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  • The Playlist
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    TIFF '11 Review: 'The Deep Blue Sea' A Beautiful, Woozy & Heartbreaking Tale Of Intense Passion

    "Beware of passion Hester, it always leads to something ugly."

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  • Spout
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    TIFF11: "Albert Nobbs" Is a Counterpoint of Strong Performances, If Not Much Else

    “We are both disguised as ourselves,” quips the boisterous and charismatic Dr. Holloran (Brendan Gleeson) to Albert Nobbs (Glenn Close) at a costume party, to which they have both come without fancy dress. Of course, this is for entirely different reasons: the good doctor seems to have no patience for this sort of high class frivolity, while Nobbs is working. The hotel may be throwing a costume party, but its employees must remain in their drab uniforms for the duration. This little hint of a deeper problem of class and with Holloran’s unsuspectingly astute observation about secrecy make up the thematic ambiguities that give “Albert Nobbs” an abundance of both heart and wit.

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  • Thompson on Hollywood
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    How Butter Used Bachmann, Highest-Paid Man in Entertainment, How NBC Snagged the Jackie O Tapes

    In an effort to promote the political satire Butter, whose reviews in Telluride and Toronto were less than stellar, the film's distributor Harvey Weinstein has raised the movie's political references to Michelle Bachmann in order to make a "blatant effort to make [Butter] into something people will be talking about," he wrote in a statement formally inviting the Republican politician to co-host the premiere of the film in Iowa in a few months. Weinstein asked one of the film's actresses, Olivia Wilde, to read the missive:In 20 years of coming to the Toronto Film Festival, I've never released a statement for a film. But I would like to take this moment to formally invite Republican congresswoman from Minnesota and Republican presidential candidate Michele Bachmann to co-host with me the big premiere of 'Butter' in Iowa in a few months from now.

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  • The Playlist
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    Ryan Gosling Likens 'Drive' To John Hughes, Super Hero Films & Brothers Grimm Fairy Tales

    Actor Talks The Process of Putting A Different Identity On What Was Once A Big-Budgeted Action FlickThis Friday is a big one for cinema fans internationally, as it sees the wider premier of two films that (hopefully!) will be vying for some serious recognition this coming awards season. And while it’s the U.K. audiences who will be basking in the glow of spy thriller “Tinker Tailor Solider Spy,” we here in the States can finally cash in those long held Fandango reservations to experience neo-noir/fairy tale/ode to Los Angeles “Drive,” a film that critics -- ourselves amongst them -- have been having a meltdown over since it premiered at Cannes last May. But for as cool and measured as the final product looks on screen, the process of adapting the James Sallis novel was a lengthy one. We recently had the chance to speak with producer and star Ryan Gosling about the film and how he, working with director Nicholas Winding Refn and screenwriter Hossein Amini took a once big budget Hugh Jackman vehicle (yes, really) and developed it into a romantic look at heroes, Los Angeles and in many ways, moviemaking.

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  • Shadow and Act
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    Andrea Arnold's "Wuthering Heights" Acquired For North American 2012 Release

    When it rains it pours... first Shame, then Yelling To The Sky, and now, Wuthering Heights... from The Hollywood Reporter:

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  • Thompson on Hollywood
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    Facebook Debuts Its First Film: The Perfect House

    The Perfect House, a horror anthology, will be the first film to debut on FlickLaunch, Facebook's new movie distribution platform. The first to be built on Facebook, FlickLaunch is intended to support indie filmmakers and connect them to a global audience without the prohibitive cost-barriers of traditional distribution.

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  • Shadow and Act
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    "Dark Girls" & "The Invader" Premiere At TIFF Today Making Cameron Bailey's Daily Picks List

    2 films we've written about on the site, and which elicited healthy numbers of comments cumulatively from you folks will make their world premieres at the Toronto International Film Festival (TIFF) today: Bill Duke's Dark Girls documentary, and Belgian immigrant drama/erotic-thriller The Invader, which stars Burkinabé actor Issaka Sawadogo. So I'm hoping to get some firsthand reactions to both films within the next 24 hours, which I'll share here.

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  • The Playlist
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    Review: 'Lion King 3D' Maintains All of the Majesty of the Original, With Added Dimensional Sparkle

    A few years ago, Disney planned a theatrical release for a 3D version of "Beauty & the Beast," using the cutting edge, post-"Avatar" technology that we've all come to know so well (and sometimes dread just as much). The conversion took place, at great expense, but the theatrical engagement (originally set for February, 2010) never materialized. Still, the studio pressed ahead (Walt always said that good ideas never die), and this week the studio's traditionally animated crown jewel "The Lion King," in a shiny new 3D format, will get a proper release – in 2,000 3D screens across the country. But what does a 3D version of a traditionally animated movie look like, exactly? And is it worth seeing again, with a 3D ticket surcharge no less?

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  • Thompson on Hollywood
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    In Contention Partners with Hitfix

    Kris Tapley's six-year-old In Contention Oscar blog is moving from indie status to a new home at rising consumer site Hitfix. It's a good fit for both partners. In Contention gets some resources and support and professional year-round ad sales, while Hitfix's Gregory Ellwood, who will continue to post at the site's Awards Campaign blog, adds a respected Oscar blog with loyal followers, who will presumably check out the site's other offerings and swell traffic. The site, which is aimed at the 18 to 34 demographic, reaches more than 2 million unique users monthly.

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  • Hope for Film
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    I Don't Do Panels. I Do Do Panels. I Am Doing A Lot Of Panels! What Am I Doing?

    I don't like panels. They can never be conversations. They are usually five people pushing separate agendas that have no relation to what the audience is looking to learn.

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