Awkward, isolated and disapproving of most of the people around her, a precocious 19 year-old genius is challenged to put her convictions to the test by venturing out on to the NYC dating scene, in this adaptation of Caren Lissner’s best-selling 2003 novel.
I was especially excited about the world premiere of director Susan Johnson’s debut feature because I knew I would get to share the experience with my parents. I also liked the sound of Carrie as described by the TIFF website. I’ve always enjoyed unlikeable characters who become easier to empathize with once we get to know them.
As it turns out, Carrie Pilby isn’t nearly as misanthropic or as unsympathetic as the website would have you believe. In fact, when played by Diary of a Teenage Girl’s Bel Powley, she’s actually quite charming. She may be a little too sarcastic for her own good but she’s never mean and her posture suggests such obvious vulnerability that you may just want to give her a hug.
You may find Carrie’s exasperation with those around her easy to relate to considering the unforgivably forgettable supporting cast. Nathan Lane and Gabriel Byrne phone in their performances as her therapist and father and potential love interest Jason Ritter finds a way to make sleazy seem boring. Only Saturday Night Live’s Vanessa Bayer, who I was pleasantly surprised to see at the premiere, holds her own against Powley as Carrie’s co-worker and new friend.
In the end, the script is nowhere near as smart as Carrie is. Though it offers a number of big laughs and some seriously sweet moments, the dialogue is way too obvious most of the time. I found I was able to anticipate line after line almost as if I was dreaming the film into existence myself.
The indomitable Iko Uwais (The Raid) stars in this fast and furious actioner as an amnesiac whose mysterious past as a killing machine comes to the fore when he takes on the henchmen of a vengeful drug lord.
I ended my first night at TIFF 2016 the best way I know how- with my annual Midnight Madness screening. You never know what you’re in for with the Midnight Madness program but this year I felt like I was in good hands. Back in 2011, I caught a midnight screening of The Raid at the festival and I was so exhilarated by the experienced that I’ve made sure to catch at least one midnight film each year. No matter how many bad movies I have to sit through.
The Raid isn’t just a bloody good time. It’s actually an impressive film. There isn’t a wasted moment in the whole movie and every shot serves to build suspense. This combined with outstanding fight choreography and a less-is-more approach to dialogue make The Raid one of the best action films so far this century.
The Raid works in large part because of director Gareth Evans who I really wish was directing Headshot. The latest vehicle for Indonesian martial arts superstar Iko Uwais is nowhere near as tense or as tightly edited. Not that directors Kimo Stamboel and Timo Tjahjanto do badly. They do an admirable job of capturing every chase and fight so that we always know who’s kicking who. But there’s something missing. Maybe it’s that The Raid managed to avoid the kind of silliness that Headshot has so much of (amnesia, for example, not to mention a sometimes corny love story).
That being said, Uwais’ hands, feet, elbows, and whatever else he can find always connect like they’re supposed to and Headshot manages to outgore The Raid. Friday’s Midnight Madness crowd seemed to have a good time and if you don’t mind a few heads being split open I’m sure you will too.
A Monster Calls
Liam Neeson, Sigourney Weaver and Felicity Jones star in this adaptation of the award-winning children’s book by Patrick Ness, about a lonely young boy struggling with the imminent death of his terminally ill mother who is befriended by a friendly, shambling monster that arrives in his room nightly to tell him stories.
I read on Wikipedia that Toronto’s Roy Thomson Hall holds over 2,300 people. I am quite sure that on Saturday afternoon I heard 2,000 cry. I could hardly stop myself from crying through the final moments of the latest film from director J. A. Bayona (The Impossible) and didn’t do much better through the closing credits or walking down King Street after.
I was surprised by my emotional reaction given that I was finding most of the film disappointingly uninspired. As much as I loved the design of the monster and the outstanding voice work of the great Liam Neeson, I expected more wisdom from his stories (which are brought to life in lovely animation).
Only in the end do the monster’s lessons really become clear. As frustrated as the young boy is by the seemingly pointless stories at first, it becomes clear that he is being taught lessons unusually mature for a children’s story. I can think of several family films where a child has to learn to cope with the loss of a parent but I can hardly think of any that are less condescending and more painfully honest.
Jared Abrahamson (Fear the Walking Dead) plays a painfully shy but ruggedly capable enforcer on a minor-league hockey team who discovers the cutthroat nature of his locker-room “family” in the forceful first feature from Canadian director Kevan Funk.
Tyson Burr (Abrahamson) may not be the star player of the Prince George Warriors but he’s an enforcer – the guy you can count on when the game gets rough. In one particularly rough game, Tyson puts someone in the hospital and soon sees how quickly his team, his coach, and the community at large can distance themselves in hopes of avoiding responsibility for the culture of violence that they helped to create.
When introducing the film on Saturday, Funk was quick to insist that Hello Destroyer is not intended as a commentary on Canada’s infamously violent national sport. He’s more concerned with violence in general and the social context around aggressive behavior. There’s very little hockey played onscreen and some fans of the sport may be disappointed by the slow pace of the film. I’ll admit to being frustrated as it slows down even more in the second half. (It was my third film of the day and I was starving). It’s only after the fantastic Q and A with Funk and the cast that I let it all sink in.
This is one tragic, hard-hitting, and beautifully acted film. It’s the kind of movie that gets better and better the more you think about it.