Hey folks, Harry here... This year's Toronto doesn't seem to have the 800 lb Gorilla of a film that is gonna steamroll through Oscar-Land. I'm of the strong opinion that as of right now... There's only one film left unseen or untalked about that might be an outside underdog to upset RETURN OF THE KING's chances at next year's Oscars... However, I'm about to check it out, so I'll save the hyperbole. Right now, the best film that exists this year is AMERICAN SPLENDOR, and for some insane reason it wasn't a part of TORONTO this year, which is just a shame. I'm willing to bet it could have stolen ZATOICHI's audience award. And given that film the momentum it needed to at least grab a Best Actor award that it deserves. Here ya go with Art Snob...
Another year, another fest. This one was OK – there was a lot of decent stuff on exhibit – but ONG-BAK notwithstanding, it just didn’t seem to have the quantity of extraordinary stuff that previous festivals have had. In past years, you’d always have a “must see” coming out of the Cannes Film Festival – a film like AMELIE, BOWLING FOR COLUMBINE or CROUCHING TIGER, HIDDEN DRAGON. Not so this year. And none of the films in the main categories set off a major buzz DURING the festival either, as was the case in past years with films like RUN LOLA RUN, MEMENTO, REQUIEM FOR A DREAM, and CITY OFGOD. I spoke to a lot of other festival goers, and this pretty much seems to be the consensus … good fest, not great.
A few final takes:
Wonderland
Of films that you’ll definitely have a chance to see in theatrical release, this one was my favorite. Definitely my kind of sex, drugs and rock & roll movie. It could very well be the film that gets Val Kilmer’s career back on track. First rock legend Jim Morrison, now porn legend John Holmes … there’s no denying that he has a gift for playing self-destructive celebrities.
The film is shot in kind of an MTV film noir style, with many fast cuts and speeded-up shots against usually-dark surroundings. The story NEVER drags, even momentarily, and there are some pretty harrowing situations that come up. The subject matter is a major homicide case onWonderland Drive in L.A. in the early 80’s involving one gang taking out another as payback for an earlier armed robbery, with the washed-up, coke-addicted Holmes an accessory to both acts. My only complaint is that the story ends sort of abruptly, with a long, multi-page epilogue detailing what eventually happened to each of the characters.
I was REALLY impressed with the cast in this movie. I’ve never thought much of Dylan McDermott as an actor, but in this film he’s a MAJOR badass, light-years removed from his character in THE PRACTICE. Josh Lucas is one mean mother also, as is Eric Bogosian. As Holmes’ estranged ex-wife, Lisa Kudrow finally shows that she can actually ACT. And as Holmes’ current squeeze, Kate Bosworth effectively sheds her PG-13 “little surfer girl” image.
As for Holmes’ distinguishing characteristic: It makes a guest appearance, but only off-camera, with women’s reactions letting you know what the deal is. I guess that the prosthetics budget just wasn’t there.
Prey for Rock and Roll
This is a little film made on a modest budget that you can tell was a labor of love for all involved. It’s the story of an all-girlL.A. band whose lead member, played by Gina Gershon, is reaching the age where she has to make some hard decisions as to whether or not to go on. It’s based on the memoirs of real-life rocker Cheri Lovedog (who also wrote the songs) and is directed by first-timer Alex Steyermark, who’s been the music supervisor for dozens of feature films.
The film doesn’t glamorize the rock lifestyle – far from it. Instead it emphasizes the hard knocks that a band has to endure on the road to that ever-elusive recording contract: the hauling of heavy equipment…..the practice sessions in decrepit surroundings….the one-night stands that pay peanuts…..the day jobs that the members dare not quit. The trappings really feel genuine.
The cast – which includes Drea De Matteo, Gilmore girl Shelly Cole, and Lori Petty (who’s been pretty scarce since TANK GIRL tanked) as the other band members -- is excellent, but this is clearly Gershon’s picture. She’s the central character, does her own singing, and also does some very humorous voiceover narration. (Steyermark mentioned in the post-screening Q & A that nobody else was considered for the role.) She really shines in this part, which, combined with her Crystal Connors character in SHOWGIRLS, can only solidify her standing as teamHollywood’s top switch-hitter. (She goes down with a girlfriend early in the film, but late in the movie, she’s genuinely intrigued by a VERY unique male opportunity.)
The music is excellent also … there’s going to be a CD released shortly. The girls are very well-coached for the performance numbers, with the playing not looking phony at all. And with their wildly contrasting appearances, they genuinely LOOK like a girl band.
There’s humor, there’s tragedy, and there’s definitely ROCK in the course of a very tight storyline enhanced by the realistic surroundings. Consider this the antidote if you’re ever contaminated by exposure to JOSIE AND THE PUSSYCATS.
I’ll Sleep When I’m Dead
Clive Owen and director Mike Hodges team up a second time, following their success in 1998 with CROUPIER. This is a very straightforward revenge drama, heavy on atmosphere and ambiance, but a bit lacking in tension. Owen plays a former gangster who has left crime and city life for menial forestry work in the countryside. His younger brother, played by BEND IT LIKE BECKHAM’S Jonathan Rhys-Meyers, is a freewheeling small-time drug dealer who incurs the wrath of mobster Malcolm McDowell, suffers a major indignity, and winds up committing suicide while fully dressed in a bathtub. Drawn back to the city, Owen isn’t satisfied with the coroner’s report, and gets a second opinion … one that reveals the nature of the indignity. From then on, it’s pretty much a detective drama as he draws ever closer to McDowell and revenge.
It’s not in a league with THE LONG GOOD FRIDAY or a Guy Ritchie gangster movie, but it’s still solid…..every bit as good as CROUPIER and Hodges’ other gangster movie of note, GET CARTER, if not better. And there’s an interesting extra: despite Owen’s claim that he isn’t interested in being the next James Bond, there are scenes late in the movie where you’d swear that he’s AUDITIONING for the role.
Till next year,
A.S.
