breakfast Club)

During his limited time on screen, we saw Andrew him smoke a lot of grass, but we never saw him tackle anyone onto it. And it's still kinda unclear what sports this so-called "Athlete" played. But considering that his scary controlling pops -- the one who would have been proud to hear he taped some underclassman's buns together -- was a star quarterback back in his day, you can assume he spent some time on the field. Also, what other sport would require you to eat two sandwiches, an apple, a whole bag of chips and a box of cookies for lunch?

2) JOHNNY UTAH (Point Break)

So what if he's retired? The point is, he was once a legend, and uses this status to help him go deep undercover with a gang of surfing bank robbers led by Patrick Swayze. If that's not enough to make you want him on your metaphorical team, then you shouldn't even be picking.

1) THE DEAD FOOTBALL TEAM (Beetlejuice)

These recently deceased dudes have all the right moves. Literally. They will dance on command to "Jump in the Line." Fucking champions.

The Fille Files (January 22 - 28)

2012-01-28T13:00:00.005-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

From Sketch to Still: The Dreamy, Oscar-Nominated 1920s Sets of Midnight in Paris (Vanity Fair) - Production designer Anne Seibel talks about how she created Paris in the 20s on an indie budget for Woody Allen's Oscar nominated Midnight in Paris set, complete with sketchbook snapshots.
Why Men Always Tell You to See Movies (NY Times) - Why the male voice over dominates movie trailers.
Paul Rudd, Amy Pohler and 'Wet Hot' friends reunite for stage show (EW) - Photos from the 10 year reunion of the Wet Hot American Summer cast. And some of their friends. (See also: CNN's Wet Hot American Summer: Where Are They Now? gallery)
Oscars 2012: The Artist's dog Uggie has his day (Toronto Star) - Uggie's story, It dog and scene-stealer from The Artist, including his connection to Robert Pattinson, playing the role of a female dog and his fave places to stay.
14 Most Jaw-Dropping Opening Title Sequences (Film School Rejects) - Just as the title says, including some of our personal faves: Inside Man, Halloween and more. But where is Goldfinger?!
25 of the Coolest Sci-Fi Movie Posters Ever (IGN) - Yes, another one of these. But you have to love them.

WEEKEND WATCHES

Monsieur Lazhar - This French Canadian movie based on a single-character play of the same name follows an Algerian immigrant who has been hired at an elementary school after the death of a teacher. It's also made the Oscar nom list for Best Foreign Language Film.

TRAILER OF THE WEEK

This wasn't the best week for movie trailers. So enjoy this blooper reel from The Artist instead!

DVD: Paranormal Activity 3

2012-01-27T09:00:00.071-05:00

Directed by Henry Joost and Ariel Schulman. Starring Chloe Csengery, Jessica Tyler Brown, Christopher Nicolas Smith and Lauren Bittner. 84 minutes. 14A

Full disclosure: I haven't seen Paranormal Activity 2. But truth be told, I don't want to, especially after our own Emily tore it apart. I did see the first one, though I didn't get the hype. But when buzz started going around that the third instalment was the scariest of all, that the series was finally taking horror seriously (and under yet again new direction), I made it a point to watch. And the hype wasn't too far off.

Paranormal Activity 3 is the prequel to the series original. Remember in the first one when Katie said she'd been haunted since she was a kid? This is that story. The movie follows young Katie (Chloe Csengery) and her younger sister Kristi (Jessica Tyler Brown) and their naive descent into paranormal insanity, their mother's boyfriend (Christopher Nicolas Smith) documenting it all.

While the story does attempt to provide answers to some of the questions created by the original, it doesn't answer some of the most critical questions. However, despite a new writer and directors (yet again), the story does stick fairly close to the original, while bringing a still somewhat-fresh take on the paranormal horror genre. In short, it pays homage to the first, though is even scarier.

What's most impressing about this movie is its two young leads, out-acting their parental counterparts, particularly on the part of Brown, who is reminiscent of Abigail Breslin in Signs. She's got the little round face, curious eyes and scraggly long hair, but more than that, she completely convinces you that her character is actually exactly who she is. Here's hoping she can find the trajectory that Breslin did.

It's a good scare with a few jumps and some eye-shielding moments (like when a slowly-panning camera seems to take forever to get to the other side of the room). If you haven't seen the second film yet, like me, don't bother. It doesn't matter. Just watch the good ones. B+

Stay Classy: Psycho

2012-01-26T09:00:00.002-05:00

Maybe you’ve never heard of it. Maybe you’ve always wanted to see it. Or maybe you’re just tired of the new. Whatever your reason, the classics are always worth a nod. In Stay Classy, we look some of the films that started it all and how they hold up today. So sit back while we reel through the past...

PSYCHO

Year released: 1960

How it fared back then: You might say it killed. The Alfred Hitchcock thriller, which starred Anthony Perkins and Janet Leigh, documented a woman's fatal run-in with deranged mama's boy and motel owner Norman Bates, hacked into the hearts of moviegoers, taking in an extremely impressive $32 million-plus box-office cut. Critics weren't as taken with it, frustrated with Hitchcock's promotional strategy (he did not hold press previews, forcing them to see it with standard viewers). But it get plenty of favourable reviews, especially after the public response, and was nominated for four Academy Awards (Best Director, Best Actress, Best Cinematography, Best Art Direction).

Why it's lasted: For one thing, its signature scene (see: Classic moment) and Bernard Herrmann soundtrack have been reused over and over again in a variety of films, TV shows and even rap tracks. The film has also inspired multiple (albeit silly) sequels, countless imitators (any slasher film really) and modern adaptations. Just recently, A&E decided to go down the Psycho path, ordering a prequel series (Bates Motel) about Bates' disturbing childhood.

In addition, Psycho has been ranked high on countless "Best Of" lists including several of AFI's 100 Years ... sets (100 Movies, 100 Villains, 100 Thrills, 100 Film Scores). Oh, and it's a bloody good time (see, again: Classic moment).

Classic moment: REE REE REE REE REEEEE! Even if you haven't seen the movie, you've definitely seen, or at least heard the haunting score behind, the shower scene. With its harsh sound effects (cue the screeching violins) and black-and-white gore, it was and remains one of the most indelible on-screen murders in cinematic history.

Does it still hold up? While some of the scares may come off cheesy to the modern horror fan (I'm thinking of one, ahem, bare ones shot), the film as a whole remains timelessly terrifying, thanks to its simple, unbelievably believable story, Perkins' positively prickly portrayal of the madman at the heart of it and Hitchcock's cut and dry direction of both. Without Perkins and Hitchcock however, I doubt the film--an adaptation of Robert Bloch's 1959, Ed Gein-inspired novel of the same name--would have been far from special.

Remember Gus Van Sant's horrifying (and not in a good way) scene-for-scene reenactment starring Vince Vaughan and Anne Heche? I guess we all really do go a little mad sometimes...

Home Theatre Tuesday (Jan. 24, 2012)

2012-01-24T09:00:00.003-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Photo: amazon.ca

Buy it now: 50/50

Joseph Gordon Levitt and Seth Rogen star in this truly touching, based-on-true-events tale of a young man diagnosed with terminal cancer. The script, written by cancer survivor and Rogen BFF Will Reiser, is not the usual melodramatic (and thus, wholly insincere) drivel that one might easily associate such a story. It's refreshingly raw, making you cry with laughter just as much as it does with sadness. No wonder it made Emily's Top 10 of 2011.

Rent it: Restless

Restless is the super sappy love story attempt by director Gus Van Sant and starring Henry Hopper (Dennis Hopper's son) and Mia Wasikowska (Alice in Wonderland and Jane Eyre). Though there is the ever-constant teenage "the world is ending" attitude to the film, I didn't feel it overpowered the undercurrent of new love and fun hats. He really let the two youngens try and work out their weird story on their own, similar to his style in Elephant.

Read the rest of Isa Montagnese's review.

Also out: Real Steel

A down-and-out boxer (played by Wolverine) coaches a misfit robot in combat. As he helps the robot KO his competitors in an underground, machine-based fight club, the dude also works to rebuild his relationship with his estranged son. Sounds like Rock 'Em Sock 'Em Robots the Movie. But with more crying.

Contraband

2012-01-23T10:00:00.032-05:00

Directed by Baltasar Kormákur. Starring Mark Wahlberg, Giovanni Ribisi, Kate Beckinsale, Ben Foster, Caleb Landry Jones and J.K. Simmons. 110 minutes. 14A

Like I said yesterday, I'm not much into action movies. But after seeing The Italian Job, I realized I need to give them more of a chance, which is why I saw Contraband. So if you're one of those who often shy away from gun-yielding, adrenaline-pumping, high-speed chase action movies, then this post's for you.

Actually, Contraband isn't so much of an action movie as it is suspense. The story follows Chris Farraday (Mark Wahlberg), a former drug smuggler who was clean until his younger brother-in-law (Caleb Landry Jones) got into the business and botched a deal. It's up to Farraday to save the day, but any other way than getting back into smuggling.

While there are some high adrenaline physical moments and hot chases, the movie is more comprised of palpably tense phone calls and confrontations. Combined with talented roster of actors (well, I'm not so much a fan of Wahlberg but this is his genre if there was one), these scenes make for a captivating suspense-thriller with perfect pacing and occasional bouts of action.

The problem with this movie is that it was (almost) exactly what I expected: a marginally above-average action movie. As I described my usual expectations of Wahlberg yesterday, he was a "tough guy with a warped sense of righteousness," ie. a former drug dealer who wouldn't go to the cops to right a wrong, but would break the law in almost-equally as consequential ways to avoid doing another deal himself.

However, I was taken aback by the supporting cast, namely Giovanni Ribisi, Ben Foster and Caleb Landry Jones. Actually, Jones has given strong performances in a lot of movies recently that have gone unnoticed (ie. The Last Exorcism, X-Men: First Class). I think we'll need to keep an eye out for him.

Overall, it's good. But it's just that. If you love action and suspense, see it. If you don't but you're not really feeling anything else, see it. B

Never Seen It! Sunday: The Italian Job

2012-01-22T12:00:00.081-05:00

THE ITALIAN JOB (2003)

DATE RELEASED: May 30, 2003

DATE WATCHED: January 3, 2012

WHY NOW? Over my winter break, I watched a bunch of movies I'd always wanted to see. But The Italian Job wasn't on the list until my sister brought it up. So, I watched the trailer. It looked good. And not just good for an action movie. I mean really good.

WHY NOT THEN? For the most part, I wasn't into action movies. Truthfully, I'm still not really (unless it's Tarantino) but I give them a chance. The Italian Job wasn't even on my radar. I'd heard of it. I knew they'd named a ride after it at then-Paramount Canada's Wonderland (now the Backlot Stunt Coaster, as you ride in Mini Coopers through a tunnel. Lame!). But I don't even like roller coasters.

EXPECTATIONS: (pre-trailer viewing)

Too much action, and like I said, I don't like action. It's mostly the pace that throws me off, too much going on at once. Or conversely, too little going on and sharp, jolted shots trying to make up for it.
Little dialogue, a common action stereotype.
A "guy" movie. OK, don't get me wrong, I love Pulp Fiction, Fight Club, Superbad, and whole lot of other stereotypically "guy" movies. But for some reason (I think it's the timing my life, when guys and girls in my view were still so different), the masculinity of this movie just made me feel it wasn't for me.
Mark Wahlberg as his usual tough guy with a warped sense of righteousness.
Statham as his usual tight-lipped, I-think-I'm-so-cool tough guy.
Norton as his usual top notch performance.

WHAT I ACTUALLY GOT...

A very clever (albeit unbelievable) story with thoughtful dialogue and some hilarious one-liners. Without Mos Def and Seth Green, I could not have loved this movie as much.
Great pacing where every shot counts. I was convinced during the first chase scene, cutting between palpable suspense and intense adrenaline.
Mark Wahlberg as his usual tough guy with a warped sense of righteousness. But fittingly so. At par with his role in I Heart Huckabees? Maybe not.
Statham as his usual tight-lipped, I-think-I'm-so-cool tough guy. He's so typecast, but seemingly happy with it.
Norton as his usual top notch performance.
The realization that I need to give more action movies a chance. Of course, I'm not still plagued by my young teenage stereotyping (though you have to admit, some movies are "guy" movies), I still sometimes brush off actions movies. And end up missing movies like this one.

ONE NIGHT-IN STAND OR SECOND DATE POTENTIAL?
This one is an action favourite, hands down. Needless to say, I'm adding it to the collection.

The Fille Files (January 16 - 21)

2012-01-21T12:00:00.107-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

Photo: dvdactive.com

Shame: sex addicts reveal all (The Guardian) - A U.K. journalist talks to the real stars of Shame (sorry Michael Fassbender's boners): sex addicts. They talk about their personal experiences with the affliction and how closely the film follows and or veers from their everyday reality.
'The Exorcist' and My Mother (Video Word Made Flesh) - An entirely relateable piece about parents and how they affect the choices we make in films, but not necessarily our opinions of them. Emily had an eerily similar experience with her mama and Linda Blair's blasphemous big break. Except she made her mom watch it with her (on Valentine's Day!) and ended up kind of hating it.
17 blockbusters so horrible even their creators say they sucked (Blastr) - We all know these movies sucked. Good to know the creators behind it can face up to it.
10 Bizarrely Deceptive Movie Posters (IGN) - Movie posters that led to expectations that were never met. Includes a double-jawed Jaws poster.

WEEKEND WATCHES

Photo: Sony Pictures Classics

A Separation - This Iranian film has major buzz, garnering stellar reviews from critics, a Golden Globe (Best Foreign Language Film) and a spot on the Academy Awards' foreign film super short list.
In the Land of Blood and Honey - Angelina Jolie directs. The Bosian War stars.
The Divide - In this sci-fi thriller, survivors band together in an apartment basement after an apocalyptic attack, only to find danger in containment itself.

TRAILER OF THE WEEK: Detachment

The latest from controversial American History X director, Tony Kaye.

Adrian Brody. Bryan Cranston. Lucy Liu. Christina Hendricks. James Caan.
Marcia Gay Harden. Blythe Danner. William Peterson. TEACHERS.

The Girl with the Dragon Tattoo

2012-01-20T10:30:00.001-05:00

Directed by David Fincher. Starring Daniel Craig, Rooney Mara, Robin Wright and Christopher Plummer. 158 minutes. R

I didn’t want to like this movie. Mostly because it’s so irritating that American audiences need an English-language version of a series of films that have already been made quite wonderfully in Sweden (disclaimer: I have seen all three Swedesh films in the Millennium series, but have not read any of the books), where the story is set, where the actors speak the language because they are from there, and where the author wrote the book and envisioned the story taking place, in response to that particular culture and its social mores. Also, the long-time domestic partner of the author (Stieg Larsson) is getting totally screwed over by his family right now. Under Swedish family and estate law unmarried couples without children have no legal rights with respect to their relationship, and thus cannot inherit from one another (read a review of Eva Gabrielsson’s memoir here).

That being said, the story of The Girl with the Dragon Tattoo is compelling, and I was curious how Fincher would adapt and interpret the narrative I had become familiar with. I was also drawn in by Daniel Craig, a perfect, spot-on choice for Mikael Blomkvist, and intrigued by the casting of Rooney Mara, a relative unknown, in a role that has become so iconic (Lisbeth Salander), and was performed so brilliantly by Noomi Rapace in the original Swedish-language films. So, I went. And despite myself, I really liked this movie.

I’m not going to go into the plot here, since you can read all about it on various Wikipedia pages all over the internet, if you’re so inclined. Suffice it to say it's fairly complicated and Fincher keeps things going at a reasonable pace with sufficient clarity. The conclusion of the major plotline is quite unsettling, which I think is an understatement. I’m more concerned with the characters, their relationships, and their portrayals.

Lisbeth Salander is fascinating. She is a counter-cultural misfit, something that is apparently quite frowned upon in Swedish society. She’s a punk-rock, bisexual, motorcycle-riding, mildly criminal investigator for a PI firm. She is also a ward of the state, due to mental or emotional instability. Lisbeth is assigned a new, restrictive guardian after her long-time guardian suffers a stroke, and the new guardian sexually exploits her and brutally rapes her. She takes back control by exploiting and sexually and physically assaulting him right back. An interesting choice for a rape victim (more on this below).

Mara was incredible in this role. She played hurt, damaged, strong, caring and smart, all without eyebrows. Her tough-yet-tender portrayal was spot-on. If I had to compare, I might say her portrayal was just slightly better than Noomi Rapace’s in the original Swedish-language version, which feels kind of blasphemous to write. Mara was fierce, burning.

Craig was also great. The Mikael Blomkvist character is apparently an idealized version of Larsson himself, so I take the character with a grain of salt. Craig’s portrayal was quite good, although I got the sense from time to time that he would have really liked to jump from an exploding building at some point or another. Blomkvist is no James Bond, and the raw physicality Craig is capable of was a bit wasted here. But nonetheless, we can’t always have Craig throwing his gorgeous frame around so recklessly, and here, he did the role justice.

The footage of Stockholm featured in the film made me want to go visit there immediately. Europe is so much cooler than North America. I am curious to see how the rest of the movies will play out, particularly the third movie, which details a criminal trial. The Swedish legal system is based on civil, not common, law, and the method of conducting the trial is wholly different from the version we see so often on nightly American network television. It will be interesting to see how the director, if it is indeed Fincher, tells a story about a different kind of legal system to an American audience.

Anyhow, some things I think are lost on American audiences, like for example just how counter-cultural Lisbeth Salander would be in Sweden. Sameness is valued in Sweden. Standing out from the crowd, whether in “good” or “bad” ways, is not. Walking down Queen West in Toronto, it is nothing to see people who look a good deal like Lisbeth Salander. That doesn’t happen in Sweden. Lisbeth Salander would really stand out, and she is treated differently as a result. This tidbit strikes me as important, particularly with respect to the way she is treated by her new guardian - the way she is and lives and presents herself affords her guardian some degree of camouflage for his behaviour, since she will be perceived as strange, less believable, untrustworthy and crazy.

There are a couple things that bother me about this story. One is a fact I just recently mentioned, that Blomkvist is an idealized version of Larsson. This sets the character up as the protagonist in many ways, and leaves Lisbeth Salander, the girl after whom the series is named, as a kind of helper to Blomkvist. But it's her work that ends up saving his ass, in more ways than one.

The other thing that bothers me is Lisbeth Salander. If Blomkvist is an idealized version of Stieg Larsson, Salander is an idealized version of a rape victim. Although she might be damaged by her experience, she manages to still be sexual. She manages to be strong and take back control of the situation through an act of brutality executed on her attacker. I felt this after seeing the original Swedish-language movie as well: Lisbeth’s response to her rape is a very male response. Seeing her lash back out at her attacker in the specific ways she did felt very much like a male fantasy to me, not a response rooted in the lived experiences of women survivors of sexual assault.

I’ve read that the background to Larsson’s desire to write this story, and his lifelong dedication to feminism and speaking out against male violence against women, was due to his own experience witnessing a brutal gang rape of a young girl when he was 15. He apparently never got over it or his own inaction. It’s perfectly sensible then that he writes a character who does all he couldn’t do and likely more. Now, I’m well aware that there may be many women out there would want to do just as Lisbeth did, even women who are rape survivors. But it is really not what they would actually do. Lisbeth’s reaction is fantasy, pure and simple. And I’m not sure how helpful that fantasy is for real life rape survivors or society’s conceptions and expectations of them.

In any case, the movie is good. It’s fairly fast-paced, except for a section in the middle where there’s a lot of sifting through archival materials. It’s got lots of action, interesting characters (even if they aren’t so realistic), a compelling mystery and some romance. And a chick with no eyebrows. What more could a girl want when she goes to the movies? B+

By: Jennifer Simpson

Films I love: Breakfast at Tiffany's, Fargo, Being John Malkovich, Melancholia, Volver, Juno

Terribly Awesome!: From Dusk Till Dawn

2012-01-19T09:00:00.001-05:00

Cinefilles, it's time for a camp-out! And no, we ain't talkin' s'mores, sing-a-longs and psycho killers (although, they may very well make questionable individual appearances). We're talking about getting in touch with your guilty pleasure zone. So join us as Emily (our resident camp connoisseur) leads you through one of the best of the worst movies of all-time. It's gonna be awesome—and terrible!—all at the same time.

Quentin Tarantino and Robert Rodriguez's not-quite-forgotten, but not-quite revered "action extravaganza" (Ebert's words via my DVD case, not mine) From Dusk Till Dawn may have come out sixteen years ago today, but I think would be quite at home in January 2012.

Okay, check it. The 1996 horror comedy stars recent Golden Globe winner and Best Actor Oscar contender George Clooney (who you might remember was my reason for December's tribute to Return to Horror High), and The Firm's leading lady and Twit-disturber Juliette Lewis. Also, like this week's new Underworld film, it features a kickass female heroine (Lewis) and some seriously batshit creatures of the night. And, despite his somewhat questionable taste in modern cinema, we're always itching for more Tarantino (Django Unchained is already our favourite Christmas present).

I hope you're hungry, fellow lovers of all things equally awful and awesome. Cause you're about to feast your eyes on a buffet of blood, bikers, Salma Hayek's boobs and one hell of a fiery arm tattoo.

WHY IT'S TERRIBLE:

Tarantino plays Richie Gecko, Clooney's character's brother (!!) and a serial murder/rapist with a thing for young girls (!!!!!!) and feet. And he does it a little too well. (No wonder he earned a Razzie nom for the role.)
Tarantino's personal foot fetish is once again highlighted as his script includes a scene in which Richie sucks on Salma Hayek's toes while a whole bar watches. You just know this is why he passed on directing and took on the vile role.

If the pictures above weren't icky enough, Richie has a totally revolting hallucination about Juliette Lewis, who is definitely not supposed to be legal age in her role (in real life, she was in her 20s). And when he first meets her, as she comes in from a dip in the hotel pool and finds her brother and dad (Harvey Keitel!) held at gunpoint, he tells her that they are "having a bikini contest, and [she] just won."
Later on, Clooney, who is clearly disgusted by his bro's behaviour in the first half of the film, clearly starts flirting with Lewis. By the end you're almost rooting for them to get together. G-ross.
Some of the vamped out creature make-up looks awfully similar to that done on the title creeper of the Season 1 Buffy the Vampire Slayer ep, "Reptile Boy." And that is not a complement.

The majority of the action goes down at a middle-of-the-desert strip club/trucker drinking hole called The Titty Twister. In other words, if you can't handle crazy nip slips and nasty one-liners about lower lady parts, you're going to be turned way off.
Unsurprisingly, QT makes one ugly ass motherfucking bloodsucker.

WHY IT'S AWESOME!:

Always a good sign. At least in the '90s. (Don't see: The Adventures of Shark Boy and Lava Girl, My Boss' Daughter, Children of the Corn: Revelation ... )

As mentioned in the intro, it's directed by Robert Rodriguez and written by Quentin Tarantino, those way weird BFFs who most recently brought us the awesome B-movie double feature tribute, Grindhouse.
The majority of the action goes down at a middle-of-the-desert strip club/trucker drinking hole called The Titty Twister. Which only operates from dusk till dawn. Because it is filled with vampires.

Clooney plays salt-and-peppery bank robber Seth Gecko, who just wants to get help his despicable brother a better life in the mythical Mexican land of El Ray. After helping Richie break out of the pen in broad daylight, they hit the open road, picking off gas stations and picking up an RV of hostages (Lewis, Keitel and Scott Fuller) before heading to the TT to meet up with the dudes who are going to help them get across the border.
Seth Gecko calls vampires "satantic cocksuckers."
According to IMDB's trivia section for the film, Tarantino chose Cloons for the role because he was headlining TV's ER at the time of the casting and QT liked the fact that he was going from "saving people in the ER to playing a character who sends them to the ER."
Remember how I mentioned a fiery arm tatt? Well, lookie here:

This film marks the debut of foul-mouthed law man Earl McGraw, who you may remember from Kill Bill, Vol. 1 and both Grindhouse flicks (Rodriguez' Planet Terror and Tarantino's Death Proof).
Keitel plays Jacob Fuller, a former man of God who comes to the spiritual rescue when the vamps awake (think blessing holy water, making makeshift crosses).
COOL GUYS DON'T LOOK AT EXPLOSIONS.

There are obvious nods to Pulp Fiction (Seth brings Big Kahuna burgers back to their hotel room!) and Desperado ...
... one of which is a penis gun, fired by the most badass mofo you'll ever meet (sorry, Samuel L.): Sex Machine.
Sex Machine is played by none other than The Godfather of Gore himself, actor/director/stuntman/horror make-up artiste Tom Savini.

The straight-to-DVD sequel, From Dusk Till Dawn 2: Texas Blood Money, stars Bruce FUCKING Campbell and Tiffani (Amber/Kelly Kawpowski)-Thiessen.
The full-length documentary about the making of the film is called Full-Tilt Boogie. And if you're lucky, it comes as bonus disk with your FDTD DVD!
Is that John Hawkes (Winter's Bone, Martha Marcy May Marlene) joking about qualifying for an "Academy Award in being unnatural" while being held hostage? Oh Quentin, you sassy psychic swamp woman.

A five-second cameo from Nancy Thompson's pops - John Saxon? We'll take it!
Salma Hayek plays the Titty Twister's top dancer and the reptilian fanger seen in the AWFUL section. And she goes by the name Satanico Pandemonium. And I think she may have been the inspiration for Britney's "Slave 4 U" video.

Also workin' the bar, but not in a sexy way? Machete himself, Danny Trejo!
And sitting at the bar? Footballer and blaxpolitation star Fred Williamson! If QT doesn't write a prequel, cast Williamson as the lead and call it I'm Gon Git You Bloodsucka!, I might have to.
When the bar turns into the vamp lair it really is, the gorgeous-faced strippers turn into dogs (no sparkles here!) and the mariachi band's instruments get some new skins.

Even after "vamping out" ... Trejo's signature crater face seems to be unchanged.

Gore whores, you're gonna get some. And then some. The body count of the film is a whopping 122.
Some of the non-scaly monster make-up is so good, it could be straight out of The Thing or the Evil Dead movies. And, for those of you who haven't seen ED or the 1980s Thing, that is a definite compliment. Although, it also kind of makes you wish the title was actually Dead By Dawn.

HOLY WATER-FILLED CONDOMS.

At one point Keitel's character asks, "Has anybody here read a real book about vampires? Or are we just remembering what some movie said?"Sex Machine responds, "Like a Time Life book?"
Although the weapon of mass demon destruction is really the Titty Twister disco ball reflecting off the sun (!), you could argue that it's also Juliette Lewis. Armed with a cross-bow, a bellyful of booze and reckless desire for revenge, girl would make Buffy proud.

The final shot of the film is actually brilliant. I'd screencap it, but I think I've spoiled enough for you.
This filthy, filthy scene, courtesy of Cheech Marin (now co-starring on CBS' new Rob Schneider sitcom, Rob!), who plays not one, but three roles including Titty Twister owner, Chet Pussy.

Home Theatre Tuesday (Jan. 17, 2012)

2012-01-17T09:00:00.003-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Must buy: The Ides of March

Although this George Clooney-directed pulsing drama didn't pick anything up at this weekend's Golden Globes, with the Oscars nearing, there's still hope. And fear not if politics aren't your strong suit, it's not really about that. It's more about the pieces that make up a person and how far someone will go to stay true to who he is. It's poetically written, captivatingly shot and brilliantly acted by 2011's favourite lead actor Ryan Gosling.

Also out: Abduction

Taylor Lautner proves he's more than just a werewolf named Jacob in this action-filled, non-stop chase. Of course, not without a few genre clichés, but overall, a nice surprise and good rental pick.

Gimme Five!: Most-anticipated Horror Movies of 2012

2012-01-16T12:00:00.000-05:00

Join us every other Sunday as we treat you to a handful of the best and worst movies, characters, scenes, lines and or other significant cinematic moments. At least in our opinion.

A few great gems aside, 2011 was a pretty crappy year for horror. It was more of a year for the marginally horror films, suspense thrillers like Straw Dogs and Red State, and sci-fi like The Thing and Apollo 18. Of course, it was also the year of Scream 4, Insidious and brilliant indie find Grave Encounters, but I draw the line there.

But this upcoming year seems like it'll make up for it all with its endless promising list of horror releases in store. I was seriously tempted to write "Gimmie Another Five" later just so I could squeeze in 10 picks, but I painstakingly cut it down to the five I really can't wait for.

WORLD WAR Z

Brad Pitt in a zombie movie? I used to think that Brad Pitt could choose no wrong when it comes to movies, and when he chose baseball movie Moneyball, I thought it was the beginning of the end. But I was so wrong. When I first heard of World War Z, I was tempted to think the same. But Moneyball convinced me that I will be wrong. (Release date: December 21)

PROMETHEUS

It's the prequel to Alien that we're told is not the prequel to Alien. And like its unofficial sequel, strong women Noomi Rapace and Charlize Theron take the lead alongside Michael Fassbender and Guy Pearce. (Release date: June 8)

SINISTER

A true-crime novelist (Ethan Hawke) seeking inspiration stumbles upon a box of home videos of an entire family murdered in what is now his new home. But uncovering the murder isn't as "crime thriller" as you might suspect when the story becomes supernatural. (Release date: August 24)

THE CABIN IN THE WOODS

This movie looks like the outcome if you'd combined Friday the 13th and Cube: a horror sci-fi thriller set in a cabin in the woods inexplicably like a maze where our main characters are caught up in a mad chase. (Release date: April 13)

THE WOMAN IN BLACK

Ghosts in creaky, dusty old houses? That's my kind of horror. Because ghosts are real. Judging from the trailer, styling looks amazing, scares look haunting and Daniel Radcliffe seems like more than Harry Potter. (Release date: February 3)

Honourable mentions: The Innkeepers, The Apparition, The Amityville Horror: The Lost Tapes (possibly)

Young Adult

2012-01-16T09:00:00.005-05:00

Photo: Paramount Pictures

Starring Charlize Theron, Patton Oswalt, Patrick Wilson and Elisabeth Reaser. Directed by Jason Reitman. 94 minutes. 14A

Last time Jason Reitman and Diablo Cody teamed up, for the dividing 2007 Sunny D-elight Juno, they introduced us to a hipster girl (Ellen Page) who was pushed into early adulthood after being knocked up by her gawkward track team BFF (Michael Cera). Now, with the Cody-penned, Reitman-directed Young Adult, the dynamic duo are telling the opposite story, one that's not being retold repeatedly via MTV reality shows, but is not all that uncommon either. Here, lies the tale of an modern day, Marc Jacobs-wearing J.M. Barrie character, a selfish thirtysomething woman who refuses to grow up.

Whether you like to look back at the photographic evidence of your Sketchers obsession, take your favourite mix tape out for another spin, trying, try on your old Mathlete uniform or simply attempt to forget that awful nickname your Regina Georges thrust upon you, everyone hearkens back to their high school days now and again. That's why YA fiction, films and movies remain remarkably popular with the post-post-secondary set. There's something strangely addictive about revisiting and rethinking that troubling transitional period and figuring out how much you've grown since then.

But what if your mind never caught up with your much-improved, matured bod? What if you couldn't get past your so-called glory days, when you didn't have any responsibility except passing algebra and making sure you closed your window after sneaking back in from that bitchin' bush party? That's the problem facing Young Adult's heroine, if you can even call her that, Mavis.

Mavis, played with party monstrous zeal by a raccoon-eyed, Diet Coke-head Charlize Theron, is a teen novelist who keeps boxes of her first boyfriend's stuff in her dirty clothes-covered, Cheetos wrapper home of a one bedroom apartment. She seems totally satisfied with her undeveloped life until she gets two equally crushing e-mails: one from said former beau (Patrick Wilson) and his current wife (Elizabeth Reaser) announcing the birth of their new baby, and another, from her publisher, stating that she's only got one book left to write before her deal is up.

Instead of nose diving into a traditional, black tear-filled threesome with Ben and Jerry, Mavis decides this is her signal to head back to her childhood town and get her ex - and the perfect life that should have been hers - back. What follows is a highly discomforting, funny only to those that can't handle it, series of unfortunate events.

Mavis meets up with Buddy and not-so-subtly throws herself at him, assuming he returns the feelings and wants an escape from his lady, who may just be the nicest woman in the world. She also starts a strange relationship with former classmate Matt (Patton Oswalt, Cody's United States of Tara), a action figure obsessed nerd and victim of a heinous high school hate crime.

Mavis' relationships with both men are cringe-worthy, as she desperately seeks some hint of the attention she got as a jail bait princess and never quite finds it. They are also extremely well-acted. Theron is the best she's been since she won the Oscar for Monster, bearing this woman's ugly, make-up-masked soul again and again (we literally play Rear Window to the murder of her natural beauty by way of lip waxes and good wigs several times). This is especially obvious in her scenes with Oswalt.

The comedian, who was praised, but not rewarded for his equally hard-to-watch role in Big Fan, brings out the best and worst in Theron, and remarkably, comes out even stronger. He sucks you in with his droopy eyes, which carry his bullied, garage boozing baggage around day in and day out, and keeps you hanging on until the way-bitter end. If this movie gets one Oscar nomination, it should go to him.

Fans of Cody's other work, including Juno and the highly misjudged Jennifer's Body, may be disappointed by the lack of snappy catchphrases and unexplained pop culture references in this film. But this script, ironically her most mature yet, fits the material - not to mention the style of Reitman's more recent projects - like a tailored Letterman jacket. It comes across almost like a waste case lady friend of Up in the Air, exploring the life of another person who masks their sadness in clear obsession and, even when confronted with the root of their issues, may never be ready to move on.

The dialogue of Young Adult feel ripped out the girl's diary no one would have bothered reading, even if it was left open at a house party. It's simple really, but bleeds harsh truths (Mavis tries to tell her parents that she "might be an alcoholic" and they pretend like they just heard the lunch bell), which could make it difficult for those who have never bit their tongue (or conversely gnawed their foot to the bone) to gulp down. (Especially if they're using a Breaking Dawn commemorative cupped Mountain Dew chaser to do so). But if these things didn't burn a little, the film wouldn't have the lasting effect Cody intended.

Many reviewers have found fault in the film simply due to Mavis' off-putting personality. I found much fascination in it. Sure, her surly demeanor and bad intentions may make you want to cover your eyes on occasion, but as one of my favourite flawed YA heroines use to allude to, often times the most spectacular people are those that hurt the most to look at. A-

The Fille Files (January 9 - 14)

2012-01-14T12:00:00.001-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

Exile from Guyville: The outsider heroines of The Hunger Games, Underworld and The Girl with the Dragon Tattoo (Press Play) - An awesome analysis of the current crop of female film and TV heroines - girls who take no normal names (see: Lisbeth, Katniss) or crap from anyone, and look far beyond landing a guy.
Exclusive: Quentin Tarantino's favourite films of 2011 (The Quentin Tarantino Archives) - One of our favourite directors shares his top (and bottom) movies of the year including Midnight in Paris, Rise of the Planet of the Apes, The Artist and ... The Three Musketeers?! (We love Christoph Waltz too, but ... )
'Rewind This' Trailer: The VHS revolution may not be quite over (Slash Film) - A trailer for what may be the best documentary of the upcoming year. It explores the life and slow death of the VHS and the people who are fighting to keep the home video love alive. NEVER FORGET.
'Jack the Giant Killer' writer to pen 'Goosebumps' adaptation for Columbia (THR) - If this is paired, Grindhouse styles with an Are You Afraid of the Dark? movie, we might explode. Long live 1990s sorta kid-friendly horror.
Alan Menken remembers Beauty and the Beast (Toronto Star) - Theatre critic Richard Ouzounian talks to the composer, responsible for the songs that made Disney classics, about why Belle and her beautiful-on-the-inside boyfriend's tale as old as time is still as fresh as it did when it was first released.
Vincent D'Onofrio talks about his slasher musical, 'Don't Go in to the Woods' (EW) - This interview isn't world-rocking or anything, but it did open our eyes to the fact that there is a slasher musical coming out and it is being directed by Vincent Onofrio.

WEEKEND WATCHES

Contraband - Only because they make an open Italian Job reference in the trailer.
Joyful Noise (Emily) - Dolly would.

TRAILER OF THE WEEK: ATM

Dumb title aside, there's so much to already love about this movie. First off, it features Josh Peck of Drake and Josh. Second, the killer looks like it raided the Urban Legend costume department closet. Third, high-concept, single-location thrillers are like so hot right now.

The Devil Inside

2012-01-13T14:00:00.098-05:00

Photo: Toni Salabasev

Directed by William Brent Bell. Starring Fernanda Andrade, Simon Quarterman, Suzan Crowley and Evan Helmuth. 90 minutes. 18A

I'm not a huge fan of exorcism movies. They're too formulaic and rely on a mythology that's often too unbelievable. I couldn't even remember this movie's trailer before going into it. But after the lack of horror movies last year, I was going into withdrawl.

The Devil Inside follows Isabella Rossi (Fernanda Andrade) as she goes on her own investigation into what happened to her mother, Maria (Suzan Crowley), twenty years ago when she confessed to murdering three people during an exorcism. Maria's now in a Catholic psychiatric hospital in Rome, after an unexplained transfer from the U.S. Isabella is convinced her mother is possessed and begins exploring exorcisms with the help of two priests (Simon Quarterman and Evan Helmuth). I can't say what happens next because unlike the trailer (which I thankfully didn't remember at the time), I'm not going to spoil anything for you.

Whatever your expectations are about this movie, you're probably right. This movie is exactly what you think it will be. If you love exorcism movies, you'll probably love this one. If you hate them, then you'll probably hate this one.

As far as scares go, it's marginally above what you might expect. There are a few good moments, like when Maria unexpectedly bursts into a deafening screech during her daughter's first visit to the hospital. Fear and suspense slowly escalates into jolting final scene. It's clear that the film was trying to bring something new to the typical exorcism horror, which is commendable, but still, scares throughout could have a been amped even more.

Acting was also surprisingly somewhat convincing, particularly from priest Ben (Simon Quarterman) when things get tense. But nothing that you'll remember for times to come.

If you're considering seeing this one, skip the trailer. Instead, ask yourself what you think of exorcism movies. That'll be your answer. C+

Café de Flore

2012-01-12T09:00:00.016-05:00

Directed by Jean-Marc Valleé. Starring Vanessa Paradis, Kevin Parent, Hélène Florent, and Evelyne Brochu. 120 minutes. 14A

I almost don’t want to tell you anything about this movie.

In a perfect world, you, dear reader, would simply trust me, and go and see this film based purely on me telling you to go and see this film. But, you don’t know me, at least not yet, and so I don’t blame you for the lack of trust between us, the doubt you might have at being told simply, this film is excellent, and you should see it.

So, if it helps at all, in case you have more trust in him than you do in me, which would make sense because you probably know him and you probably don’t know me, George Stroumboulopoulos named this film as one of his top 5 of 2011. Since George is my boyfriend, as he has been telling me each weeknight for several years now, I know him, and I trust him as an arbiter of taste (which I think is George’s greatest talent), and based purely on this film’s appearance on George’s top 5 list, I decided to go and check it out. I knew practically nothing about it going in, except that it is a Canadian French-language film, and that it stars Vanessa Paradis, partner to hunky pirate impersonator Johnny Depp.

And, dear reader, that is the kind of experience I want for you to have with this film. I want for you to discover it in the same way I did, not having expectations that can either be met or not met. It was such a beautiful experience to encounter this film in the way I encountered it, that I wish the same kind of experience for you.

So, if you feel adventurous, stop reading here, and go buy your tickets.

For the skeptics among us, here’s a bit more information. Beware, however: I’m still going to tell you as little about it as possible for a film critic to tell you in a review.

Café de Flore tells parallel stories, one in present-day Montréal, and one in 1969 Paris. In Montréal, we focus on Antoine (Kevin Parent), Carole (Hélène Florent), and Rose (Evelyne Brochu). Antoine has left Carole for Rose. Carole is miserable. Antoine is happy with Rose, but feels terribly that Carole cannot move on. And he misses her and their life together, although there is no question of returning to her. His family and their friends are not receptive to Rose, and idolize Carole. But overall, Antoine is happy.

In Paris, we focus on Jacqueline (Paradis) and her son, Laurent. Laurent has Downs Syndrome. Jacqueline has sacrificed and worked very hard to give Laurent a life in which he can flourish and be as “normal” as possible. She sees this as her purpose in life. We don’t figure out until past the mid-way point of the movie, but these stories are related. It isn’t obvious how until quite near the end, and there’s a great deal of suspense leading up to the resolution of these stories.

One thing Café de Flore does beautifully is music. Antoine is a DJ, and music is an enormous part of his life. It is also a huge part of the movie, helping us move more seamlessly throughout the various narratives and storylines. The use of music here is haunting, comical and moving.

Another thing that is very well done is the photography and direction. Café de Flore was directed by Jean-Marc Valleé, who also directed C.R.A.Z.Y., one of Quebec’s most popular and well-received films. Not one to shy away from challenging and unconventional stories, Valleé has done a beautiful job here. The direction is gorgeous, full of haunting, beautifully understated moments of increasing intensity and pitch. Valleé is a master of foreshadowing so subtle you only see it in retrospect, where everything becomes clear and obvious. There are some beautiful visuals as well, in particular a gorgeous underwater scene that is just a pleasure to look at.

There are some things the movie does less well. For one, the film is narrated at the beginning, and that narration does not continue throughout, but wraps up once each storyline is set up. It isn’t all that noticeable or bothersome, but it is an inconsistency. Also, it could be made a bit more clear to the audience what is going on with Carole, without coming right out and telling us. I like for films to show me things, not tell me things, and since the foreshadowing was really quite well done in this film overall, I felt like this could also have been done better. Waiting for the two storylines to gel might irritate some viewers; this wasn’t a problem for me, as I was pretty fascinated with both storylines and would have been OK with them never merging and only being thematically or tangentially related. Also, the back-story on Antoine and Rose’s relationship, and Antoine and Carole’s, was told through flashbacks, and made for almost a third storyline. I didn’t find this particularly disjointed, but for some viewers keeping track of several ongoing, non-linear narratives can be confusing.

Café de Flore is about love. It is also about jealousy, and loss, and redemption. It is about being responsible, being thoughtful, breaking out of harmful patterns, gaining clarity. It is about growing up, and it is about growing out. It is about who we love, and why we love them. It is about who we are, and why we are who we are, and how we can maybe be different. That’s a lot, right? I know. It is a lot. But it achieves all of this, and probably more. Just go and see it, while you can. A

By: Jennifer Simpson

Films I love: Breakfast at Tiffany's, Fargo, Being John Malkovich, Melancholia, Volver, Juno

Home Theatre Tuesday (Jan. 10, 2012)

2012-01-10T09:00:00.000-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Must buy: Moneyball

Baseball could not be more boring in my mind. Baseball movies, however, are a whole other ball game.

A League of Their Own. Bull Durham. Field of Dreams. Damn Yankees. The Sandlot. The Rookie. Fever Pitch. (Okay, maybe that one’s just Jimmy Fallon-fawning me.) The most long-winded, slow-paced nationally-played sport has inspired some serious cinematic catches. Some of them are straight-up great films, with great scripts to run home on. And others are simply exciting because they cut the actual game down to barely-quarter inning stretches to make it seem exciting. Moneyball is a bit of both.

Read the rest of Emily's review here.

Don't even rent: What's Your Number

I know, we should have seen it coming. It looked like an un-funny female take on Ghosts of Girlfriends Past and it was. But let's just blame it on the fact that we're fans of all other "terrible awesome" Anna Faris comedies (ie. The House Bunny, The Hot Chick).

Also out: Paranormal Activity 3

Hailed as the redeemer of Paranormal Activity 2, the third instalment to the series is actually a prequel to the first, and supposedly brings back the scares we loved from the original. Remember when Katie talked about the demon following her since she was a kid? This is that story.

The Fille Files (January 1 - 8)

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Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

Photo: Paramount Pictures

Diablo Cody, Annie Mumolo and Kristen Wiig get nominated for WGA awards (Women and Hollywood) - If this screenwriting lady love is sign of what's to come Jan. 24 (the day the Oscar noms are announced), we couldn't be happier. Cody, already a multiple major award winner for her script for Juno, has yet to falter in our minds, and Bridesmaids was one of our favourites of the year.
10 movie trends that need to go (Toronto Star) - Peter Howell outlines some of the most irritating commonalities in the current cinematic climate including "chick flick" as a put down, ugly female characters who aren't really ugly and non-existant calories. The only one we can't really agree with is the board game one in which he pleads guilty to hating Clue.
Why do all movie tickets cost the same? (The Atlantic) - Derek Thompson figures out why we're shelling out the same amount of shekels for a blockbuster like the new Mission Impossible and low-grossing indies like Young Adult.
New funding opportunity for emerging female filmmakers in Ontario (Octavia Films) - This isn't so much of a read as a great link to a stepping stone for ladies looking to make their first mark in the film industry. We hope more companies follow Octavia Films' inspiring lead.

WEEKEND WATCHES

Photo: Magnet Films

The Devil Inside (in theatres) - While we hear it's totally terrible and should just stay home and rewatch House of the Devil instead, it's the first major horror movie of 2012 so we're inclined to check it out. Also, it has the same name as one of our favourite INXS songs.
The Innkeepers (on VOD) - Speaking of Ti West, if you're into slow-paced frighteners be sure to check out his latest, a haunted house flick set at a nearly abandoned bed and breakfast and starring Aquamarine's Sara Paxton. Emily saw it at the Toronto After Dark Film Festival in October and was mildly disappointed, but is still haunted by the final scene.
Shark Night (DVD) - Another Sara Paxton recent release. Don't judge us. We're still mourning Piranha 3DD's pushed back release date. And secretly love Aquamarine. Or at least its mention in Jennifer's Body.

TRAILER OF THE WEEK: Silent House

Elizabeth Olsen of Martha Marcy May Marlene, and Mary-Kate and Ashley's immediate family, gets trapped inside her family house by what look like spirits. The film, a remake of a 2010 creeper from Uruguay, claims to have been done in one take.

Sherlock Holmes: A Game of Shadows

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Photo: Warner Bros.

Directed by Guy Ritchie. Starring Robert Downey Jr., Jude Law, Jared Harris, Stephen Fry, Rachel McAdams, and Noomi Rapace. 129 minutes. PG-13.

I’ve loved Sherlock Holmes stories since I was a girl. My father read many of Sir Arthur Conan Doyle’s Holmes stories, and I took up reading them from time to time when I was young. I was a voracious little reader, and although I couldn’t quite keep up with Holmes’ logical reasoning in solving crimes, I did find the tales thrilling. So when Guy Ritchie got into the Sherlock Holmes movie adaptation business, I was very eager to see what he might do with those beloved characters of British literature. The first movie, in 2009, did not disappoint, so I was eagerly anticipating the second film, released December 16th.

Ritchie and Downey’s interpretation of Sherlock Holmes, as a neurotic, childish, paranoid, bare-knuckle fighting (hollaback: Brad Pitt in Snatch), swashbuckling, semi-reclusive genius was fabulous the first time around. The second time, unfortunately, it’s lost a bit of its initial appeal. Holmes has been left to his own devices since the departure of his best friend and collaborator, Jude Law’s Dr. Watson, from their accommodations at 221B Baker Street in the first film. Holmes seems to have gone a bit further down the rabbit hole in Watson’s absence.

The shine has also worn off the relationship between Downey’s Holmes and Law’s Watson. In the first film, they were practically flirting with one another, which made for quite compelling viewing. In this film, the distance between the two men, due to Holmes’ jealousy over Watson’s impending marriage, is difficult for the two actors to bridge, and the movie suffers for it. They rely a bit too much on a shorthand that the characters haven’t quite earned in this film, a personal history that we as the audience are meant to understand exists because the characters and director say it does, but we don’t see so much of for ourselves. In this way, it helps to have seen the first movie and remember the connection between Law and Downey, because you don’t get much of that in this one.

This film sees the real introduction of the villainous Professor Moriarity (Jared Harris of Mad Men fame), Holmes’ arch-nemesis. Moriarity was only featured in two of Doyle’s stories (although he was mentioned in a handful of others). But his description as a criminal master-mind, as well as Holmes’ inability to catch him on the first try, have given him more prominence over the years as Holmes’ truest adversary. Harris does a great job playing the villain here, cold and calculating, always a step ahead. He seems to relish the role. Not to give away the ending, but if you’re familiar with the stories, you know how things turn out here. Some other liberties were taken here—Ritchie’s timeline is all screwed up with respect to global politics and Moriarity is basically a megalomaniac seeking world economic domination. But you know, whatever.

The cinematography is excellent in A Game of Shadows. The grimy, gritty, and grey London of the first movie continues here with great effect, and there is a fantastic scene in the woods (set along the French-German border). A carry-over from the first movie is Holmes’ ability to visualize, in slow-motion and with great predictive acumen, a fight sequence before it happens makes for good entertainment, and kind of makes you wish he could do the same with all his interactions, especially his interpersonal ones. Or maybe that you could.

A sore point for me is the use and presence of female characters in this film. Rachel McAdams, who I have always generally liked, is so great in the role of Irene Adler, Holmes’ elusive true love. She out-foxes Holmes at every turn, always maintains a bit of smug disinterest, and uses wit instead of wiles (ok, maybe in addition to wiles) to get ahead in a man’s world of crime and intrigue. I wanted to see more of her. Her role is, shall we say, limited in this film, and instead “the” female presence in the movie is taken over by Noomi Rapace, of the Swedish-language Millennium series films. Rapace is great here, what little we actually see of her, but she’s no match for Holmes. Guy Ritchie, why oh why can’t we just have two women in a movie? Must we really always use female characters to either mother or motivate male characters? Sigh.

Overall, A Game of Shadows is an enjoyable romp of a movie, with lots of action and some cleverness. It’s just not as good as the first. C+

By: Jennifer Simpson

Films I love: Breakfast at Tiffany's, Fargo, Being John Malkovich, Melancholia, Volver, Juno

Michelle's Top 10 of 2011, Part 2

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5) Rise of the Planet of the Apes

I didn't really want to see this movie. When I first saw the trailer, I found no appeal in apes dominating the world, lashing out against cruel humanity, especially considering it was the prequel to a seemingly cheesy movie about more talking, plotting apes. But there seemed something more deeply sinister and compelling to the story. And there was. Through chimp Caesar, it begs to remind us that apes are people too (you know what I mean). Though it wouldn't have been possible without Andy Serkis behind the CGI, making us feel for Caesar, making him one of us. And yes, by the end, you'll be rooting for them as they wreck havok on our very own.

4) X-Men: First Class

Superhero movies are very formulaic. Act one: A superhero is born. Act two: Evil is born. Act three: Superhero fails against evil. Act four: Superhero strengthens and defeats evil. Right? But this one is different. It's the X-Men flick that goes against the entire series, contradicting story lines and re-defining characters. And thankfully so. What makes this superhero movie stand out against all others is threefold: the story, the acting and the just plain awesomeness. The story is complex, it's about how evil is rooted and the story of how friends with a common enemy became enemies themselves. The acting is amazing. It's almost a toss-up between frenemies James McAvoy and Michael Fassbender, but Fassbender takes it, convincing you that there is some righteousness behind his evil. And then it's just awesome: Watching the mutants harness their powers, picking out familiar faces during the recruitment, then duking it out with the big guns. It puts the rest of the series to shame.

3) Insidious

Yeah, I know judging from the photo above, this movie doesn't look very scary. But that's because I was too scared to search for a different one. Seriously. I can't say much without spoiling it but after a couple moves into a new house, strange, chilling, supernatural things start happening. I saw this movie in theatres and came home running it over and over in my head, afraid to turn the lights off, afraid to go to bed, afraid of the dark and eerie shadows. It went on for days. And when the fear finally went away, it came out on DVD and I watched it again. And it began again. This is exactly why I watch horror movies, the fun in fear, which I rarely get. But I can guarantee you watching this one again will bring nightmares back.

2) Super 8

This was one of the most anticipated movies of the year for me, so it also came with the greatest fear of disappointment. But surpassed my expectations. The J. J. Abrams-directed, Steven Spielberg-produced sci-fi seemed like a darker E.T. And it kind of was. Though what made this movie for me was the kid-cast. Led by Joel Courtney and Elle Fanning, the crew of kids witnessed an awesomely CGI-ed train wreck as it unravelled into mystery and pulled them along with it. These young actors gave some of the most convincing performances I've seen all year, or even ever. Alongside, they've also got a subplot where they're shooting a zombie movie with Joe's (Courtney) Dad's camera, homemade firecrackers and all that good stuff. And then it's screened it during the credits. And let me tell you, it's just as awesome as the movie itself.

1) Midnight in Paris

This movie is sci-fi and fantasy disguised as drama. It's a fairy tale for grown ups, really. Not to mention, it's the funniest movie I've seen all year. Of course everyone is nostalgic about some period in history, some place in the world, some famous faces of the past. And a movie that explores one person's daydream of that is more than charming. But to a girl who loves Paris and literature, this movie becomes nearly her own daydream. Plus, it's hilarious in the most surprising places. "Have you ever shot a charging lion?" Ernest Hemingway (Corey Stoll) asks Gil (Owen Wilson). WHAT?! And Salvador Dalí (Adrien Brody) on about rhinoceroses, and Gertrude Stein's (Kathy Bates) writing advice! So good.

Honourable mentions: Scream 4, Moneyball

Emily's Top 10 of 2011, Part 2

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5) Midnight in Paris

I haven't officially told the other Filles this (for fear of being disowned for eternity and then some), but I have never been a Woody Allen fan. However, Midnight in Paris made me think it was time to give the old guy -- or at least his non-starring films -- another chance. I was completely entranced throughout his latest, City of Love-set film, which takes Owen Wilson's Gil from present day to his dream era (the 1920s) with the strike of a magical time-turning clock. It sounds goofy, but it's quite the opposite, thriving on the dreamy quality of its backdrop and the pleasantly unexplained appearances by historical figures like Ernest Hemingway, F. Scott and Zelda Fitzgerald and Salvador Dali. Molly Ringwald once suggested that it was possible to "OD on nostalgia." If that's true, I think I nearly did watching this, and I'd gladly do it again.

4) Scream 4

This long-awaited (at least in this permanent Woodsboro resident's horror comedy-heavy record books) sequel and possible final chapter in Kevin Williamson and Wes Craven's killer, genre-slashing series, cut me real deep. Sure, the actual opening (if you don't plan on seeing the movie, it's one of those movie-within-a-movie sequences that you either get or want to gut) could have been bloodier, but the parts leading up to it (particularly the Anna Paquin/Kristen Bell scene) were actually ingenious, and it almost made the beautifully brutal ending an even bigger surprise. In my review of the film (which brought Neve Campell's Sidney Prescott back to the home of the first film's events, where a new Ghostfaced slasher was on the loose), I said it might just be my new favourite scary movie. I'm going to retract that because, to be honest, it's not really scary. But it most definitely is one of my favourite new movies. And I'm too much of a fangirl to be ashamed to admit it.

3) The Muppets

I didn't get a chance to review this Jason Segel-penned Muppet masterpiece, but had I found the time, I would have given it one of this year's only solid As. To quote the puppet pals' theme song (and borrow from many heartfelt fan reviews), this smile-a-second musical tribute to Kermit, Miss Piggy and co. was truly the most sensational, inspirational, celebrational and Muppetsational movie of the year. For lifelong fans, like the gigantic presence that is Segel (who originally revealed his fandom--and freakly bod--in Forgetting Sarah Marshall), The Muppets was a fitting return to flat-out punny form after the flop that was Muppets in Space. For those who did not grow up with the furry friends, it was the perfect, meta first meeting (the plot was about the Muppets trying to save their Studio and careers from disappearing). I'm not sure that life really is (as the first song of the film states), a "Happy Song." But when I left the theatre, I certainly felt like it.

2) Super 8

As a toddler, I had two favourite movies: Beetlejuice and E.T. (Yes, I had awesome parents.) Although I definitely fancied myself a mini Lydia Deets, my heart truly belonged to Steven Spielberg's out of this world cinematic creation. I loved it so much that I wore out the VHS tape my mom made of it. Twice. Watching Super 8, an '80s, suburban-set sci-fi produced by Spielberg and directed by J.J. Abrams, I felt like I was phoning home yet again. Like E.T., it gave its intergalactic sidestory just as much screentime as it did its tweenage stars (including Oscar nominee-in-training, Elle Fanning), whose characters were just trying to make a monster movie before a mysterious train crash-landed on their town. Apparently big budget, modern sci-fi films with heart aren't as a alien as I thought they were.

1) Drive

2011 was the year of the Gos'. The actor, who was once only known for his brief stint in the Mickey Mouse Club and a semester or two aboard Breaker High, busted out of his carefully carved, critically-acclaimed indie boy shell (see: Lars and the Real Girl, Half Nelson) and tried his hand at some mainstream stuff (Crazy, Stupid, Love and George Clooney's The Ides of March). But the role that really stopped traffic was his fearless take on the nameless stuntman in Nicolas Winding Refn's Drive. From the opening credits (with their wicked Pretty in Pink font) to the extremely grim ending, that film is just like the Gosling every blog has fallen head over feet for -- a beautiful contradiction in terms, purposefully never quite choosing whether it wants to be a straight-up new wave romance or a gritty, Tarantino-without-the-talk mob drama. This off-the-wall, darkly comedic tone made it hard to predict, which is way more than you can say for most action films of recent history. But as you found out fairly quickly, as soon as Gosling's inner gears started cranking and his baby blues opened real wide (either looking at his wannabe lover Carey Mulligan, or his next victim), you were in for one of the wildest joy rides of your life. Or at least your year.

Honorable mentions: Harry Potter and the Deathly Hallows: Part II, Young Adult, Martha Marcy May Marlene

Michelle's Top 10 of 2011, Part 1

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It's been an unexpected year for movies for me. If I'd seen this list at the start of the year, I'd have thought it was wrong. Most of these movies I didn't care to see, or wanted to see so bad that I thought disappointment was inevitable. But I was thankfully so wrong.

Be forewarned, there's much horror, sci-fi and even a golden-haired singing sensation ahead. So, for all the geeks out there like me, enjoy.

10) The Tree of Life

When I first saw this trailer, I couldn't figure out what this movie was about, but it looked amazing. Quick shots, beautiful cinematography, and with Brad Pitt, Sean Penn and Jessica Chastain on the roster, I was sold. Though truthfully, all I could say about the story was it looked like some kid had a tough dad growing up. But it was a whole lot more. That's an understatement. This film was extremely ambitious and daring, paralleling the narratives of the creation of the universe with one man's life, and underneath that, the meaning of life. It's the kind of thing you'd expect from an indie film on a minuscule budget, trying something strange and knowing that only a handful would ever watch it. But that's not at all what this was.

9) Justin Bieber: Never Say Never

OK, hear me out. I know a lot of people think Justin Bieber is over-rated, that he's just a teen sensation that's going to fizz out in the next five years, that he has no real talent except that he's beyond marketable (if you can consider that a talent), but give the Biebs a chance to prove you wrong, because clearly if you think these things, you aren't giving him a chance. Before Never Say Never, sure, I liked him, he was putting Canada on the map and that was nice. But I didn't consider that he might actually be more than this generation's BSB. After this movie, Bieber is a damn talented musician. Seriously. He plays drums, guitar and piano, and he's got his own twist on it, half drumming, half strumming on a guitar at once. He's also a charmer, picking a "one less lonely girl" at his shows to sing to and give a bouquet of roses. This movie has turned me into a proud Bieber preacher. And isn't that what a good bio-doc does?

8) Grave Encounters

Finding gems like these is the reason I watch low-budget, campy horror movies. It starts out as a mockery of ghost hunting TV shows and turns into something chillingly real. A team of ghost hunters with camera crew in tow spend the night in an abandoned psychiatric hospital, chasing ghosts they don't believe actually exist, until hunt turns haunt. It's creepy, it's jumpy, it's dark and spooky. And it's Canadian! (How I love Canadian horrors.) It's exactly what you're looking for if you're looking for a paranormal horror. It pulls you in makes you feel like you're a part of the madness and fear, praying for an escape.

7) Red State

Kevin Smith should write the guide on how to become a cult classic, ie. do something unlike anything you've done before, spend millions on it, self-distribute and stir up controversy (both in the movie and in real life). In large part thanks to this scheme, this movie has become highly underrated: not enough people saw it and it put itself under close scrutiny. But it was actually well-acted, sharply-directed and story-wise, bizarrely-compelling. Plus it didn't shy from a little gore. It shook me up and made me feel uncomfortable, but that's just what it intended to do.

6) The Ides of March

I don't like politics. And I don't like political movies. But that's not what this movie is about. This movie is about ethics and knowing who you are. This George Clooney-directed, written and starring film follows a hot shot Junior Campaign Manager (Ryan Gosling) through his spiralling demise as he fights to come out on top. It was the most dramatic film I've seen all year, both stylistically and narratively. Shots are cropped tight, the score pulses throughout and you can feel the story pulling in tighter and tighter until you can barely breathe. It's intense.

Emily's Top 10 of 2011, Part 1

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I want to preface my Top 10 of 2011 list by telling you two things. First off, I haven't seen every single movie that came out this year, so yes, some of your favourites may not have been included. Sorry.

Secondly, I kind of hate Top 10 lists. Not all of them, just the ones that are insincere, copies of every other Top 10 list that's been published and republished all over the web. I think someone's Top 10 list should be a reflection of the things that they enjoyed, were moved by or recommended the most. Not whatever else everyone said was the best.

These are the movies that made my year, either by making me smile, cry or ideally, both. If you didn't like them, I totally get it and feel free to sound off in the comments explaining why. But I did. And this is my list, after all.

10) 50 / 50

I was predisposed to love 50/50. I have been in love with Joseph Gordon-Levitt and Seth Rogen since 3rd Rock from the Sun and Freaks and Geeks. But I think I would have been all in with this movie even if they had not been its stars. This dramedy tackled one of the toughest on-paper subjects (a young man with terminal cancer) with remarkable ease and wit, something that is almost always ignored in similarly themed films. Written by an actual cancer survivor (Rogen's actual close friend Will Reiser), 50/50 was one of the most realistic portrayals of the disease I've seen, see-sawing between the joy of life and the infinite sadness (and scariness) of death.

9) The Help

The Help was one of the most dividing movies of 2011. People either dug into the Southern fried feminist undertones with reckless, chocolate pie grinning abandon, or wanted to throw it out with the rest of the white-washed African American triumphs they've seen countless times before. I was most definitely part of the first group. Having read the bestselling Katherine Stockett novel of the same name, I found the film to be a breath of sweet tea-soaked fresh air. While the book focused mainly on Skeeter (the wannabe journalist played by Emma Stone) and her attempts to record the black maid's experience, I thought the movie allowed the title characters (Viola Davis' strong-willed Aibleen and Octavia Davis' strong-worded Minny) take centre stage. By the end, I wasn't rooting Skeeter to show up the evil, racist Hilly Hollbrook (a crazy, cold sore-covered Bryce Dallas Howard), I was hoping that Aibleen, Minny and all the other help's voices would finally be heard. And I think they were.

8) Crazy, Stupid, Love.

Crazy, Stupid, Love.'s title is horribly misleading. Yes, it might be slightly crazy in moments (see: Marisa Tomei's lap-jumping cameo) and it is most definitely about love. But really, there's nothing stupid about it. In fact, it may just be one of the most intelligent romantic comedies that has hit theatres since Harry met Sally. All of the love stories -- Steve Carell and Julianne Moore's recently-separated struggles, Emma Stone and Ryan Gosling's twentysomething lust, and Jonah Bob's awkward attempts to woo his older babysitter (Analeigh Tipton) -- were equally engaging in a genuine, relatable way. Sure, like every rom com, it succumbs to the occasional cliche here and there, but it always owned up to them (see: Carell literally saying, "What a cliche ..." after rain starts pouring down on him during a particularly dramatic moment). And unlike the abs of one cast member (or say, New Year's Eve), none of its performances seemed fake or phoned in. I just got the sense that every actor involved had crazy love for this script, making it hard not to feel the same.

7) Bridemaids

Bridesmaids, on the other hand, was perfectly titled. This hit, which was sadly a surprise hit in the eyes of almost everyone, proved that the age old expression, "Always the bridesmaid, never the bride!" is a crock of shit. And piss. And projectile vom. The Paul Feig-directed film, which had Kristen Wiig attempting to cope with her closest gal pal's (Maya Rudolph) upcoming marriage and new BFF (Rose Byrne), celebrated the Fanny Bryces of the world, demonstrating that contrary to what many a male-oriented gross-out comedy has suggested, funny girls and ladies are not just one-dimensional, klutzy-yet-cute chicks with only men, make-up and their baby makers on their minds. They're the real, equally revolting deal, with actual problems worth guffawing, gagging and getting down to Wilson Phillips to and delightfully ugly senses of humour to match. Melissa McCarthy may have run away with every scene she was in, but if Wiig and BFF Annie Mumulo aren't nominated for Best Original Screenplay at the Oscars, I may have to sick my female fight club on 'em.

6) Beginners

I know my fellow Filles won't agree with me on this one, but I found Beginners to be indie movie magic. The Mike Mills film is a quiet one, filled with dry humour and slow-building emotions, but when it hit me, it left a loud and proud mark. Following a mopey, single hipster (a Urban Outfitted Ewan McGregor) and his newly out-of-the-closet father (a terrific, ascot-rocking Christopher Plummer) as they navigate their first real relationships (with Melanie Laurent and Goran Visnjic, respectively) while trying maintaining their stilted one with each other, it explored something that I could immediately relate to: finding your true self without losing the people that loved you for your still-developing one. And it did it using a mixed timeline, slightly out-of-place graphics and one hell of a star dog.

Never Seen It! Sunday: Black Christmas (1974)

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Photo: allmoviephoto.com

BLACK CHRISTMAS (1974)

DATE RELEASED: October 11, 1974

DATE WATCHED: November 2011

WHY NOW? As the Charlie Brown tune (and Royal Tenebaums soundtrack highlight) goes, Christmastime is here. And yet again, I feel like a horrible horror fangirl for never having seen this yuletide-themed slasher.

WHY NOT THEN? I wasn't even on my 15-year-old's mom's mind (and even if I was, she wouldn't have seen it anyway -- she hates everything horror). Then, after I was born and old enough to choose my own movies at the videostore, I could never get her or my dad to watch it with me. Meanwhile, they made me rewatch It's a Wonderful Life year after year after year after year ...

EXPECTATIONS

Classic, stalk-and-slash kills all done from inside a 1970s sorority house on Christmas Eve.
Cameos from Canadian stars that I recognize but couldn't name on command.
Lots of establishing shots of the University of Toronto campus.
The original Lois Lane successfully fending for herself, sans Superman.
Something to do with a dead girl in a rocking chair.

WHAT I ACTUALLY GOT

John "Nancy's dad in Nightmare on Elm St." Saxon!
Is that Andrea Martin?!
Olivia Hussey being the most annoying Survivor Girl of all-time. (Sorry, Hussey hussies.)
Classic stalk-and-slash kills done from inside a 1970s sorority house on Christmas Eve and from the POV of the never-unmasked, possibly asthmatic murderer.
The original Lois Lane (Margot Kidder) unsuccessfully fending for herself, sans Superman.
A whole lot of way-obscene phone calls that get traced back to another phone within the house. It may seem totally overdone now, especially after When a Stranger Calls and such, but this was groundbreaking, and thus extremely chilling, back then. Especially if you were not familiar with the "Babysitter" urban legend.
So much to do with a dead girl in a rocking chair beside the attic window. So much!
That grainy, '70s cinematography that makes everything seem scarier and more snuff-like to me. (See also: my inability to watch the first half of the original Last House on the Left without every single light in the house on.)
A nice, open-ended finale that will stay with you for at least the twelve days of laziness following Christmas.

ONE NIGHT-IN STAND OR SECOND DATE POTENTIAL? Not to get all Ted Mosby, but after just one viewing, I am happy to admit that I LOVED this. It's blends two of my favourite genres (overly holiday-themed movies and straight-up slashers) without going overboard with either one. Plus, it's genuinely creepy, something that I don't think can be said with most modern horror movies, which seem to prefer vaguely ghost-like figures and torture devices to the heavy breathing psycho you know could very well live next door to you. Or in your attic.

Stay Classy: The Year Without a Santa Claus

2011-12-22T09:00:00.053-05:00

Year released: 1974

How it fared back then: It fared just as it was expected to. It was a stop-motion TV special from the Rankin/Bass production company that had already brought us the children's Christmas classics Rudolph the Red-Nosed Reindeer, Frosty the Snowman and Santa Claus is Coming to Town, among a few others (plus more that would follow). It premiered and stuck. What more could they have asked for?

Why it's lasted: Thirty-seven years later, it's still on TV annually, though maybe less so than in the past. It seems like those who grew up with it continue to praise it but younger generations haven't heard of it. While Rudolph, Frosty and Santa Claus is Coming to Town show up every year on basic cable, The Year Without a Santa Claus needs a bit of tracking down. That being said, it's still got that classic quality: a heart-warming story about restoring Christmas cheer. And, claymation plus Santa Claus is a symbol of the season in itself.

Classic moment: Snow Miser's song and dance, followed by his step-bro Heat Miser's response song and dance. They make up only a fraction of the movie but their legacy has been ever-lasting, springing t-shirts, costumes and even a Batman & Robin reference from Mr. Freeze.

Does it still hold up? For the most part, yes. It's a cute and short story with some catchy songs (though I wouldn't mind a few being cut). I like it because it's got that retro Christmas feel that reminds me of the other Rankin/Bass classics I grew up with, but it's one of the ones that I hadn't seen.

Home Theatre Tuesday (Dec. 20, 2011)

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Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Must buy: Midnight in Paris

I can't express how often I wish I was born in another era. For me, it's the sixties in the U.S., with the dreamy allure of Bob Dylan, the Civil Rights movement and the Merry Pranksters. In Woody Allen's Midnight in Paris, struggling novelist Gil similarly yearns for another time: in his case, Paris in the 1920s. In this sweet and astute film about the trouble of wanting to be somewhere you're not, Allen channels observations about a restless society into one of his best films to date.

Read the rest of Manori's review.

Also out: Straw Dogs

We didn't get a chance to catch this apparently brutal remake of the 1971 Sam Peckinpah -directed Dustin Hoffman starrer, but we hear it's definitely not for everyone. Following a couple (Kate Bosworth and James Marsden) who are terrorized by a group of local thugs (led by True Blood's Eric Northman - sorry, Alexander Skaarsguard) before taking their own terrifying revenge, it sounds like The Strangers meets Funny Games. Read into that what you will. Ebert said he liked it better than the original.

Gimme Five!: Non-traditional Holiday Movies

2011-12-18T13:00:00.014-05:00

Join us every other Sunday as we treat you to a handful of the best and worst movies, characters, scenes, lines and or other significant cinematic moments. At least in our opinion.

This season has been quite the unconventional one in terms of holiday movies. Instead of stuffing November and December with cinematic coal (lame, stereotypical festive films like say Four Christmases and Deck the Halls), Hollywood gifted us an animated Brit comedy (Arthur Christmas) and a stoner Christmas cracker-upper (Harold and Kumar's 3D Christmas). To celebrate this welcome decking of the holiday cliches, we bring you our favourite non-traditional seasonal favourites.

The last thing that probably comes to your mind at Christmas time is drug dealing. But when Sarah Polley's character Ronna is struggling to make rent and an opportunity presents itself on Christmas Eve, that's just what she turns to. A messy three-part thrill-of-a-narrative (with Katie Holmes, Taye Diggs, Timothy Olyphant, Breckin Meyer and Jay Mohr) unfolds into a holiday unlike any other.

BAD SANTA

Billy Bob Throrton digs his dirty, alcoholic claws into his department store conman Claus. Also starring Lorelai Gilmore, Mini Me and Bernie Mac, this dark comedy is a rare low brow bulb in the endless string of quaint, expected Christmas way-to-lights.

GREMLINS

Horror comedies are always on nice list and this 1983 Christmas creature feature is at the top. In addition to highlighting the holiday hijinks of a young boy and his multiplying, mean-spirited pets, this movie features one of the most harrowing Christmas monologues on film courtesy of Phoebe "That Girl in the Red Bikini from Fast Times at Ridgemont High" Cates.

THE HEBREW HAMMER

Like a brand-new driedel, you just need to give this underrated kosher classic a spin. The title character (played by a sexy Adam Goldberg) is a nice Jewish boy/pimpin' street superhero set on saving Hannukah from Santa's way naughty son (Andy Dick). Trust us, you'll eat it up faster than a hot plate of latkes.

DIE HARD

Yippee-ki-yay, motherfuckers! This action-packed Bruce Willis flick was not only the first in the successful series, but the first film to show us that just because a movie is set on Christmas Eve does not mean it has to exclude explosions and expletives.

Look out for more of our tradition-breaking faves throughout the week!

The Fille Files (December 11-17)

2011-12-17T13:00:00.034-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

'The Dark Knight Rises' prologue audience reaction: Frantic excitement, followed by the sound of silence (EW) - What's better than Tom Cruise jumping off of the Burj Kahlifa in Dubai? Six minutes of The Dark Knight Rises.
30 Greatest Dark Knight Rises Posters (Total Film) - While we're on that note, check out these amazingly creative posters. Can this movie be any more awesome?
Toronto Film Critics Name 'The Tree of Life' Best Movie of the Year (The Hollywood Reporter) - The Tree of Life is a strange movie, to say that least. But strange can be good. And most critics seemed to agree, including the Toronto Film Critics Association. The Artist and The Descendants made for close competition.
Interview with Diablo Cody (A.V. Club) - Diablo Cody talks about Sweet Valley High, wearing onesies to sleep and how Charlize Theron's character in Young Adult might be even more disturbing than her serial killer character in Monster.
Abraham Lincoln: Vampire Hunter Poster Debuts (IGN) - Yes, it's really happening. The mash-up novel of the former prez leading a secret life as a vampire hunter is becoming a movie. And I can't help but love the poster.

WEEKEND WATCHES

Tinker Tailor Soldier Spy - An espionage thriller set in the 70s with what looks like amazing cinematography and sounds like one of the most dramatic soundtracks ever.
Young Adult - From the writer and director of Juno, the story of a teen lit writer who still hasn't really made it through adolescence and chases a high school fantasy.

TRAILER OF THE WEEK: Casa de mi Padre

This looks absurd. In other words, this looks amazing.

We Dig Music: Moulin Rouge

2011-12-15T09:00:00.004-05:00

As much as we love film, we also dig music. Once a month, we strum though films that wouldn't be what they are without music.

The movie: Full disclosure: This is my favourite movie of all time. I cannot count the times I've seen it. And cried every time. In 1899, a penniless writer, Christian (Ewan McGregor), goes to Paris for inspiration. One night at the deliciously sinful Moulin Rouge nightclub, he falls in love with the star courtesan, the Sparkling Diamond herself, Satine (Nicole Kidman). Of course, their love can never be (or can it?), but when the Duke of Monrth (Richard Roxburgh) stepping in to finance a new production at the club and placing a few demands of his own, doom is imminent.

The soundtrack: This movie is a musical, so needless to say, part of what makes Moulin Rouge so amazing is its beautifully anachronistic soundtrack. It's a mix of original songs and covers of iconic hits from the likes of Elton John, The Beatles, Queen and more. Take the "Elephant Love Medley," which turns some of the most popular rock lyrics like "All you need is love" and "I was made for loving you, baby, you were made for loving me," into a conversation in song. Or the original "Come What May," when Christian says he'll write Satine a love song she sing when they're apart to remind herself that their love can withstand all. Ah, so sweet. (By the way, the actors are really singing. Really.)

The playlist:

"Your Song" - Ewan McGregor
"El Tango de Roxanne" by José Feliciano with Ewan McGregor
"Elephant Love Medley" by Ewan McGregor and Nicole Kidman
"Come What May" by Ewan McGregor and Nicole Kidman
"The Show Must Go On" by Jim Broadbent and Nicole Kidman
"Meet Me in the Red Room" by Nicole Kidman

"El Tango de Roxanne" by José Feliciano with Ewan McGregor - A fan favourite. This one will win you over. Yes, that's The Police's "Roxanne" as a tango.

Home Theatre Tuesday (Dec. 13, 2011)

2011-12-13T09:00:00.002-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Buy it now: Rise of the Planet of the Apes

If I had to judge this film prior to seeing it based on its title alone, I probably wouldn't see it. Talking apes waging war on humanity? Monkeys are cute but that's just not appealing. But after seeing this trailer, there was something deeper to it, something sinister and uncanny. And it didn't disappoint. Rise of the Planet of the Apes is like Deep Blue Sea with chimps.

Read the rest of Michelle's review.

Never Seen It! Sunday: Monster

2011-12-11T14:00:00.079-05:00

Photo: impawards.com

MONSTER

DATE RELEASED: December 17, 2003

DATE WATCHED: November 26, 2011

WHY NOW? My sister wanted to. So, seeing as Charlize Theron won an Academy Award, Golden Globe and SAG award for her performance in it, I said sure. Plus, it seems like she's got a big year ahead with Young Adult out this Friday, and Snow White & the Huntsman and Prometheus on the way.

WHY NOT THEN? I remember all the talk about her make-up "transformation," from the glamourous red carpet gal to a homeless prostitute (much like they talked about Nicole Kidman's nose in The Hours, which I also haven't seen). But as a young teen, a drama about a hooker-turned-serial killer was just too much drama for me. I was watching X2 and Dreamcatcher and Kill Bill instead. (I also missed another brilliant drama, Cold Mountain, that year too.)

EXPECTATIONS:

Charlize as the best I've ever seen her. (Mind you, I haven't seen her in much. But I have seen The Cider House Rules.)
Slow drama that builds into intense moments, but for the most part, crawls along.
A disturbing, true story.
Not much else. After all, it took eight years to convince me to see it.

WHAT I ACTUALLY GOT...

Charlize as the best I've ever seen her. Actually, the best female lead performance I've maybe ever seen. It was disturbing and discomforting, and it was just perfect.
Christina Ricci at the one of the best I've ever seen her, though truthfully I haven't seen her in enough.
A disturbing, only somewhat-true story. "Based on a true story" is really just a marketing ploy. As far as facts go, it's about a prostitute who becomes a murderer. Otherwise, her back story is different, her love story is different and how it all plays out is different. Perhaps "based on a true character" is a better way of putting it. After you've seen this film, check out some videos of the real Aileen Wuornos. Charlize her down pat.
A slowly crawling drama that is not at all boring. It's impossible to turn away as you watch Charlize's character spiral into insanity. It's a psycho-social case study gone way wrong.

ONE NIGHT-IN STAND OR SECOND DATE POTENTIAL?

I'll probably see this one again, but not any time soon. It's too much drama for a soon second viewing, but in a few years, I may have to revisit it. (By the way, don't watch the trailer if you don't want any spoilers. And trust me, you don't.)

The Fille Files (December 4 - 10)

2011-12-10T12:00:00.001-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

Photo: GQ

REEL GREAT READS

Gos-tronomy: The 25 Best Ryan Gosling Moments of 2011 (GQ) – While this isn’t really a film story, it features one of our favourite movie and feminist icons of the moment, Breaker High grad and Drive/Crazy Stupid Love/Ides of March star, Ryan Gosling. We just can’t get enough and this is precisely why. Hey girl .... want to get us a Drive Operation game for Christmas?
Morgan Spurlock's Comic-Con documentary acquired by Wrekin Hill (Deadline) - This is just some really great, nerdy news. The doc, which Emily caught at TIFF in September and features cameos from icons like Joss Whedon, Edgar Wright and Kevin Smith, as well as stories from actual Comic-Con attendees, is a wonderfully geeky adventure.
Lionsgate to remake 'American Psycho'? (Bloody Disgusting) - We were on our way to return some videotapes when we heard this horrific news. How can anyone dream of improving on Mary Harron and Christian Bale's killer 2000 adaptation of Bret Easton Ellis' beyond brutal, oft-banned novel? Thank god Easton Ellis knows what's up and will do anything to snuff any pre-proposed plans.
Fox host says Muppets are brainwashing kids (TV Guide Canada) - Emily talks about the only people in the world who seem to be unable to make a rainbow connection with Kermit, Miss Piggy and their band of puppet pals. Follow the Money's Eric Bolling is claiming that their new movie (Jason Segel's The Muppets) proves that they are really communists in fuzzy disguise!

WEEKEND WATCHES

Photo: Paramount Pictures

The Adventures of Tintin - The buzz on this realistically animated take on the comic book about an intrepid young reporter and his dog is infinite. And it's directed by some guy named Spielberg.
New Year's Eve - For every Valentine's Day, there's a Love, Actually, right? Also, who can resist Hector Elizondo? Or Zac Efron? Or Bon Jovi!?
The Artist - People can't stop talking about this black and white silent film and we're more than ready to join the conversation.

TRAILER OF THE WEEK: Cabin in the Woods

It here! IT'S HERE!

Don't You Forget About: Don't Tell Mom the Babysitter's Dead

2011-12-08T09:00:00.057-05:00

Photo: impaawards.com

DON'T TELL MOM THE BABYSITTER'S DEAD

WHAT it's about: A group of siblings who have the summer of their lives after the retched old babysitter their Australia-bound mom left in charge suddenly bites the dust. Instead of calling the hospital or their mother, they stuff the woman in a trunk and drop her on the doorstep of a local funeral home, leaving them to their own, adult-free devices.

WHO'S in it: Christina Applegate, Danielle Harris, Josh Charles and a then-unknown David Duchovny.

WHEN it came out: 1991

HOW come you haven't heard of (or just seen) it: It got some really bratty reviews, leaving it with a Rotten Tomatoes ratting of 33 % and a just over $25,000 box-office gross. And the name doesn't do it any favours. At least with certain mainstream audiences. (I was all over it when I saw it in my print copy of TV Guide way back when.)

WHY you need to watch it--immediately!:

Because contrary to what Jonah Hill's new movie, The Sitter (which looks like an awful, PG Adventures in Babysitting rip-off), suggests, there was a time when movies centered around babysitters were fucking rad. (See also: Mrs. Doubtfire, The Babysitter's Club, Labyrinth, Uncle Buck, The Hand that Rocks the Cradle, Halloween ...).
Tagline: No rules. No curfews. No nagging. No pulse.
The opening credits are definitely animated, featuring a comic grandma and squared bubble letter-style title card.
Christina Applegate, the oldest sibling, has the best bangs I've ever seen in a '90s movie. And the worst wardrobe I've ever seen period.
The note they leave on the old lady's makeshift coffin: "Nice old lady inside, died of natural causes."
It's not nearly as morbid as it sounds. In fact, it's pretty much the polar opposite. Which makes the plot even more ridiculous ... ly awesome.
Like another early '90s classic, Camp Nowhere, this movie brings to life every teenager's daydreams. Well, minus the whole dead old lady thing.
The soundtrack is amazing, filled with everything from Modern English to Spinal Tap (yes, that Spinal Tap).
Applegate's character, Sue Ellen, tries to get a job at the mall (to support her brothers and sisters) and fails. So she does up a faux resume and lands a job as an assistant at a major fashion company! Oh, and she's seventeen.
The movie's climax involves a backyard poolside teen fashion show. And it's a hit!
Did you see the title?

Home Theatre Tuesday (Dec. 6, 2011)

2011-12-06T12:00:00.002-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Photo: amazon.ca

Must buy: The Help

Mississippi writer Kathryn Stockett's rendering of African American life in the southern U.S. in The Help, earned her a spot on the NYT Best Sellers list as well as critical scorn for re-imagining the slavery of Blacks in the pre-civil rights movement '60s as a struggle concerning white folk themselves. (Things like where will whites allow their 'help' to use the toilet and what ingredients should they bake into pies.) Director Tate Taylor (Pretty Ugly People) picks up on the book's self-imposed dilemma and runs with it, all the way, including a meditation on what these answers would look like (comedic, it appears) in his adaption of the self-same book.

Read the rest of Ava's review.

Don't even rent: The Hangover Part II

You know that dismal feeling when you’re watching a film, and everything seems so... familiar? You know all the punch lines, can predict every plot twist, and once-interesting characters are about as engaging as wet paint. Fans of The Hangover will likely experience this very melancholia after the second instalment of Todd Phillips' burgeoning franchise, which is little more than a tired carbon copy of its predecessor.

Read the rest of Manori's review.

My Week With Marilyn

2011-12-05T09:00:00.004-05:00

Photo: Laurence Cendrowicz/ The Weinstein Company

Directed by Simon Curtis. Starring Michelle Williams, Kenneth Branagh, Eddie Redmayne, Judi Dench, Julia Ormond, and Emma Watson. 99 minutes. 14A.

Let’s start with the obvious: Michelle Williams looks very little like Marilyn Monroe. Marilyn was a bombshell: glamourous, voluptuous, with an hourglass figure (although reports she wore a size 16 dress have been somewhat overstated), and a delicate, heart-shaped face. Michelle Williams is a waif: cute rather than gorgeous, stick-thin (the padding Williams wore holds no candle to Marilyn’s curves), with a full-cheeked round face. Physically speaking, the only thing the two women really seem to have in common is their blonde hair.

Luckily, Michelle Williams is extremely talented. After the initial inevitable physical comparison in her first scenes, we forget any doubt we may have had about Williams. In ways that go beyond physicality, Williams captures the spirit of Marilyn Monroe beautifully, and the physical dissimilarities fade away. Williams’ performance is mesmerizing. Which is a very good thing for this movie, since the protagonist is predictable and flat, and the excellent supporting cast is underutilized. Ultimately, though, we couldn’t care less about the protagonist, or the supporting characters. All we really care about is Marilyn.

My Week with Marilyn takes place in 1956, during the filming of The Prince and the Showgirl, in which Marilyn played opposite Sir Laurence Olivier (Branagh) in a role made famous onstage by Vivien Leigh (Ormond), of Gone With the Wind fame. Monroe was at the very height of her fame, newly married to playwright Arthur Miller (Dougray Scott), and very serious about being a serious actress, immersing herself in “the Method.” However, her emotional insecurities led to conflicts on set and in her personal life.

A major theme in the film is the divide between Marilyn the person, and Marilyn the persona. She laments, “All they see is Marilyn Monroe, and when they find out I’m not her, they leave.” Later on, before making an impromptu appearance to staff at Windsor Palace, she asks, “Shall I be her?” before launching into what can only be described as a “bit.” The Marilyn persona is where Williams truly sparkles, but playing that part seems to both depress and exhilarate Marilyn the person. This divide comes with a set of expectations and misunderstandings about who Marilyn Monroe really is that no one character in the film seems to truly avoid. The protagonist thinks he knows Marilyn better than the other characters, but he just projects his own expectations and desires onto her, as all the others do. He flatters himself to think that his desires are different than those of the others, more pure perhaps, but I’m not so sure about that.

One line about midway through really made me think. In an argument with Olivier about the character she is playing, in which she struggles to express why she doesn’t relate to or understand the character (a hallmark of “the Method”), Monroe says in exasperation, “She’s not real!” It struck me, once again, how difficult it is for me, as a woman, to connect with most of the female characters I see in films—they aren’t real. (This is why so many women critics, writers, and viewers were so excited about Bridesmaids this past summer—the characters and their portrayals felt genuine to us, like real women that we know.) It also struck me how difficult it must be for actors to portray these unreal female characters with any integrity for their craft. Female characters in film tend to be stereotypes and tropes, and their role in the story is so often to act as a vehicle for the personal development of the male characters.

In that respect, My Week with Marilyn was not so different, as the protagonist was not Monroe but the young man who has a brief but life-changing romance with the most famous woman in the world. Thankfully, however, Williams had a truly interesting and complex character, with her individual set of motivations, emotions, and demons, to work with. And she played it—the role of a lifetime, really—beautifully.

All in all, My Week with Marilyn survives on its star performance, and its success as a period piece, with gorgeous replicas of famous outfits worn by Monroe and Olivier. (I will admit to darkening my eyebrows and sweeping my eyeliner outward just a little bit afterwards.) Go see it for Marilyn’s glamour, but stay for Michelle’s tremendous talent. I’m going out on a limb, on the record, and predicting she’ll win both a Golden Globe and an Oscar this year. A- (at least 3 letter grades of which come from Williams’ performance alone)

By: Jennifer Simpson

Films I love: Breakfast at Tiffany's, Fargo, Being John Malkovich, Melancholia, Volver, Juno

Gimme Five! Will Ferrell Movies That are Always on TV

2011-12-04T15:00:00.001-05:00

Join us every other Sunday as we treat you to a handful of the best and worst movies, characters, scenes, lines and or other significant cinematic moments. At least in our opinion.

There are some comedies that are always on TV, ie. Wedding Crashers, Meet the Parents, Big Momma's House... And there are the people who always watch them, ie. me. So, in honour of one of my favourite Will Ferrell movies on TV last night and three more on today (and me watching them all), I give you my run-down of Will Ferrell movies that are always on TV (that I will always watch anyway). (By the way, the only reason Elf doesn't make the cut is because it's only on come the wintery months. Every single night.)

5) ZOOLANDER

Everyone loves Zoolander. I feel like that's an understatement. It's got an amazing comedic cast in one of their best: Ben Stiller, Owen Wilson and Will Ferrell. But what makes Ferrell stand out so much in this one is his absurd character. Overall, it's a crazy, stupid movie, but the most ridiculous role goes to Ferrell as Mugatu as an insane, temperamental fashion mogul. Oh and Milla Jovovich as his as his assistant has one of the best names ever: Katinka Ingabogovinanana.

4) BLADES OF GLORY

I have no idea why I first rented this movie. It looked so bad. It played of a cheap, cheesy gimmick that I thought would be impossible to hold up laughs throughout. But it did. Two champ skaters (Ferrell and Jon Heder) get stripped of their gold medals and disqualified from men's singles competitions. So they enter as a couple. Against strangely close brother and sister duo Stranz (Will Arnett) and Fairchild (Amy Poehler). Plus, Nick Swardson has a small role in it.

3) TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY

This was Sacha Baron Cohen's biggest movie role to date at the time and as a huge Da Ali G Show fan, it was only obvious that I see it and tag my best friend along. I didn't care too much about Ferrell or John C. Reilly at the time, but the duo ended up being the highlight of the film. Ferrell in competition (just like in Blades of Glory) makes for a comedic force to be reckoned with.

2) A NIGHT AT THE ROXBURY

This movie sucks. And I love it. It's so bad that it's amazing. Critics completely trashed this SNL spin-off. But to SNL fans, it can be pretty terribly awesome. The film follows the club-hopping Butabi bros (Ferrell and Chris Kattan) with their matching suits and poor taste in music in a trek through their loserdom lives. Plus, Molly Shannon plays Ferrell's love interest.

1) SUPERSTAR

Speaking of Molly Shannon, this movie shows her at her absolute best. Sure, this is more a movie about her than Ferrell but Ferrell as her love interest could be no better fit. Her sad and hilarious obsession with him is the crux of the movie. He's a dreamy, "hunk of beefcake" and her ultimate definition of happiness. Yes, it's just ridiculous.

The Fille Files (November 26 - December 3)

2011-12-03T12:00:00.004-05:00

REEL GREAT READS

Andy Serkis Gets an Oscar Push for 'Apes' (Next Movie) - Andy Serkis deserves an Oscar nom for his role as Caesar in Rise of the Planet of the Apes, says Michelle. Co-chairman and CEO of the film's studio Tom Rothman agrees and is pushing to get Serkis the well-deserved recognition for his emotional performance.
"X-Men: First Class" studio wants Matthew Vaughn back for sequel (IFC) - In more news about Tom Rothman and movies Michelle loved this year, he's also trying to bring director Matthew Vaughn back to shoot the sequel to the amazingly re-imagined X-Men series, First Class. Go Rothman, Go!
VOD Rides to the Rescue of Indie Film (The Wrap) - As video rental stores shut down and VOD services take slack for lack of competent services for mainstream releases, VOD services are actually turning out to be a great source for indie films. How else are you going to catch Grave Encounters? (Yes, yet another movie Michelle loved this year.)
'The Artist': How a Black-and-White Silent Movie Defied the Odds and Became an Oscar Contender (The Hollywood Reporter) - An indepth look at the creation and promotion one of the most talked about movies of the year, which ironically, contains no talking itself, and may just become the first silent movie to get awards attention since the 1920s.
The Long-Awaited Poster for Joss Whedon and Drew Goddard's Cabin in the Woods (Ain't It Cool News) - This movie has literally been in distribution hell, despite being an over-anticipated fanboy/girl fantasy come true (Whedon and Goddard together again! A pre-Thor Chris Hemsworth!). This poster and way-short synopsis is the first hint of anything we've really gotten about the movie in a long while. And it is a mindfuck and a half. Emily, at least, can't wait!

WEEKEND WATCHES

Shame - Michael Fassbender bares his everythang in this sexual thriller, which also stars the adorable Carey Mulligan and is directed by a dude named Steve McQueen. Sounds like a must-watch to us.

TRAILER OF THE WEEK: The Rep

This documentary, produced by and starring Toronto's own Toronto Underground Cinema, isn't finished yet, but so far, it looks like a beaut. Discussing the magic of repetory cinemas (The Underground opened rather recently and has had rapid success among local legit movie lovers), it includes interviews with cult film icons like John Waters, Kevin Smith and Bruce McDonald.

Terribly Awesome!: Return to Horror High

2011-12-01T09:00:00.322-05:00

Cinefilles, it's time for a camp-out! And no, we ain't talkin' s'mores, sing-a-longs and psycho killers. (Although, they may very well make questionable individual appearances.) We're talking about getting in touch with your guilty pleasure zone. So join us as Emily (our resident camp connoisseur) leads you through one of the best of the worst movies of all-time. It's gonna be awesome—and terrible!—all at the same time.

Photo: impaawards.com

When most people think of George Clooney, they think of the silver foxy cross-generational crush he's become, with his literal movie star good looks and generally good taste in films. They think of him strutting his gentlemanly stuff on the set of a critically-acclaimed dramedy (like the recently released The Descendants or Up in the Air), crowd-pleasing, but suave blockbuster (think the Ocean's series) or a politically-charged agenda pic (i.e. The Ides of March). I like to think the Cloons' unforgettable turn in the meta-slasher non-classic, Return to Horror High.

WHY IT'S TERRIBLE:

This is the opening card. Classroom killings totally "rock."

The meta slasher, which follows a film crew who gets offed on the set of their new movie (the school mentioned above), goes a little too hard on the straight-faced parody, and ends up playing like a too funny Scream and or too serious Scary Movie.
Marcia Brady (Maureen McCormick) plays a cop.
George plays an actor playing a cop.

George dies in the first 13 minutes.
The movie's main parody technique is the fake-scene-within-a-scene, where you think it's a real kill and it's really a sequence being staged by the film's film crew. You get what they were trying to do, but because of this there is literally no plot, which can make it super hard to follow.
Meet the pussy-crazed janitor with the squeaky waste basket. Never seen him before ...

The DVD tagline: "School spirit has never been this dead!"
This is a totally legit book. I mean, none of the labels look pasted on ...

Death by ... quicksand? Seriously!
When Maureen's character comes back from investigating the school, shirt half-open and covered in blood, she grabs at her boobs like she gets off on people getting offed. And no one thinks anything of it.

This is the mask they scared up for the killer. He looks like a paper-mache Greek chorus member.

The sole love scene features some minimal man chest action and feet touching, cut between flashes of men outside welding and childish-looking drawings hung on the walls.
When they walk into the ladies room to find a blood-covered toilet, our heroine asks, "What happened here?" But considering the schizophrenic writing, I nearly expected her to say, "I guess they ran out of tampons." In fact, I kind of wish she did.

Our hero jokes about piecing out of the finale, in which his girlfriend is getting tied up and caressed with a knife, saying "the Steelers are playing the Raiders."

WHY IT'S AWESOME:

There is no Horror High from which this film could be returning to.
The title card.

This is one of the first in the self-referential stream of the genre, and thus, is partially responsible for Scream and the first Scary Movie existing.
Have you ever seen more perfect credits?

The original tagline, meant to be sung in a cheerleader voice: "Killer to the left. Killer to the right. Stand up. Sit down. Fright! Fright! Fright!"
George plays an actor playing a cop. Named Oliver. Who has to leave the set to do a TV show (!) ... but never makes it because he gets offed after investigating mysterious noises on his way to the parking lot.

The the first line after George/Oliver's death, spoken by the producer (Alex Rocco): "Oliver's gone on to better things ... "
This quality exchange between the head detective and McCormick. When he asks how many bodies there are she says, "Six or seven, maybe eight?" "Can't you count!?" he asks. "Well, they're not all together sir .. "
In one scene Maureen talks to the movie's writer, and only supposed survivor of the movie's supposed massacre, by a tree and doesn't say boo about the bloody sheet-covered body propped up next to them. Even when it falls over.

It features a semi-astute commentary on the horror industry then and now, not-so-cleverly masked via an ongoing struggle between the director, who is looking to do serious psychological damage, and the producer, whose favourite letters are T & A.
Maureen describes the intestines of a victim, which appear to have gotten on her uniform, while chowing down on a giant hot dog.

The writer on the main scene of the crimes, the biology lab, also the setting for all his scenes that ended up on the, ahem, cutting room floor: "My stuff was BUTCHERED!"
Overheard during the producer's phone interview with a movie magazine: "No, this movie is nothing like Babysitter Massacre ... "
Meanwhile in the background ...

"Why does everyone want to go into a deep dark basement without a flashlight!?"
The "climax" features a bunch of skeletons ... in identical drag!

The "climax" also features a Scooby Doo-style mask reveal. The janitor wasn't a janitor after all! He was the principal in disguise. And he was the killer! Or was he?
After he is revealed, the principal/janitor/killer looks sorta like a hobo Christoph Waltz.

At one point, a character actually says, "Fixing this script would be like polishing a turd!"

The Twilight Saga: Breaking Dawn, Part 1

2011-11-30T09:00:00.012-05:00

(Dawn of the undead newlywed.)
Photo: Summit Entertainment

Starring Kristen Stewart, Robert Pattinson and Taylor Lautner. Directed by Bill Condon. PG. 117 minutes.

Like the first half of the book it's based on, Breaking Dawn, Part 1 doesn't totally suck. It's what every 17-year-old looking vampire should be: fun, sexy and, from the right angle, drop dead gorgeous. Even those who don't own a Team Edward or a Team Jacob baby tee may find themselves harbouring a Twihard-on by the badass end credits (seriously, they're really cool) of this easily entertaining film, arguably the best in supernaturally popular teen series.

Unlike the previous three instalments, this, the fourth and second-to-last entry in the Twilight Saga, Breaking Dawn, Part 1 isn't an overly romantic, cheesy mess. Sure, the vamp make-up is still on the chalky side, and the wolf FX are as howl-worthy as ever (one particularly fuzzy were meet-up will have you over the moon ... with laughter), but the script is tidier, the editing is tighter and the action, both in the forest and between the sheets, is both fast-paced and tasteful. That is, if your taste leans towards the sullenly (or should I say, Cullenly?) sweet.

Haters can blame the new director, Dreamgirls' Bill Condon, for the new, not-so-bad-after-all vibe. He is working with the same sort of girly lines and Stephenie Meyer-penned sentiments screenwriter Melissa Rosenberg has tweaked yet again for the screen, but he makes them seem earnest as opposed to overwrought by not goofing around too much with stylized lighting, scenery and or the indie music soundtrack (see: Catherine Hardwicke's Twilight). Aside from one, PG-13 Magic School Bus-evoking innard swimming sequence, Condon keeps it simple, letting the admittedly over-the-top story speak for itself.

For those who haven't read the book, Breaking Dawn focuses in on Bella and Edward's marriage and honeymoon, and the effect both have on her human life and relationships, including of course, her connection to the other mythical man in her life, Taylor Lautner's Jacob. To avoid spoiling it for you, let's just say the vampire-human union gets bloody real fast, and not in the way your dirty, fang-girl mind might expect.

Breaking Dawn, Part 1 gives fans what they want - actual side booby love scenes and a mini bucket of gore - but it's nothing a 13-year-old couldn't handle. In fact, you could argue that the, ahem, climatic moments are almost too tame. The treatments make sense given the core demographic (teens and tweens) and current rating restrictions, but it would have been nice to see Condon push the limits a bit more, pleasing some of us oft-forgotten older fans.

Speaking of aging, Lautner has certainly grown up since the last film, the ill-fitting Stewart wig-filled disaster that was Eclipse. The boy has facial hair now, which seems much more in character (not to mention 100 per cent less jailbaity), and bears his teeth this time around, and not just when he's wolfed-out. He's not overused either, which is a nice surprise given Jacob's heavy involvement in the book, where his first-person observations were given nearly as much time as Bella's.

As per usual, Pattinson and Stewart don't do much other than ogle each other awkwardly and make-out intensely as Edward and Bella. But come to really think about it, there's not much else to Mr. and Mrs. Cullen anyway. As Anna Kendrick's ever-sassy Jessica says at their wedding, who else actually gets married at 18 these days? Especially when there's not an MTV special in it for them.

The only thing that really bothered this one-time Team Edward leader about Breaking Dawn, Part 1 was its ending. It wasn't bad by any means. In fact, it was the perfect cut-off. But now I know what's left for Part 2. And if you've suffered through the last, out-of-control hundred pages of the book, you know what comes next bites the big sparkly cold one. Hard. B

Home Theatre Tuesday (Nov. 29, 2011)

2011-11-29T09:00:00.001-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Don't even rent: One Day

It took me all of two days to finish David Nicholls’s novel One Day. I suppose I could have read it in a sitting if I was ambitious (and didn’t take frequent breaks to eat chocolates and weep), but the 2009 bestseller is the kind of read you want to savour: that rare romance that is as whipsmart as it is true. Indeed, Nicholls’s story about Emma Morley and Dexter Mayhew, two people who spend a romantic evening together after their college graduation and the 20-year friendship that follows, presents two of the most realized characters you could ever hope for in a story.

Read the rest of Manori's review.

Don't even rent: Our Idiot Brother

Paul Rudd as the funny guy in a comedy, not the sarcastic, reasonable guy seems an easy sell. Zooey Deschanel, Rashida Jones and Steve Coogan make it even easier. But although we rarely see Rudd in this role anymore, there's nothing refreshing about this movie. The story is old and the jokes are predictable. The moronic stoner brother who ruins everyone's lives was best when Jack Black did it.

Michelle

Also out: 30 Minutes or Less

Jesse Eisenberg, Aziz Ansari, Danny McBride and Nick Swardson star in the crude, slapstick comedy where two guys force a pizza guy (Eisenberg) to rob a bank. While most critics deemed its humour cheap and obscene, others praised the actors' comedic performances and absurdity.

J. Edgar

2011-11-28T09:00:00.001-05:00

Photo: Keith Bernstein

Directed by Clint Eastwood. Starring Leonardo DiCaprio, Armie Hammer, Naomi Watts and Judi Dench. 137 minutes. PG

For a film about a man that tightly controlled his message, J. Edgar doesn’t really know what it’s trying to say.

Clint Eastwood’s latest directorial effort has us travelling back and forth through the life of J. Edgar Hoover (Leonardo DiCaprio), the controversial and mysterious former director of the FBI. The film spans 50 years, following his rise from a twenty-something Justice Department employee obsessed with Bolsheviks and bomb-loving radicals to his fastidious creation and dictatorship of the Bureau.

Hoover is both corrupt and honorable at the same time, suspicious of everyone and everything but his country, which he dedicates his life to protecting. He modernizes the bureau (think finger printing, databases and evidence analysis) and is consumed by his public image, spending money to develop comic books about the G-Man and staging arrests for the press.

But for all his successes, Hoover is a deeply insecure man. He stutters when uncomfortable, rages when threatened and spies his way through the terms of eight elected presidents.
He collects secrets, keeping confidential files on everyone from John F. Kennedy to Martin Luther King Jr., and ruthlessly blackmails those who pose a threat to him and his bureau—though they’re one and the same to him.

He places his trust in only three people: his loyal secretary, Helen Gandy (Naomi Watts); his controlling yet doting mother, Annie Hoover (Judi Dench); and his rumoured love interest and life-long companion, Clyde Tolson (Armie Hammer). It is around these three characters that Hoover rises to become of the most powerful and hated men in America.

Hoover’s legend is chock-full of rumours and potential plot lines: Cross-dressing. Homosexuality. Excessive paranoia.

The problem is that the film is so noncommittal to any of them that the audience doesn’t get a chance to commit to anything. Do we hate Hoover? Not really, he was an outsider who had the ego, power and smarts to protect himself against his enemies. But we don’t love him either. That’s probably why passing nods at those aspects of Hoover’s more salacious legacy feel forced and contrived.

DiCaprio, reminiscent of himself as Howard Hughes in The Aviator, gives us everything we expect from the actor: a finely executed drawl, studied character flaws and a captivating performance. But it’s really the film’s non-linear, non-chronological structure that holds it together, giving the audience something to be excited about as we insert into different stages of Hoover’s journey. The pacing, however, varies too much between the two halves of the film, blazing into the first scene with a tenacity that disappears in the latter part.

Most disappointing is the prosthetic latex makeup used to age the actors, especially Armie Hammer, whose performance is severely affected by the makeup department. Even Naomi Watts, who plays a subtle but solid role, looks too much like Helen Mirren for us to focus on her contribution.

It’s not that J.Edgar has a bad plot. It has the beginnings of a lot of plots, none that are thoroughly explored. It’s that lack of thoroughness that leaves you unsettled throughout the film and waiting for more. C+

By Jelena Djurkic
Dream cast: Helen Hunt, Kate Winslet, Jodie Foster and David Duchovny (but only if he gets to yell out "Scully!")

Never Seen It! Sunday: The Muppets Take Manhattan

2011-11-27T09:00:00.001-05:00

Photo: impaawards.com

THE MUPPETS TAKE MANHATTAN

DATE RELEASED: July 13, 1984

DATE WATCHED: November 26, 2011

WHY NOW? After seeing and falling head over heels for The Muppets, I decided to revisit some of the old school Kermit and co. stuff. And I realized that I've never actually seen this movie! And yet, I definitely saw Muppets in Space in theatres. For shame!

WHY NOT THEN? It came out five years too early for this 1989-er. And despite being a big fan of Kermie and Muppet Babies, I just never got around to it later on.

EXPECTATIONS:

Lots of original songs and dancing.
Some sort of Broadway-style Muppet show.
A trip to the Empire State Building and multiple stops at hot dog carts.
A Liza Minnelli cameo.
A whole host of other 1980s celebs appearing at random for 30 seconds.
Kermit being his typical, adorable, everyman leader self, trying to reel in his puppet pals' and save the day, again.

WHAT I ACTUALLY GOT..

A handful of sweet original songs, including "Saying Goodbye," and "Together Again."
A Broadway-style Muppet show entitled Manhattan Melodies, which Kermit and the old gang try to pitch to a series of cynical and criminal producers.
Missy Piggy with a Babs in A Star is Born perm.
A pre-surgery Joan Rivers giving Miss Piggy a makeover. (Best unintentionally future joke ever?)
A Liza Minnelli cameo ... at Sardi's!
A really young Brooke Shields flirting with a relative of Rizzo the Rat.
Gregory Hines really loving rocking rollerskating shorts.
A weird side-plot about Kermit getting amnesia and becoming a nerdy Don Draper - a non-smoking, drinking or sexing Madison Ave. ad man.
A musical number that was obviously the beginning of Muppet Babies. (!!)
The entire population of Sesame Street ... at Kermit and Piggy's wedding!

ONE NIGHT-IN STAND OR SECOND DATE POTENTIAL? There was definitely something going on between us, especially in the beginning. I'm not sure that we need to see each other too regularly, but we'll definitely catch up every once and a while, when I'm in a New York state of mind, or missing my Muppet Babies.

The Fille FIles (November 20-26)

2011-11-26T12:00:00.151-05:00

Each week, the Filles bring you some of our favourite films finds of the week—news, reviews, features, interviews, tweets, new releases, etc.—just in case you missed them.

REEL GREAT READS

Gender inequality still has a starring role in Hollywood, USC study finds (Los Angeles Times) - This must-read piece talks of research that confirms our worst fears: gender stereotyping still has a huge hand in Hollywood and the production of most major features. (For one terribly disheartening example, only 32.8% of speaking roles in the 100 biggest blockbusters of 2009 went to women.) At the same time, it confirms one of our main beliefs and driving forces for creating this blog: women make up more than half of ticket sales.
The best scenes in the worst movies (A.V. Club) - As anyone who has read our Terribly Awesome! column knows, we love terrible movies just as much as great ones, at least when you can find unintentional humour in them. This week, the peeps at the A.V. Club look into scenes that save otherwise shitty movies.
Kristen Wiig: Bro of the Year (GQ via Jon Hamm) - Although we're not sure we're loving the overly sexy photo they chose to go with the story, this short piece about the Bridesmaids star and writer's immense talent, penned by co-star and the mad man behind Don Draper, Jon Hamm, is a sweet little read.
A Thanksgiving Typtophantastic Triple Feature (Hello Giggles) - A few festive-themed flicks are served up for our Southern neighbours. Although, we would be remiss if we didn’t point out the exclusion of one of the best underrated turkey day movies, which features Katie Holmes’ one really great performance, Pieces of April.

A Thanksgiving Film (Feast)-ival (EW) - ... speaking of which, be sure to check out EW's own take on the list, which brings some underrated goodness to the standard Thanksgiving plate.

OSCAR: Analyzing Foreign Language Race (Deadline) - For subtitled drama and Oscar fans: AwardsLine’s Tim Adler narrows down the foreign language contenders to the nine he thinks have a chance for the final cut.
New 'Twilight' movie reportedly causing seizures (TMZ) - Apparently some people haven't seen Pulp Fiction or 127 Hours. Or The Miracle of Life. Seriously, the birthing scene is SOFT.

WEEKEND WATCHES

Photo: The Muppets Studio

The Muppets - Jason Segel wrote and co-stars in this most sensational, inspirational, celebrational and Muppetsational new happy song of a flick, which (rainbow) reconnects Kermit, Piggy and the rest of Jim Henson's beloved puppets for one last, career-saving show. Not to get all warm and fozzy - I mean, fuzzy! - but it may be the best movie of the year, worth seeing at least three times.
Hugo - Martin Scorsese, the man responsible for Taxi Driver, Mean Streets, Goodfellas and The Departed, does a 3D, 1930s-set kids movie that, judging from the gorgeous trailers and stellar reviews, looks magical for all ages.
My Week with Marilyn - Michelle Williams looks stunning as the woman who made subway grates a must-have seduction accessory.

TRAILER OF THE WEEK: Beauty and the Beast 3D

The first animated movie to get an Oscar nod makes like The Lion King, returning to the screen with an added dimension (just think of the ballroom scene!) and a new Tangled short.

Stay Classy: Snow White and the Seven Dwarfs

2011-11-24T09:00:00.112-05:00

Year released: 1937

How it fared back then: It was the first feature film from Disney and it just exploded. Critics loved it, as did film-goers and industry bigwigs alike. With inflation taken into account, it's the 10th highest grossing film and the highest grossing animated film at the box office of all time (inflation considered). And accounting for inflation, it also beats out Avatar. With such an overwhelmingly positive response, it put Disney on the track to what it would become today, leading to countless more film releases. It also set the precedent for the company's re-releases from the Vault.

Why it's lasted: Disney. Cynically speaking, we know what a powerhouse they are in the industry. That being said, they also make amazing movies with state-of-the-art animation and great music. Snow White and the Seven Dwarfs is no exception (and yes, you did hear "Heigh-Ho" in a commercial recently). It's also made seven of AFI's 100 Years lists!

Classic moment: When Snow White is sweeping, dusting and washing away in the house, singing to herself as animals fill the scene. That scene in its entirety defines her character and is the imagery of her set off when her name is mentioned today.

Does it still hold up? The dwarfs are cute, the story is compelling and the 30s are artistically evident though appreciable, but I do have feminist issues with it (which are obvious). Then again, most of these issues could also be taken up with any classic fairytale. One thing that's strange about this film is that it's a children's story with an adult protagonist, however with childish characteristics. It's very uncommon today (if you ask me, adults are just over-thinking it), but I'm not sure what to make of it, only to point out its peculiarity. It's an admirable, history-making movie, but it's not what we'd watch today, which is likely the reasoning behind much-needed updates Snow White and the Huntsman and Mirror, Mirror. But of course, that's the grown-up in my speaking. Children might feel otherwise. (I sure did.)

The Descendants

2011-11-23T09:00:00.003-05:00

Directed by Alexander Payne. Starring George Clooney, Shailene Woodley, Amara Miller and Nick Krause. 115 minutes. 14A

The Descendants has everything going for it: a famous leading man (Clooney), an acclaimed writer and director (Payne) and a beautiful setting (Hawaii). But somehow, all of these great things combined make for a very unimpressive film.

Matt King (Clooney) is a lawyer and self-proclaimed “back-up parent” who hasn’t paid much attention to his family for the last couple of years. He’s been preoccupied with handling a land deal—he must soon sell off the large, pristine plot of family land he’s been entrusted with—but when his wife, Elizabeth, is in a boating accident and falls into a permanent coma, Matt realizes his mistakes and wants nothing more than for Elizabeth to wake up. That is, until he finds out she’s been cheating on him and was planning to get a divorce.

This is where the movie should get really good. Here’s a man who must confront the imminent death of his wife as well as her infidelity, but instead of witnessing him grapple with his conflicting emotions all we see is an angry husband and overwhelmed dad determined to track down his wife’s lover. It’s hard to feel emotionally connected to the character who no longer seems to care that his wife is dying. In fact, it’s hard to feel connected to any of the characters, which is surprising seeing as Payne is the writer who made us fall in love with an unlikeable Paul Giammatti in Sideways. The real problem with Payne’s latest is that much of it feels contrived. The characters aren’t fully developed, relationships are explained in a word or two and the plot moves along too easily to be fully engrossing. That’s not to say you might not shed a tear, but this film lacks the heart to really affect the viewer.

To top it off, the film moves at an agonizingly slow pace. For 115 minutes we watch as Matt reconnects with his daughters, Scottie (Miller), 10, and Alexandra (Woodley), 17, and tells family and friends it’s time to say goodbye to Elizabeth. The “action” begins when Matt and his kids, along with Alex’s dim-witted friend, Sid (Krause), set out to find Brian Speer (Matthew Lillard), the real estate agent Elizabeth had been “seeing.” But don’t get too excited, there’s not much of a climax and the wild goose chase for Speer is interrupted every now and then by family obligations and that land deal Matt can’t forget about.

Despite the length and predictable plot twists, there were some good performances in the film. Clooney works with what he’s got and gives a pretty stellar performance. Though the Hawaiian-shirts and flip-flops are a bit camp, it’s nice to see Clooney play a man who doesn’t have it all together. Shailene Woodley also does an impressive job as the foul-mouthed Alex. The scenes with her younger sister are endearing and she proves she has a greater emotional range than one would expect from a Secret Life of the American Teenager star.

The Descendants is not what you would expect from Alexander Payne or from all the hype it’s received from critics. Though it might make you reach for a box of tissues, this film is too obvious and too long to be worth your theatre money. C+

By Regan Reid
Dream cast: Michael Fassbender, Ryan Gosling, Mia Wasikowska, Saoirse Ronan, Emma Thompson

Home Theatre Tuesday (Nov. 22, 2011)

2011-11-22T09:00:00.000-05:00

Each week, we bring you a quick run-down of what's out on DVD so you don't miss the hits and you can skip the misses.

Must buy: Super 8

Super 8 may kick off with a train wreck of epic (and possibly extraterrestrial) proportions, but J.J. Abrams’ sci-fi adventure film is anything but that. It blazes pre-established trails smoothly and near-effortlessly and moves at a pleasant pace. It’s fast enough to make it worth your while, but slow enough to give you a chance to take in the oft-missed scenery – which in this nostalgia-heavy case, is made up of the love lives, pet projects and various monstrosities (!) facing a group of tween cinephiles in 1970s Ohio.

Read the rest of Emily's review.

Also out: Conan the Barbarian

While some critics praised the visuals and cinematography of this 80s fantasy remake, most others docked it for it's poor dialogue and (lack of) story. Selling itself almost solely on an epic war battle, though falling to obvious criticism, it sounds like Immortals, if you ask us.

Gimme Five! Fangtastic Romances

2011-11-20T18:00:00.003-05:00

Join us every other Sunday as we treat you to a handful of the best and worst movies, characters, scenes, lines and or other significant cinematic moments. At least in our opinion.

Photo: allmoviephoto.com

Whether you're a Twi-hard or not, I'm sure you know that there's a new vampire romance taking a bite out of the box office this weekend. In honour of the release of that fangirl magnet of a series, let's take a look back at some of the least sucky creature of the night film couples in recent times.

5) MICHAEL AND STAR (The Lost Boys)

This duo gets mad props for two reasons: they have sex in a vamp grotto and one of them has a hanging '80s dude earring. Regardless of the campy, naked saxophonist backdrop (you know what I'm talking about if you've seen the movie), you know the first time they lock eyes, across a sweaty, pier-side rave, that they'll be together forever. Just not to what extent ...

4) LESTAT AND ARMAND (Interview with the Vampire)

Considering this is based on a book written by vampire romance queen Anne Rice, it's kind of a given. There's always been a lot of mentions of the on-screen kiss between a super young Kirsten Dunst (Claudia) and an adult Brad Pitt (Armand), but what they really should be talking about is the extremely homoerotic relationship between Tom Cruise (Lestat) and Brad Pitt. They don't have any on-screen sex, but there's a whole lot of necking, longing stares and declarations of eternal love.

3) SELENE AND MICHAEL (Underworld)

What do you get when you pair a drop dead (literally, she's a vamp) gorgeous bounty hunter Kate Beckinsale and a sexy, stringy-haired half-lycan, half-vamp version of Scott Speedman? A bloody badass on-screen couple, worthy of three movies of creature-on-creature action.

2) DRACULA AND MINA (Bram Stoker's Dracula)

Dracula has always been known for having his way with the ladies. But this 1992 film adaptation of Bram Stoker's novel about the long-living undead icon, takes his obsession to a much more human level, focusing on his romantic life with fiance Mina. Winona Ryder and Gary Oldman have blood-rushing chemistry in their many sexy scenes together, making you forget that Keanu Reeves also has a major role.

1) ELI AND OSKAR (Let the Right One In)

This Swedish film, which was remade for American audiences as Let Me In last year, is both the most disturbing and beautiful romance in vampire cinema. When 12-year-old bully magnet Oskar meets his neighbour, Eli, he assumes she is around the same age as him. But as he gets to know her and the man he thinks is her father, he learns the much, much darker truth, which is drenched in the blood of his tormentors and results in some really inappropriate bedtime stories. Instead of getting scared off, he falls deeper in love. And so do we, with the truly one-of-a-kind film.