At first glance, Deb (Sienna Miller) is all-too-easily dismissed. She’s a former teen mom turned grandmother at 31. She’s a mistress whose hot date turns out to be a trip to a sleazy motel room, where she is handed a plastic bag containing either dollar store lingerie or a slutty devil halloween costume (same difference, really). The next morning, we see that she is waking up alone in her own bed, suggesting the motel room was paid by the hour.
At that point, we’re about five minutes into American Woman, and you’re ready to write Deb off.
But don’t. Don’t you dare.
Because Deb is worth more than she even knows, which she stars to discover after her daughter fails to come home one night after a date with her basement-dwelling baby daddy. A loved one’s disappearance must be life-shattering. Miller lets us see the dissapearance’s drastic effects on Deb in such a restrained and measured way that Deb’s resulting character growth is organic, believable, and most impressively, almost invisible at first. Deb’s evolution is captivating, and the Deb we know by the end of the movie is at once the same core character and a woman whose outlook and attitude have evolved beyond anything I could have ever expected.
I cannot overstate the magnificence of Sienna Miller’s performance in American Woman. She is magnetic and conveys a mix of strength and vulnerability that is as authentic a performance as I can remember. And while Miller is the standout, he excellence is almost always matched by the rest of the cast, including Christina Hendricks as Deb’s sister, Amy Madigan as Deb’s mom, and Mad TV’s Will Sasso as Deb’s brother-in-law. Deb is rightly the focal point but it’s great that the strong supporting characters each get the chance to shine.
The gauntlet thrown down by the cast’s fantastic performances is picked up by those behind the camera, and they are up to the task. Brad Ingelsby’s script is smarter than it has any right to be, discarding obvious answers on a regular basis, and showing off by giving effortless depth to secondary and tertiary characters (including turning an obvious villain into an earnest guy deserving of our sympathy). Director Jake Scott uses care and moderation rather than flash and sensationalism, particularly in a crucial scene at the film’s climax, proving beyond any doubt that less is more. Scott consistently makes brilliant choices even in small details, such as by using visuals and settings to indicate the passage of time, rather than title cards.
The result of all of this individual brilliance, naturally, is a standout character study that can hold its own against anything that TIFF18 has to offer (which I can say with certainty since I saw If Beale Street Could Talk and Roma on either side of it). American Woman is as smart, rewarding and satisfying a cinematic experience as anyone could ask for, making for a film that you absolutely do not want to miss.
everyone’s got their windows open and their business on display. It’s a lesson in voyeurism that probably also comments upon the movie going experience, our own gaze from within a darkened theatre into the secret lives of others. “We’ve become a nation of peeping toms,” complains Stella (Thelma Ritter), Jeff’s nurse, and she’s not wrong. But immobilized in a wheel chair, Jeff is spellbound by the people across the courtyard, and becomes convinced that one of them has committed murder. Soon the skeptical nurse gets pulled into his nonsense as well, as does Stewart’s love interest Lisa, played by Grace Kelly.
the perspective is just right. The set’s buildings consisted of 31 apartments wired for electricity and plumbed for water; a dozen of them were completely furnished. Georgine Darcy, who played Miss Toros (the dancer), lived in the apartment all day long, resting there between takes as if it were really her home. There were 1000 large lights and 1000 smaller ones to simulate sunlight; once it got so hot on set that it set off the sprinklers. Hitchcock directed the whole thing from Jeff’s apartment. The actors in the building across the courtyard wore flesh-coloured ear pieces and took direction that way.
bizarre comedy that I had to love it. It’s irresistible. There are so many great characters on display, a bizarre mix of humans, vampires, and werewolves, and their interactions with one another killed me. With laughter. From start to finish, What We Do in the Shadows gave me scene after scene of amusement, from a bat fight to a werewolf showdown to one of the most awkward town dances imaginable.
The Martian
015. McCarthy owns the screen when needed but steps back in order to give everyone their moment to shine, from Rose Byrne to Jude Law to Miranda Hart, and Jason Statham is especially memorable as the boneheaded spy who wants to use every action movie cliche in the book, to hilarious results.
fresh start with a new boxer, Michael B. Jordan, carrying the torch. But at the same time, it forges strong connections to the existing franchise, with Jordan playing Apollo Creed’s son and Rocky being brought in to train the son of his best friend and biggest rival. The atmosphere was perfect, the 
favourite comic book adaptation of 2015. Who knew that Colin Firth could be such an action hero? His character’s last stand at a Kentucky church is one of the best action scenes in recent memory, and the symphony of exploding heads at the end is absolutely masterful. Style and excess abound in Kingsman and I’m looking forward to more of the same in 2017, when the sequel is released!
Tom Hardy and Charlize Theron give particularly memorable leading performances, while Nicholas Hoult and Hugh Keays-Byrne both give us bizarre yet believable supporting turns that increase the crazy factor immensely. Mad Max never stops, not even for a second, and it’s a hell of a ride!
is a potential clue to our struggling protagonist of the hidden problems that he’s facing. Charlie Kaufman’s writing is sharper than ever and Duke Johnson’s animation is stunning and absolutely essential to the story. Anomalisa is pure cinematic brilliance, and I hope all of you are able to experience it for yourselves (as it’s open in select theatres, expanding to a wider release in January). Of all the movies I saw this year, Anomalisa is the one that still sticks with me months later, and I don’t expect to shake it anytime soon.
ASSHOLES WATCHING MOVIES 