UPSTREAM COLOR:  Worth A Ticket – But Not If You Require Coherent Plotting I’d be lying if I said I really knew what the hell was going on in UPSTREAM COLOR, and yet the experience of watching it was surprisingly enjoyable, even gripping in an odd way.  Watching Shane Carruth’s film (he serves as […]

> When the inevitable US remake of the French thriller SLEEPLESS NIGHT arrives, it’ll benefit from some sharper dialogue (assuming the subtitles in Toronto were fully translating the original), a bit more characterization and a slightly more varied tone.  But the framework already exists for a solid action hit. The picture begins as a variant […]

  This year’s Toronto International Film Festival had a very solid line-up, so much so that although the titles below are listed in rough order of preference, even the worst of them is of some interest, very possibly worth seeing for those intrigued by the genre or filmmaker.  The Festival, as has been the case […]

  The screenwriter James Vanderbilt has made his directing debut with TRUTH, which premiered at the Toronto Film Festival tonight, and at times it’s clear that this is a writer’s movie:  Vanderbilt gives no fewer than three of his characters the opportunity for a Rousing Final Speech, something another director might well have toned down.  […]

  SATURDAY NIGHT (Columbia/Sony – Sept 27):  It’s easy to imagine a film about Saturday Night Live making a statement about the cultural, political and financial impact of the show, or recounting its long journey from being a shout of youthful abandon to one of the last remaining pillars of traditional broadcast television.  That isn’t the […]

  THE ROOM NEXT DOOR (Sony Classics – Dec. 20):  Pedro Almodovar’s first English-language feature is in keeping with his recent, more contemplative films (Pain and Glory, Parallel Mothers), but it’s even more restrained than those.  Based on a novel by Sigrid Nunez, it’s virtually a chamber piece for two actresses, Tilda Swinton (who’d previously starred […]

  IT’S WHAT’S INSIDE (Netflix – TBD):  The biggest sale of the festival as of this writing–a $17M paycheck from Netflix–was its most dynamite entertainment.  Greg Jardin’s feature writing/directing debut feels like Bodies Bodies Bodies was given an injection of The Last of Sheila‘s brains.  Note:  Jardin has asked that his central plot mechanism not be spoiled, which […]

  THE DISCOVERY (Netflix):  Charlie McDowell’s first film was the ingenious metaphysical farce The One I Love, so there was plenty of reason to eagerly anticipate his follow-up.  He (and, once again, co-writer Justin Lader) return to some of the same philosophical territory again with The Discovery, but with less pleasing results.  The main action […]