Toronto International Film Festival

TIFF ’19: The Lighthouse

September 7, 2019 by Steve Norton Leave a Comment

Starring Robert Pattinson and Willem Dafoe, The Lighthousevfollows the journey of Winslow (Pattinson) and Wake (Dafoe), two lighthouse keepers, who try to maintain their sanity while living in isolation on a remote island off the coast of Maine. Tightly written and directed by Robert Eggers (The Witch), The Lighthousevis a fascinating piece that feels like a throwback to classic post-War noir films. Unlike most modern horror films that insist on bombarding the senses, the film is a slow descent into madness highlighted by strong performances from its cast and a striking visual style. Shot on black and white 35mm film, Lighthouse echoes classic Hitchcock films like Psycho and Rear Window by allowing its characters to slowly lose themselves to their circumstances. What’s more, by shooting in a 1:19 : 1 ratio, the film visually reinforces the claustrophobic atmosphere between the two leads as they battle for screen presence.

Through its visuals and narrative, Lighthouse is most intent on exploring whether one can ever truly escape their own darkness. Despite Winslow’s desire to return home and start over, the evil around (and within) them continues to grow, giving failure a sense of inevitability. For Winslow, hope becomes a boat that may never reach him as the sea grows angrier.

Filled with psychological terror and bold imagery, The Lighthouse shines brightly. Caught in the grip of a pseudo spiritual enemy, Winslow and Wake fight and claw for supremacy against elements and each other.

The Lighthouse is currently playing at the Toronto International Film Festival. Upcoming screenings can be viewed here.

Suburbicon: Neighbourhood Disturbance

September 11, 2017 by Steve Norton Leave a Comment

There goes the neighbourhood…

Directed by George Clooney, Suburbicon is a satirical look at the suburban world of the late 50s, as racial integration was truly beginning to break down social barriers. The film tells the story of Garner Lodge (Matt Damon), a family man who lives with his wife, paralyzed as a result of a car accident, and adolescent son. When a home invasion turns tragic, the Lodge family is thrown into turmoil. However, as the truth begins to reveal itself, the family—and the neighbourhood—begins to unravel in unexpected ways.

Written by Joel and Ethan Coen, Suburbicon is filled with their signature brand of dark humor and violence yet Clooney very much puts his own stamp on the film as well. Through his use of framing and lighting, the film might be the best example of 50s-style film noir in years. What’s more, he wisely remains behind the camera for this film, resisting the obligatory cameo. In doing so, he allows the script and cast to bring the film to life on their own, which they do so successfully. Damon hasn’t appeared this menacing since The Talented Mr. Ripley while Moore plays the stereotypical housewife with a subversive edge. (Meanwhile, Oscar Issacs almost steals the film in his brief cameo as an insurance adjuster.)

Clooney portrays Suburbicon as a city of ‘diversity’, yet the set design and entirely Caucasian cast remind us of the myth of that claim. (This reality is emphasized from the very beginning through the film’s opening credit sequence, which hilariously mimics classic promotional films.) This town is one that believes it has ‘bettered itself’ and has ‘opportunities for prosperity for all’ yet refuses to recognize its unspoken flaws. Image is everything in Suburbicon but what happens when the seething cesspool of injustice and murder underneath begins to bubble to the surface?

In fact, one of the most interesting facets of Suburbicon is its interest in exploring racial tensions, without that narrative becoming the primary focus of the film. By focusing on the gradual destruction of the Lodge family, Clooney somehow manages to allow the racial issues to gain prominence. In other words, through its emphasis on the murderous intrigue, it is a reminder of how often the real social injustices of our culture get either swept aside or misplace blame. Although it takes place in the late 50s, there is a timeliness and urgency to Suburbicon that give it a much-needed satirical bite. It’s hard to watch Suburbicon and remain comfortable, which is to its credit. The film knows what it wants to say and it does so efficiently and effectively.

But, if you decide to move there, just don’t drink the tea.

This year, ScreenFish was invited to the TIFF17 press conference for SUBURBICON! Narrated by George Strombolopolous, this revealing conversation includes director George Clooney, writer Grant Heslov, and stars Matt Damon, Julianne Moore and Karimah Westbrook. You can stream the audio from the event here:

ARRIVAL: Guess Who’s Coming to Earth?

February 14, 2017 by Steve Norton Leave a Comment

America needs Arrival.

Directed by Denis Villeneuve, Arrival begins on the day that (the latest) aliens appear over major cities around the world. Resting silently and still above the earth, these objects send the population into a moment of fear as everyone awaits what will happen next. When the military begins the process of communicating with their visitors, they assemble a team led by linguist Louise Banks (Amy Adams), theoretical physicist Ian Donnelly (Jeremy Renner), and US Army Colonel Weber (Forest Whitaker). As humankind teeters on the verge of global war, Banks, Donnelly and Weber take a chance that could threaten their lives, and quite possibly, humanity.

Despite the familiar premise, Arrival is far from your traditional ‘alien invasion’ film. While films of this genre generally play out with intergalactic space battles or wanton destruction (yes, I’m looking at you Independence Day: Resurgence), Arrival carves out it’s own unique and compelling place amongst the very best of science fiction by focusing on the pratfalls of language.

Caution: Potential spoilers ahead…

Playing out like a sci-fi vision of the Cold War, humans and aliens wait anxiously to see who will make the next move. Will it be an act of aggression? An offer of peace? Unlike other sci-fi entries, the real tension within this film exists in the realities of learning how to communicate with another who you neither understand nor trust. Of course, the obvious implications of this are between human and alien… however, the film reveals that similar issues lie amongst the people of Earth themselves.

Having first seen the film at the Toronto International Film Festival in September, I found myself struck by the boldness of this film. However, to be honest, I could never have predicted how timely it would become. Living in the shadow of the Presidential election, it has become frighteningly clear of the breadth of the divide amongst the American people. As thousands of people protest the election results in rallies across the country, philosophical differences have never been more apparent and anger and fear appear rampant amongst the people. The ability to humble ourselves and have conversation has given way to bitterness and resentment.

As a pastor, I wonder where ideas like either ‘Judge not, lest ye be judged’ or ‘love your neighbor as yourself’ have gone in a moment like this.

But Arrival hasn’t forgotten.

Here, as military officers increase the pressure to attack their visitors, linguist Banks cries out for patience, even when the communication seems as though it’s gone awry. As the challenges of communication increase, Banks and her team recognize the value in the other and fight for the reality that words matter. They understand that one narrative doesn’t tell the whole story—and that that builds bridges.

In a time where American culture seems primed to rip itself in two, the notion of seeing beyond our own views and truly listening to one another couldn’t seem more poignant.

In the end, Arrival is a film about risking our lives not for a cause, but for the benefit of others. It’s a film about leaning into suffering for the sake of receiving blessings along the way.

It’s a film that shows that every life matters and that communication requires humility on our behalf to connect us.

America needs Arrival.

Special features include a look at language (“Xenolinguistics: Understanding Arrival”), sound and score (“Acoustic Signatures: Sound Design”, “Eternal Recurrence”), the editing (“Nonlinear Thinking”), and time (“Principles of Time, Memory & Language”), all the main elements (in addition to Adams) that make the film great.

tiff16: THE LEVELLING

September 14, 2016 by Steve Norton 2 Comments

Somerset, England. Trainee veterinarian Clover Catto (ELLIE KENDRICK, Game of Thrones) returns to the farm where she grew up after hearing news that her brother Harry has died—an apparent suicide. Finding the family home in ruins following recent floods that devastated the area, Clover is forced to confront her difficult father Aubrey – about the farm, the livestock and, crucially, the details surrounding Harry’s death. As the funeral approaches Clover’s discoveries send her on an emotional journey of reckoning – with the land, her family and herself.

Taking the lead role as Clover, Kendrick demonstrates a great deal of poise for a role that requires both nuance and expressiveness. She presents Clover with quiet grief as she deals with the death of her brother and yet she also hides an inner rage towards her family and circumstances. Similar to the film’s rural landscape, Clover’s life is giving way from underneath, burdened by the weight of family secrets and lies.

There is focus in her eyes and fire in her heart.

Structurally, the film almost plays out as a hybrid between family drama and mystery thriller as Clover inches closer to the truth surrounding her brother’s death. Using very little music, the film maintains it’s brooding tone through intentional silence.

One of the biggest surprises of the week, THE LEVELLING offers solid performances from the entire cast but it’s Kendrick who really holds the film together. This is a film about the damage caused by family and the process of restoration and it knows exactly what it wants to accomplish.

Like their farm, Clover is collapsing from within.

For our exclusive interview with Ellie Kendrick, click below!

TIFF Hits: BLACK MASS

September 17, 2015 by Steve Norton Leave a Comment

Johnny Depp is back.

At least that’s what everyone is saying.

In some ways, it’s odd to think of Depp being ‘back’ when he never really went away. Certainly, he remains beloved by people around the globe (especially evidenced in the borderline chaos that erupted when he arrived in Toronto). Although,it’s fair to say that, by filling up his time with Tim Burton films and the Pirates franchise, the actor hasn’t really had a role to sink his teeth into over the past few years.

With Black Mass, that trend has changed dramatically.

Taking place in 1970s Boston, Black Mass tells the true story of James “Whitey” Bulger (Depp), the infamous crime lord. Approached by FBI agent John Connolly (Joel Edgerton), Bulger is convinced to form an alliance with the agency in order to bring down the Italian mob. As their unholy alliance begins to spiral out of control, Bulger increases in his power, becoming one of the most infamous gangsters in U.S. history.

Deftly directed by relative newcomer Scott Moore, Black Mass is a dark exploration of the nature of evil. Backed by a solid script, he depicts Boston with grainy, bland colours reminiscent of 70s noir thrillers that remind us this is a world with a neutralized sense of morality. Most importantly though, Depp’s performance as Bulger creates a hurricane of chaos in the lives of the other characters, pulling them deeper into his own darkness. However, even though Bulger is clearly a man to be feared, he also maintains a human side that never quite disappears. Even in his darkest moments, Bulger is (mostly) seen as a man of loyalty to his family and friends.

With a performance as strong as Depp’s, one might imagine that supporting players would fade into the background. However, the film is also buoyed by strong performances by Joel Edgerton, Benedict Cumberbatch, Jesse Plemons and (even) Dakota Johnson. (Incidentally, Edgerton really takes things up a notch as conflicted Agent Connolly. Called to play a man who is torn between loyalty to Bulger and the law, he attacks the role and (almost) steals a scene or two from Depp.)

Even so, it’s Jimmy’s world–and the rest are caught up in it.

At it’s heart, Mass uses it’s characters to explore the relationship between humanity and evil. For instance, through Bulger, the narrative asks whether he is an example of evil incarnate or merely a broken man who was the victim of a darkened world. Meanwhile, through characters such as Connolly and William Bulger (Benedict Cumberbatch), the film asks whether or not it is possible to associate with darkness without being pulled inside yourself. In Black Mass, there is no clear sense of good or evil as the lines between them begin to blur. This depiction of sinful humanity reminds us that, if we are left to our own devices, redemption needs to come from outside ourselves.

Black Mass is sure to be in the conversation come Oscar season, not only as a film but definitely for Depp’s performance. This is the type of role that reminds us of his incredible talent when given material that suits him.

After all, it’s Depp’s world–and the rest of us are caught up in it.

Black Mass

Starring Johnny Depp, Joel Edgerton, Benedict Cumberbatch

d. Scott Moore

Rated R for violence, language

****1/2 (out of 5)

TIFF Hits: BEAST

September 16, 2015 by Steve Norton Leave a Comment

What do you do when you’re hunted by the truth?

In Beast, Jaime Gray (newcomer Chad McKinney) is a boxer in the Philippines. After he and his father (Garret Dillahunt) make a costly error in judgment in order to win big with a bookie, Jaime is torn between running in fear and doing what is right. Beast is gritty, honest, and realistic as it takes us into the heart of the underground world of poverty in Manila.

But don’t think that Beast is just another ‘boxing movie’.

The directorial feature debut of brothers, Tom and Sam McKeith, the film uses the world of boxing as a backdrop for the characters and their emotional journeys. Demonstrating genuine chemistry between them, both Dillahunt and McKinney are up to the task and offer honest performances. Still, while Dillahunt’s work here is very strong and reveals a loving father (albeit one who is willing to compromise morally), it is McKinney who absolutely owns this film. While it’s common for a main character to dominate a picture, it’s another thing to spend virtually every second of the film with them, not only within the frame, but close-up. As we look constantly on his face, there is a heavy emphasis on his emotional well-being. (This would be a challenge for any actor, let alone a relative newcomer.) Despite the challenges, McKinney’s performance is remarkably believable and carries the film.

What’s more, Beast also serves as a powerful spiritual narrative as well. While faith is not directly addressed within the film, there is a strong sense within the film that guilt can only truly be dealt with wholly in the form of repentance and ownership of our actions. Here, Jaime is both ‘beast’ and ‘angel’, trying to find redemption while running from the truth. Throughout the film, we–and Jaime–are always fully conscious that he cannot erase the consequences of his actions without humbling himself. (Incidentally, there is even a solid prayer scene that might be the first one I’ve seen in a film that doesn’t come across as awkward or out of place.)

In the end, Beast is a film is actually less about sports and more about reaping what you sow. Filled with solid performances, the film is a strong character piece about a young man who is battling his own demons and taking responsibility for his actions. Although the film doesn’t currently have a release date set, I highly recommend you take note and check it out when you hear of it.

After all, it certainly packs a punch.

NOTE: STAY TUNED OVER THE NEXT FEW DAYS FOR EXCLUSIVE INTERVIEWS WITH STARS CHAD McKINNEY, GARRETT DILLAHUNT AND DIRECTORS TOM AND SAM McKEITH…

Beast

Starring Chad McKinney, Garret Dillahunt

d. Tom and Sam McKeith

**** (out of 5)

TIFF Hits: Shooting Stars

September 15, 2015 by Steve Norton Leave a Comment

At ScreenFish, we’re very conscious of those moments where faith and film collide… but that doesn’t mean we can’t have a little fun as well! Here are some exclusive shots of the celebs around the city as the Toronto International Film Festival enters it’s second half. Pics will be updated as new sightings occur…

Black Mass premiere:

Johnny Depp

Joel Edgerton

Peter Sarsgaard

Kevin Bacon

John Morris Dakota Johnson

Freeheld Premiere: Michael Shannon, Ellen Page, Julianne Moore, dir. Peter Sollett

Sicario Premiere: Benicio Del Toro, Emily Blunt, Josh Brolin, dir. Denis Villeneuve

Forsaken Premiere: Donald Sutherland, Keifer Sutherland, d. Jon Cassar (24)

Team from Beast: Chad McKinney, dir. Tom and Sam McKeith, Garret Dillahunt

The Man Who Knew Infinity: Jeremy Irons; Dev Patel; Devika Bhise

Other Celebs:

Penelope Cruz

Sarah Silverman

Susan Sarandon Rachel McAdams

Nick Robinson

Rob Reiner Carey Elwes Michael Moore

TIFF Hits: WHERE TO INVADE NEXT.

September 11, 2015 by Steve Norton Leave a Comment

“We were looking for America’s soul.”

Say what you will about controversial director Michael Moore, but he certainly knows how to stir up conversation. For over twenty-five years, Moore has cried out on behalf of the American poor and downtrodden, fearlessly stepping on the toes of the rich and powerful. He has never had a problem revealing the dark side of American culture, calling for drastic cultural change. It’s fair to say that his material isn’t always fully clear–or accurate–but he ALWAYS forces you to think.

With last night’s world premiere of his latest film, Where To Invade Next, Moore seems to have taken a slightly different tone.

Hope.

Where To Invade Next is a different film for him and definitely one of his best so far. By ‘invading’ other countries like Italy, France, Portugal and others, Moore actually manages to show his American family how much better things can be. Oh yes, the film has his trademark humour and (slightly less) political grandstanding. However, he also focuses on how much better things can be if we take responsibility for ourselves and our world.

Interestingly, Moore had actually considered walking away from his career as a filmmaker for this very reason. “I actually said that I would stop making movies until I saw some change from the people,” he said. “I grew tired of being the only person crying out for things to be different and wanted people to take responsibility. About two years later, Occupy Wall Street happened. To me, that was the sign that things were happening and I felt like I should come out [of ‘retirement’].”

(Interestingly, Moore also said that this was truly the FIRST screening of the film–they did no test screenings beforehand. Having said this, the film’s standing ovation at it’s conclusion made him quite emotional.)

It’s fair to say that Moore’s work needs to be taken with perspective–however, there’s no doubt that he makes some interesting arguments. His calls for equality, health (emotional and physical), and justice do make a stand for a certain sense of spiritual wholeness not seen in his previous work. While not speaking directly of spiritual matters, Where To Invade Next argues clearly that addressing the whole person is easily the best way for American culture to see change and growth.

In short, the Man With the Mic is back… even if he is a little nicer.

Where To Invade Next

dir. M. Moore

**** (out of 5) stars

Toronto International Film Festival

TIFF ’19: The Lighthouse

Suburbicon: Neighbourhood Disturbance

ARRIVAL: Guess Who’s Coming to Earth?

tiff16: THE LEVELLING

TIFF Hits: BLACK MASS

TIFF Hits: BEAST

TIFF Hits: Shooting Stars

TIFF Hits: WHERE TO INVADE NEXT.

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