While the return of the Star Wars franchise in the form of The Force Awakens was wholeheartedly welcomed, Chapter VII raised a few red flags. The similitudes with A New Hope were numerous and conspicuous, enough to encourage the perception that the new trilogy may end up being a remix of the original one.
Rogue One: A Star Wars Story benefits from this brewing problem by delivering the most original tale of the Rebellion since Jedi. Sure, the structure is videogame-like and the plot contrivances can be more exasperating than exciting, but the characters are edgier and their interactions are a lot spikier than what we have become used to. Continue reading “REVIEW: Rogue One Is the Best Kind of Outlier”
Toni Erdmann (Germany, 2016): A Cannes sensation, Toni Erdmann has already been celebrated as one of the comedic achievements of the decade, even making its way into the 100 Best Movies of the 21st Century list, according to the BBC.
Guess what. It’s overrated.
Don’t get me wrong, Toni Erdmann is far from a bad movie, but the 160 minutes-long comedy doesn’t deserve such unrestrained praise.
Winfried, a music teacher and incorrigible joker, tries to reconnect with his daughter Ines, a serious businesswoman on assignment in Rumania. The prankster fails in his first attempt, so he brings out the big guns, namely his alter ego, Toni Erdmann. The character is an obnoxious bore, but at least gets a reaction from Ines, noticeably depressed but unaware of it. Continue reading “TIFF ’16 – Day 1: Toni Erdmann, Werewolf, The Commune, Neruda”
Gene Wilder died. He was old, I guess. 83…that’s old, right? Wilder hadn’t appeared on film since the ’90s. He “retired” from acting because the scripts he received…piles of them every year… weren’t good, in his opinion. Well, the script he received from Mel Brooks in ’73 was a dandy. So I celebrate, with just under a minute of my favourite movie of all-time.