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Thread: Toronto International Film Festival - Expect some must watch movies!

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    Arrow Toronto International Film Festival - Expect some must watch movies!

    Ladies & Gentlemen! I welcome you to the TIFF!!

    Have fun while you're here and meet the hottest stars! Right Here! Right Now!!

    Stay Cool..!

    Last edited by bushra0712; 14-09-2011 at 08:10 PM.

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    The Toronto International Film Festival (TIFF), taking place from September 8th -18th, has become the debutante ball of the Academy Awards. TIFF used to be where studios could hop across the border with their New York team and give their middling fall films an “international” premiere. In the last few years, however, the festival has become the launch pad for eventual Oscar contenders, such as in 2008 with Slumdog Millionaire and The Wrestler or last year’s slew of Academy picks such as The King’s Speech, 127 Hours and Black Swan (though, to be fair, those films debuted in Telluride and Venice, respectively). This year’s selection is almost intimidating. One after the other exceedingly good or promising directors are presenting their precious babies to festival-goers and critics.


    Toronto 2011 Mini-Guide

    The mini-guide includes the complete line-up of feature-length films screening at the Toronto Film Festival, taking place September 8-18, 2011.

    Canada First!

    Amy George
    Good Boy
    Leave It On The Floor
    Nuit #1
    The Odds
    The Patron Saints
    Romeo Eleven

    Canada Open Vault

    Hard Core Logo

    City to City: Buenos Aires

    Caprichosos de San Telmo
    The Cat Vanishes
    Panel: City to City, Buenos Aires
    Crane World
    A Mysterious World
    The Stones
    The Student

    Contemporary World Cinema

    388 Arletta Avenue
    Always Brando
    Azhagarsamy's Horse
    Billy Bishop Goes to War
    Blood of My Blood
    Color of the Ocean
    Death for Sale
    The Forgiveness of Blood
    Free Men
    Future Lasts Forever
    Good Bye
    Goodbye First Love
    Hotel Swooni
    I'm Yours
    Juan of the Dead
    Land of Oblivion
    Last Days in Jerusalem
    Last Winter
    Man on Ground
    Miss Bala
    Mr. Tree
    Omar Killed Me
    Rough Hands
    A Separation
    The Silver Cliff
    Sons of Norway
    Think of Me
    UFO In Her Eyes
    Union Square
    Your Sister's Sister


    Las Acacias
    Alois Nebel
    Among Us
    Back to Stay
    Behold the Lamb
    The Brooklyn Brothers Beat the Best
    The Good Son
    Historias Que So Existem Quando Lembradas
    The Invader
    J'aime Regarder Les Filles
    Lost in Paradise
    The Other Side of Sleep
    Roman's Circuit
    Summer Games
    The Sword Identity
    Twilight Portrait

    Gala Presentations

    Albert Nobbs
    The Awakening
    A Dangerous Method
    From the Sky Down
    A Happy Event
    The Ides of March
    Killer Elite
    The Lady
    Machine Gun Preacher
    Page Eight
    Peace, Love & Misunderstanding
    Take This Waltz


    Almayer's Folly
    Hard Core Logo II
    Le Havre
    I Wish
    The Kid With a Bike
    Once Upon a Time in Anatolia
    Outside Satan
    Snows of Kilimanjaro
    This Is Not a Film
    The Turin Horse


    Panel: Deepa Mehta and Salman Rushdie
    Panel: In Conversation With Francis Ford Coppola

    The Island President
    The Love We Make
    Neil Young Journeys
    Panel: Sony Pictures Classics 20th Anniversary: Michael Barker and Tom Bernard

    Tahrir 2011: The Good, the Bad and the Politician
    Panel: Tilda Swinton

    Midnight Madness

    The Day
    God Bless America
    The Incident
    Kill List
    Lovely Molly
    The Raid
    Sleepless Night
    You're Next

    Real to Reel

    The Boy Who Was a King
    Comic-Con: Episode IV A Fan's Hope
    Crazy Horse
    Dark Girls
    Duch, Master of the Forges of Hell
    The Education of Auma Obama
    Gerhard Richter Painting
    Girl Model
    I'm Carolyn Parker: The Good, the Mad, and the Beautiful
    In My Mother's Arms
    Into the Abyss
    Last Call at the Oasis
    The Last Dogs of Winter
    The Last Gladiators
    Paradise Lost 3: Puragtory
    Paul Williams Still Alive
    Pink Ribbons, Inc.
    Sarah Palin: You Betcha!
    The Story of Film: An Odyssey
    Surviving Progress
    The Tall Man
    Whores' Glory

    Special Presentations

    11 Flowers
    Afghan Luke
    Burning Man
    Cafe de Flore
    The Cardboard Village
    Chicken With Plums
    Damsels in Distress
    Dark Horse
    Death of a Superhero
    The Deep Blue Sea
    The Descendants
    Edwin Boyd
    The Eye of the Storm
    The First Man
    Friends With Kids
    Habemus Papam
    The Hunter
    In Darkness
    Jeff, Who Lives at Home
    Killer Joe
    Life Without Principle
    Like Crazy
    Low Life
    Martha Marcy May Marlene
    Monsieur Lazhar
    The Moth Diaries
    My Worst Nightmare
    The Oranges
    Pearl Jam Twenty
    Salmon Fishing in the Yemen
    A Simple Life
    The Skin I Live In
    Sleeping Beauty
    Take Shelter
    Ten Year
    That Summer
    Violet & Daisy
    Warriors of the Rainbow: Seediq Bale
    We Need to Talk About Kevin
    Where Do We Go Now?
    The Woman in the Fifth
    Wuthering Heights

    TIFF Kids

    First Position
    The Flying Machine
    A Letter to Momo
    A Monster in Paris


    Carre Blanc
    Doppelganger Paul
    Generation P
    Hidden Driveway
    I Am a Good Person/I Am a Bad Person
    Love and Bruises
    Oslo, August 31st
    The Year of the Tiger


    Century of Birthing
    Dreileben: Beats Being Dead
    Dreileben: Don't Follow Me Around
    Dreileben: One Minute of Darkness
    Fable of the Fish
    House of Tolerance
    The Last Christeros
    The Loneliest Planet
    Monsters Club
    The Mountain
    This Side of Resurrection
    Last edited by bushra0712; 15-09-2011 at 09:58 PM.

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    Best Bets

    The Ides of March

    A portentous title and a cast laden with former awards and accolades makes this George Clooney-directed film on the “must see” list. Stars Ryan Gosling as an experienced staffer working for a charismatic presidential candidate (Clooney), who uncovers some seamy truths and gets his own taste of power. Also with Paul Giamatti, Philip Seymour Hoffman, Jeffrey Wright and Marisa Tomei. .

    Ides Tidbit: The film has been co-adapted by Clooney-collaborator, co-producer and longtime character actor Grant Heslov. On the DVD commentary for Good Night, and Good Luck. (2005), George Clooney says that shortly after he met Heslov in 1982, Heslov loaned Clooney $200.00 to buy his first set of headshots, and they have been friends ever since.

    PS: Those who actually read Shakespeare’s “Julius Caesar” in high school will know what the title is getting at…and be even more intrigued.


    A Dangerous Method

    [Update: Word has it from early screenings that Method really doesn't have much of a method, or a point, despite some fine performances. It remains to be seen, however.]

    Toronto-native David Cronenberg (A History of Violence, Dead Ringers, The Fly) premieres his new film at TIFF and it, too, bears the hallmarks of a great film. It’s an adaptation by Christopher Hampton (Dangerous Liaisons, The Quiet American, Atonement) starring Michael Fassbender as philosopher/psychoanalyst Car Jung and Viggo Mortenson as Sigmund Freud as they find themselves at odds as to the treatment of a tortured, sexual Russian woman, Sabina Spielrein, played by Keira Knightley.

    Dangerous Tidbit: The film looks to be able to claim, “based on a true story” without shame as Spielrein was one of Jung’s first patients at his earliest appointment as a doctor. Avoid looking up Spielrein, however, if you don’t want some serious spoilers about this fascinating tale.
    Last edited by bushra0712; 12-09-2011 at 10:37 PM.

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    Best Bets (Contd.)


    [Update: This year’s Social Network for the baseball set Moneyball chalks up another sturdy, nuanced performance by Brad Pitt who may be, much like a his character, Oakland A’s general manager Billy Beane, more valuable in the front-office than on the field. He produced Moneyball and, as he’s been wont to do, hires a smart director in Bennet Miller, who needs to work more. The film, which can be added to the short roster of movies that successfully mythologizes, yet doesn’t coddle, our cherished pastime, also helps explain that rarest of breeds, the cross-pollinated bleacher nut who takes stats while wrapped in their team’s colors.]

    It isn’t actually the participation of Brad Pitt, Robin Wright or Jonah Hill that gets us excited about this film based on the Michael Lewis best-seller. It also isn’t the story, which is how perennial also-rans, the Oakland A’s, used logistics and statistical analysis to field a winning team. It’s the participation of great screenwriters Steve Zailian and Aaron Sorkin and direction by Bennett Miller, whom we haven’t heard from since 2005′s Capote. Miller also created the wonderful doc. The Cruise so we’re curious and excited to see how all that promise fleshes itself out.


    The Descendants

    The buzz out of Telluride says that this second film with George Clooney is another winner for him and will eclipse his own directorial effort, Ides of March. Director Alexander Payne, who made Election (and About Schmidt and Sideways) and whose films therefore get a lifelong presumption of quality, supposedly has another smart, funny film on his hands.

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    The Awakening

    Boasts two actors that we adore that are woefully under-appreciated, Rebecca Hall and Dominic West.

    Hall plays a widow who, in the aftermath of WWI and deep in her own grief, sets out to expose seances and other paranormal activity as hoaxes.

    When she is summoned to a boys’ boarding school, however, she is forced to re-evaluate her beliefs. Directed by Nick Murphy (who did some memorable and engaging Primeval episodes), co-written by Murphy and Stephen Volk, who also wrote the creepy Gothic and the weird but memorable The Kiss.


    Page Eight

    The closing night film of the festival is Page Eight. Bill Nighy plays Johnny Worricker, an MI5 officer whose perspective of the organization is profoundly changed when his boss and best friend (Michael Gambon) dies suddenly and leaves with him a secret file. Meanwhile, Johnny’s striking next-door neighbor Nancy Pierpan (Rachel Weisz) takes an interest in him. Written and directed by David Hare (The Hours, The Reader), also starring Ralph Fiennes and Felicity Jones.

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    Mess or Masterpiece?


    One has to assume it was a crack script that attracted the array of talent to Brit director Jim Field Smith‘s film. How else to explain the presence of Jennifer Garner, Hugh Jackman, Olivia Wilde and Ty Burrell to this tyro effort about a butter carving competition?


    What attracted Maggie Gyllenhaal, Hugh Dancy, Felicity Jones, Rupert Everett and Jonathon Pryce to this film about the invention of the vibrator? We hope it’s hysterical.


    Jennifer Hudson (!) portrays Winnie Mandela, the controversial wife of Nelson Mendela, played by Terrence Howard (!). Directed by Darrell Roodt, the South African helmer who appears to have a lock on any film made in or about the area, including Cry, the Beloved Country, Dangerous Ground, and Sarafina!


    There’s also a new Michael Winterbottom film, Trishna, about the daughter of a rickshaw owner (Freida Pinto) who falls for a scion of a property owner.


    Francis Ford Coppola has a world premiere with Twixt starring the Val “watch as I waste my talent and screen presence” Kilmer, as a writer whose book tour takes an unexpected twist when he gets involved in a murder. Those who were bludgeoned into not trusting Coppola after Youth without Youth and then coaxed back to him with the unexceptional yet intriguing Tetro are waiting to see if Coppola can start challenge himself with the experiment of making good films again. Also stars Bruce Dern, Elle Fanning and Ben Chaplin.


    Fernando Meirelles, the director of City of God and The Constant Gardener, uses Arthur Schnitzler‘s La Ronde as his inspiration for a globe-trotting rondelet of characters and stories with Jude Law, Anthony Hopkins, Rachel Weisz and Ben Foster.

    Violet and Daisy

    Geoffrey Fletcher, the Oscar-winning screenwriter of Precious, has Violet and Daisy, described as a “whimsical story of a teenagers’s surreal and violent journey” through New York. How one manages whimsical violence remains to be seen. Starring Saoirse Ronan and Amber Tamblyn, with Marian Jean-Baptiste.

    Last edited by bushra0712; 12-09-2011 at 11:26 PM.

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    Known Quantities

    The Artist: Michel Hazanavicius’s mostly silent film won the hearts (if not the minds) of those who saw it at Cannes; I found its middle saggy. It’s A Star is Born premise has George Valentin, a silent movie star who falls for a perky ingenue but despairs as talkies come and she eclipses him.


    Sleeping Beauty: Emily Browning stars in Julia Leigh’s controversial film about a somnambulistic bordello. People were either creeped out but impressed or bored and unimpressed (and still creeped out).


    50/50: Jospeph Gordon-Levitt allows his character to be flawed and unlikeable in this film about a young man facing cancer and “50/50″ chance of survival. Characters are allowed frailties and self-interest comes to the fore. Anna Kendrick is winning and Seth Rogan is in full lout mode, though a lovable one.


    We Need to Talk About Kevin: People describe Lynne Ramsay’s new film as wrenching (it debuted at Cannes) but they also cite another standout performance by Tilda Swinton as the mother of a child who commits a horrific act.


    Drive: Nicolas Winding Refn won Best Director at Cannes for this violent tale about a stunt driver (Ryan Gosling) who takes on a job he shouldn’t.

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    TIFF’s Opening Night

    Davis Guggenheim‘s documentary about U2, From the Sky Down, opened the fest. Having a rock documentary at Toronto is a bit like having Kid Rock play at the opening game of the NFL season (which also happened last night). While you understand the attraction and find it amps up the wattage of the event, it feels a bit out of place and superfluous. The film, in the pantheon of great rock-umentaries (it’s not a concert film), however, will not be a mere sideshow. Though very talky, and perhaps even tending toward too much navel-gazing, From the Sky Down does give a keen insight into a band on the brink. Guggenheim does a very credible job dissecting what is, in essence, U2′s mid-life crisis, which took place after “Rattle and Hum” and during the creation of “Achtung Baby.” The title comes from a quote from Bono, “When you live life as a composer you’re building from the sky down” which, out of context, sounds ego-maniacal, as do the title cards where U2 is referred to as the capitalized “The Band”. But watching the four artists try to tear down the very legacy that made them famous is ennobling and instructive. Hearing those famous Edge riffs and watching the creation of “One,” which both Bono and the Edge both seem to later rediscover, is chilling and wonderful.

    There’s little doubt that the most compelling reason to open Toronto with Sky Down is because freakin’ U2 will show up!! That kind of hysteria surrounded the premiere at Roy Thomson Hall last night where the band showed up to announce the film and that scene, a band being feted by worshipful fans and filmmakers, will likely be repeated several times from now until the close of festivities on the 18th.

    Musician Neil Young Arrives at the premiere of Neil Young Journeys

    There are a number of potential hagiographies at Toronto including Cameron Crowe‘s Pearl Jam Twenty and Jonathan Demme‘s Neil Young Journeys, his third Neil Young-themed film (Heart of Gold and Neil Young Trunk Show being the other two).

    Last edited by bushra0712; 14-09-2011 at 07:05 PM.

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    tiff. starts rollin'

    The big draws at TIFF have been the Moneyball premiere and The Ides of March premiere. Moneyball brought Brad and Angelina, Philip Seymour Hoffman, Jonah Hill and Chris Pratt (and his wife, Anna Faris).

    Ides of March drew George Clooney, Ryan Gosling, Marisa Tomei, and Paul Giamatti. Both premieres included shrieking fans but, perhaps most interesting to me was that the person who drew the most coordinated chants of their name from the crowd? Brad? Nope. George? Nope. It was Gosling. “Ryan. Ryan. Ryan” rang out around the Roy Thomson Hall long after the red carpet had closed. The King is Dead. Long Live the King.

    A Dangerous Method, I heard the best review of the film when someone said: “It’s an intelligent, witty script about psychology and philosophy, with hot spanking scenes.” Though I was hoping for something a little more transcendent with Method, I had to agree with the moviegoer. The film is a series of discussions over the years about morality and matters of the brain (and one would probably be smacked down if one said “of the heart”). The first fifteen minutes with Keira Knightley acting the mad Russian woman drew snickers from the audience when she trilled out, “Herr doctor” and she practiced a pursed Renee Zellweger face until it began to make me wince. But once the film gets going and her character is allowed to relax she’s much more digestible. One does feel for the actress. She’s figuratively and literally naked in this film and it’s a brave role for her. Fassbender continues to build his estimable persona and Viggo Mortensen sits back with all the best lines as Sigmund Freud.

    Private Snafu was a propaganda character used by the Army in WWII to illustrate incompetence. Future schools of journalism will not need such a fictitious creation because they already have the films and the work of director Nick Broomfield. His documentary, Sarah Palin, You Betcha!, is the kind of lame trash we’ve come to expect from the filmmaker, a kind of smear campaign where the smearer gets as much, if not more, befouled as the smear-ee. Once again, Broomfield announces his surprisingly quick captivation with his subject, this time the former governor of Alaska but, unlike Eileen Wournos or Heidi Fleiss, who appeared to beguile him over a longer period of time, in You Betcha it happens while Broomfield is in line for one of her book tours.

    A Palin documentary could have had teeth and made larger points about why people identify with this personality and politician but in the hands of the hapless Director Snafu, Nick Broomfield, it’s one idiot against another.

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    TIFF Report

    The films are rolling in.
    Here’s some first-hand experience and some third-hand hearsay about the films at the fest:

    Your Sister’s Sister

    Writer/director Lynn Shelton leads Mark Duplass, Emily Blunt and Rosemarie Dewitt in one of the best received films at Toronto by an audience so far, Your Sister’s Sister.
    Shelton continues to create, along with her actors, dialogue and situations that are funny, sexy and engaging with a particular regional vibe, capturing the cadence, the halting pauses and passive/aggressive pitch of the Pacific Northwest.
    Duplass creates a lovable schlub whom, unlike even some of the schlubs he’s created in the past, is lovable. You miss him when he’s not in the picture. Here’s hoping this small-ish film can find a large-ish audience.



    Steve McQueen‘s highly anticipated follow-up to Hunger, which starred our new favorite actor Michael Fassbender, who also stars here. It’s described as very difficult to watch but excellent in execution, much like Hunger. Fassbender plays Brandon, a feckless, horny, dissolute New Yorker whose life is thrown out of balance when his wayward younger sister, played by Carey Mulligan, moves into his apartment.


    Actress/director Sarah Polley‘s Take This Waltz is also getting pained raves. It stars Michelle Williams, Seth Rogen and Luke Kirby and though the write-up pushes the romance and humor it’s been described as meditative and dark, and those who praise it explain that it forced them to confront their own failings as husbands, wives and lover.


    Anonymous, the “who wrote Shakespeare’s works?” movie is getting begrudgingly firm positive notices. Why begrudging?
    Because it’s by disaster-director Roland Emmerich.
    Let’s repeat that: Anonymous, is a “who wrote Shakespeare’s works?” movie by disaster-director Roland Emmerich and people like it.

    Given that Emmerich’s movies are complicated set pieces it will be fascinating to see how he works with a tightly configured and constrained drama. Stars Rhys Ifans, David Thewlis, Joely Richardson, and Vanessa Redgrave. Yes, Thewlis and Redgrave in an Emmerich film!


    Friends With Kids

    An ensemble cast gives a great opportunity for Adam Scott to show his range, Jon Hamm to deliver a great soliloquy, Megan Fox to be funny (really!) and Chris O’Dowd to steal every scene he’s in. Writer/director Jennifer Westfeldt (Kissing Jessica Stein) almost had a bonafide hit here but this script needed one more scrub; it wasn’t ready.


    The Oranges

    by Julian Farino is Blame It on Rio without the humor and without Michael Caine (hell, or even without Michelle Johnson). With Leighton Meester (okay, that’s not fair, she’s not half-bad) and Hugh Laurie .



    Eddie Redmayne shows himself to be the real deal in Hick, a combination of overt charisma and quiet energy. Otherwise, Hick is loathsome little film, remarkable only in its ability to make a Jim Thompson-type true crime story that doesn’t ask anything particularly unrealistic or outlandish seem perpetually stagy and unbelievable. Chloe Moretz is convincing as Taxi Driver jail-bait but it’s all in the service of a film that appears to be describing just how teenage girls end up in prostitution or pro. The most derided film at the festival so far.


    Like Crazy

    the Sundance award winner from Drake Doremus, star Anton Yelchin as Jacob, an American, and Felicity Jones as Anna, a Brit, meet at college in Los Angeles and fall madly in love. That love is tested by time and tide when Anna returns to London, and the couple is forced into a long-distance relationship. Things as simple as time zones become the enemies of something as powerful as love. At least that’s what I thought it was about. It’s not. What it is about is sneakier and more mature than you can imagine and it has me reflecting on this intriguing indie from Doremus.


    Unfortunately sounding a lot like the shlockly Hobo with a Shotgun, Machine Gun Preacher couldn’t be more diametrically opposed. It’s directed by Marc Forster (Monster’s Ball, Finding Neverland) in a true story of violence and redemption, about Sam Childers (Gerard Butler), a drug-dealer who undergoes an astonishing transformation and finds an unexpected calling as the savior of hundreds of kidnapped and orphaned children. People say it’s very good but extremely harrowing and tough sledding.

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    The Trouble with Trishna

    Whoever said the good thing about a bad Michael Winterbottom film is the fact that you don’t have to wait long for his next work might have just walked away from Trishna, a modern-day India interpretation of the novel Tess of the d’Urbervilles, Winterbottom’s third Thomas Hardy adaptation after Jude and The Claim. It’s a liberal take on the material – a streamlined narrative stripped of enough prominent characters that the inevitable book vs. film debate is groundless. While the director’s aesthetic is at its most immersive and the story and its pacing engage early on, the entire work flattens out for a dozy middle section that makes the tragic third act feel like a relief instead of an ending that’s proportionate to the audacity required to take on the work. At the most, Winterbottom reminds us that all the film world needs is Polanski’s Tess.

    Freida Pinto plays the titular character, the eldest daughter of a humble family living in Rajasthan, whose fate becomes tied to Jay (Riz Ahmed), a Londoner on vacation who becomes enchanted by Trishna at first sight. Their relationship — formal at first, then passionately young and dramatic — first develops as Trishna works at Jay’s father’s hotel in far-away Jaipur. Ashamed after making love for the first time, Trishna flees for home, where her relationship with her family soon changes as she begins to experience morning sickness … Jay locates her, and their coupling hits its stride as the lovers run off to Mumbai to live in the open as an unmarried couple.

    After a too-brief blissful period, a family crisis and Trishna’s revelation about her abortion cast doubt over their future, as Jay returns to London to care for his ailing father. By the time they reunite a second time and return to Rajasthan, Jay’s maleness has been wounded and Trishna has glimpsed a possible self-sufficient future, yet they are forced to live clandestinely at a new hotel. Trishna labors in formal garb, Jay reads and smokes hash, becoming a monster in the process, Trishna’s worst oppressor.

    The jump from this paralyzed state to their relationship’s fatal end is a bit questionable, but I realized I had been checked out for possibly an hour as the knives literally came out. Let’s just say there’s no happy Slumdog ending to be experienced here. Also: I’ve never seen an audience leave a theater faster and with nothing to say.

    Winterbottom excels at taking snapshots of daily life, and his portraits of contemporary India are honest and not overworked. Here, he goes on to show ways in which youth culture is clashing with tradition, though many of his Mumbai characters are more interesting than Jay but not as captivating as Trishna.

    That’s my main problem with the film at this time: Pinto’s beauty is the true star. Most everything else feels maladapted, and the pacing is stodgier than your average period piece.

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    'Mausam' screenings at Toronto film fest cancelled

    The screenings of Shahid Kapoor and Sonam Kapoor starrer "Mausam" at the ongoing Toronto International Film Festival has been cancelled due to censor delays in India, the organisers said.

    "We are extremely disappointed that the studio has informed us that the film will not have received the necessary regulatory approvals in India, forcing us to cancel all screenings of 'Mausam'," Cameron Bailey, co-director of the festival, said in a statement.

    "Toronto audiences have been powerful champions for the promotion and growth of Indian cinema abroad and it's a shame that our festival audiences will be left disappointed."

    The festival was informed Tuesday that the studio, Eros International Media Limited, has a memorandum of understanding in place with the Indian Air Force giving them final approval on the film prior to clearing the Indian censor board. That approval will not be possible prior to Wednesday's scheduled world premiere screening. As a result, all screenings of the film will be cancelled.

    "We are very disappointed not to be able to present the world premiere of 'Mausam' in Toronto and accept full responsibility for our absence," said Sheetal Talwar, producer of the film. "We ran into a delay getting approvals from the Indian Air Force and the Board of Film Certification in India."

    Ram Mirchandani, chief creative officer at Eros International said: "Mr. Pankaj Kapoor, Shahid Kapoor and all of us behind the film send our deepest apologies to our audiences in Toronto."

    Three screening of the film were scheduled and the money of those who purchased tickets for "Mausam" on Visa will be automatically refunded.

    For cash and debit purchases, buyers have been asked to take thier ticket(s) to the festival Box Office for a full refund. Tickets redeemed as part of a package become vouchers which can be exchanged for another screening of the same value.

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    The Descendants: favorite film of the festival (Your Sister’s Sister, second favorite) will also likely be responsible for George Clooney getting his Best Actor Oscar. At first one wonders where director Alexander Payne (Election, About Schmidt and Sideways) is going as Clooney’s ineffectual, put-upon character is treated and talked-to shabbily by all around him. Much like Jack Lemmon‘s role in Save the Tiger, however, his innate courage and decency shine through resulting in a satisfying, ennobling, adult film.

    Page Eight: I have no idea why Page Eight is the closing night film of the festival. Heck, it’s nearly out on DVD. Regardless the film harks back to great Cold War mellers The Spy Who Came in From the Cold or The Ipcress File but with much, much, much less going on.Bill Nighy turns in a dry, witty performance and Rachel Weisz has to kiss him but writer and director David Hare (The Hours, The Reader) keeps his upper lift so stiff that my patience was tried.

    Butter: There’s nothing like a fair political and social satire and Butter, a sneering film, is nothing like a fair political and social satire. Middle America is depicted as one long strip-mall of avarice, lust and stupidity. Well, conservative middle America is anyway. Jennifer Garner slips into a Sarah Palin lilt as she bulldozes her way into a butter carving competition. The best surprise here was the comedic chops of Olivia Wilde, who plays a sexy stripper who exploits every opportunity she’s given.

    Hysteria: The cast is very engaging, particularly Maggie Gyllenhaal and Hugh Dancy (please, please, please, someone find this fine actor a worthy leading role!) but Hysteria, a film about the invention of the vibrator, fails to gel at any given moment; it’s more like an entertaining pamphlet from the Salvation Army. Rupert Everett looks like his face has been buffed on the “Jolly Old Saint Nick” setting and should fire his plastic surgeon and damn him for not letting himself age gracefully anyway.

    Trishna: Michael Winterbottom‘s new film based upon Thomas Hardy’s Tess of the D’Ubervilles reminds me more of his film In This World than either of his past Hardy adaptations, Jude or The Claim, as his focus seems to be driving home the environment, here the culture of India and the caste system rather than investigating the characters. Freida Pinto captures every scene she’s in and she continues to mature as an excellent, rounded actress.


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