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Review: Ron Howard’s “Rush” with Chris Hemsworth as Rock Star Driver

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From the Toronto Film Festival, Monday morning: First the good news. Ron Howard’s “Rush” is an adrenaline packed success for the director of “Cocoon,” “Apollo 13,” and “A Beautiful Mind.” Even if you don’t care about Formula 1 racing, you’re going to love Howard’s recounting of the famed 1976 rivalry between rock star blond god James Hunt and the determined Austrian Niki Lauda.

Working with an impeccable Peter Morgan script, and cinematography from the amazing Anthony Dod Mantle, Howard has made one hell of a crowd pleasing movie. I dare say that under proper conditions with a real campaign, the movie and actor Daniel Bruehl, who plays Lauda, would be in awards contention.

Lauda, if you don’t know, was in a terrible accident that year on the track. He suffered jaw dropping burns to the face and head. And still he came back to the race circuit. Hunt died in 1985 from a heart attack. He followed the motto Live Fast, Die Young and leave a pretty corpse. Chris Hemsworth is sure to attract the female audience into “Rush.” He’s the new Robert Redford-Brad Pitt, with long blond locks and the looks of a young Viking god.

“Rush” should be the rare exception to the rule that American films needn’t have a good story to play in foreign territories. It will be a smash, and it’s good.

By the way, at the premiere at Roy Thomson Hall, members of Hunt’s family, and Lauda himself made appearances. On stage, Lauda– a brave, brave guy– said he never realized the impact his own facial scars had on people until he saw the movie and saw the way an actor reacted to his character. It was a rare moment of self-realization shared with the general public– and nearly 40 years after the accident.

Review: “Mandela” Movie Rocks Toronto in Oscar Bid

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“Mandela: Long Walk to Freedom” premiered last night in Toronto to standing ovations and a lot of tears. It doesn’t hurt that star Idris Elba has become something of a rock star from his BBC series, “Luther.” He gives an Oscar worthy performance as Nelson Mandela, carrying the sweeping epic on his shoulders in just about every frame in Justin Chadwick’s knockout film.

Everything about “Mandela” is a home run, which was clear from the response at Roy Thomson Hall.  It also makes Elba now one of four possible black candidates for Best Actor this year– including Chiwetel Ejiofor from “12 Years a Slave,” Forest Whitaker as “The Butler” and Michael B.Jordan in “Fruitvale Station.” No kidding– this is now extremely possible given the magnitude of all the performances.

“Mandela” is more than just Elba, although it’s hard to imagine the movie without him. He gets Mandela’s voice, walk, and comportment beautifully without making the performance an imitation. What Chadwick does so well with the whole movie is to make Mandela’s well known saga feel fresh, and frightening, as the civil rights leader spends 27 years in prison separated from the world and his family.

You can’t help but think about the parallels between Mandela’s plight and those suffered by the main character in “12 Years a Slave”– and realize they are in different centuries. Those 12 years are from 1841-1853. You would think human beings would have evolved in the next 100 years, but South Africa in 1953 was no different. And Mandela’s cruel incarceration seems even more destructive than ever. How could people be so stupid?

But Mandela is a man of peace, and not recriminations. When he’s finally released, and takes control of South Africa, he does everything he can to avoid civil war. Chadwick doesn’t gloss it over– the violence that followed the end of apartheid is depicted faithfully. But he never takes his eye off the main theme– and the result is a movie that will be a beacon of hope for everyone who watches it.

There are wonderful supporting performances, too. The largest of course is Naomie Harris as Winnie Mandela. We have two Winnies right now. Jennifer Hudson gives an amazing portrayal of the controversial First Lady in the current “Winnie,” which gives a little more detail and nuance to Winnie’s incarceration and path to corruption. That story is very much present in “Long Walk to Freedom” as well, and may be a little kinder. Both Harris as Winnie and Terry Pheto as the first Mrs. Mandela, Evelyn, are sensational assets to Chadwick’s ambitious, David Lean like achievements.

The sweep of “Mandela” is impressive, and it’s going to be on every top 10 list this fall.

 

 

Toronto: “Parkland,” with Jeremy Strong as Lee Harvey Oswald, “Railway Man” Make Strong Debuts

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I’ll update this later.But suffice to say that “Parkland” and “The Railway Man” each had strong debuts last night. “Parkland” is the strongest movie ever made about the JFK assassination, with Paul Giamatti outstanding as Abe Zapruder, the man who filmed it all and began famous forever; and two knockout performances– James Badge Dale as Lee Harvey Oswald’s brother and Jacki Weaver as their mother. Jeremy Strong is indelible as Oswald, unforgettable.

Director Peter Landesman throws out all conspiracy theories and concentrates on facts. He’s done a sensational job. There are lots of smaller roles, most especially interesting Marcia Gay Harden as the ER nurse, and Billy Bob Thornton as the local chief of the Secret Service. Tom Welling, trapped on TV forever as Superman, makes  good turn here too.

“The Railway Man” takes place in World War II, in Australia and Scotland. It’s a true story, starring Colin Firth and Nicole Kidman. This is a big deal old fashioned film, beautifully made and acted. It deserves a good home. I think audiences are hungering for this kind of filmmaking a la “Out of Africa” or “The Quiet American.”

Toronto: “12 Years a Slave” is the “Schindler’s List” of the Black Experience

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The raves for Steve McQueen’s “12 Years a Slave” are completely accurate, I am happy to report. From a book published in 1853, McQueen has made– with screenwriter John Ridley and an amazing cast– the “Schindler’s List” of the black experience.

If you think it took around 30 years to get from “Fiddler on the Roof”– the sentimental account of the Jewish experience– to “Schindler’s List,” then it’s about the same amount of time since “Roots” told the gauzy version of slavery in America.

There is no kindly plantation owner in “12 Years a Slave” who’s coming to save everyone. You get that right away. This is the unvarnished and unflinching story. Yes “Django Unchained” was funny. But this movie offers no escape routes. If you are in a theater, you can look away occasionally, but you can’t retreat to humor for a respite. McQueen and Ridley have just laid the whole bare.

So the story is about Solomon Northrup, a black musician and Free Man in 1841, living in Saratoga, New York. He is successful and respected, has a beautiful wife and children. But he is lured to Washington DC and kidnapped into slavery–a rare story but a true one and Northrup published a memoir in 1853 about what happened to him. And that was seven years before the Civil War.

Chiwetel Ejiofor, long a favorite actor of everyone’s, is Solomon in a performance that will likely win him a Best Actor nomination and maybe a win. Remember this name. You’ve seen him in a lot of movies including a favorite of mine called “Talk to Me” with Don Cheadle. Ejiofor is only 36; I thought he was older because he’s had such a big following. His remarkable work here is going to be the talk of the year.

The other outstanding newcomer here is  Lupita Nyong’o who plays a save girl routinely abused by her masters (Michael Fassbender and Sarah Paulson, each excellent). Lupita is the breakout star of 2013, easily on her way to Best Supporting Actress nominations. (She can’t beat Oprah, but she’ll be in the mix.)

From there the supporting performances are all top notch, from Paul Giamatti to Benedict Cumberbatch, Paul Dano, Scoot McNairy, and a knockout cameo from Alfre Woodard.

The truth of “12 Years a Slave” is going to resonate same as “The Butler,” I think. And if that’s so, the box office will be just as big. This season we’re getting a huge chunk of Black History all at once, which is fascinating, In historical order it’s “12 Years a Slave,” “The Butler,” “Mandela,” and “Fruitvale Station.” For so long– forever, actually– these stores were not told at all or represented in the culture. Now we’re getting a dam breaking, and the results are very exciting. They are all going to be in the Oscar mix too.

PS Brad Pitt’s company, Plan B, is the main producer. Pitt makes an extended cameo, and he’s very good. I can’t imagine anyone at a major studio funding this project without a star of Pitt’s caliber behind it.  Kudos to him and his group.

 

Toronto: Jason Reitman’s “Labor Day” Has a J.D. Salinger Connection

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Since nothing should be without a J.D. Salinger connection: Jason Reitman’s “Labor Day,” which got its press outing this afternoon in Toronto, has one. It’s based on a novel by Joyce Maynard, who had an affair with Salinger when she 18 and he was 53. It’s an infamous story, and one which is included in the new “Salinger” film opening this weekend.

Reitman made the lovely “Juno” and the very pungent “Up in the Air,” two of my favorite films (and maybe yours, too). His last outing was with Charlize Theron in “Young Adult,” an ambitious movie that didn’t quite work because the main character (Theron) was so unlikeable.

“Labor Day” stars Kate Winslet and Josh Brolin with a cameo by James van der Beek. It is not an Oscar movie but it may be a commercial hit. The material is a little unusual for Reitman in that it is tepid and conventional with no real twist or “ah hah!” moment. Pretty much what you think will happen does, and that’s fine.

Reitman directs the hell out of every scene, and the actors are all top notch, especially Gattlin Griffith, the 12 year old who plays Winslet’s son. Basically, it’s a love story between two unlikely types: Winslet is a lost soul divorcee who allows Brolin, an escaped convict, into her home. He’s been in jail for murder, but guess what? He’s a master chef, carpenter, and lover. He plays ball with her kid, and likes kittens. Frankly, who cares if he killed someone or many people! He’s too good to lose.

Brolin spends Labor Day with mom and son, and they plan to run away. It’s 1982, so there are no cell phones or web alerts. Just occasional TV spots that say beware this dangerous man. Meantime, he’s cleaning the gutters and chopping scallions.

Of course the Brolin character has a sad back story, his incarceration is explained. But it’s the stuff of “The Notebook,” and not very convincing to a cynic like yours truly.

In the end “Labor Day” will play like a very intense chick flick. Everyone comes out of it unscathed. But it’s time for Jason Reitman to get back to edgier material.

Exclusive: Ricky Gervais NOT Touring with Coldplay, But Will Do Charity Show With Them

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EXCLUSIVE: On the red carpet at the premiere Thursday night at the Museum of Modern Art of Netflix’s new series “Derek,” written and starring Ricky Gervais, I asked the comedy genius behind “The Office” and “Extras” about reports [in the UK Sun and picked up elsewhere as fact] that he is going to take David Brent and bring his guitar on the road to play with pal Chris Martin of Coldplay on their next tour. (Currently Gervais’ Internet series, “Learn Guitar With David Brent,” is on YouTube.)

“No,” he said. “They’re actually going to play with me at a charity event. But I don’t know if that’s gone out because it’s a secret, so I don’t know where that came from.”

Gervais is a big animal lover who raises money for pet charity groups.

The red carpet was graced mainly by cast members from the hit Netflix prison life drama, “Orange is the New Black,” including Natasha Lyonne, Laverne Cox (Sophia), Dascha Polanco (Dayanara Diaz), a Lea Delaria (Big Boo), Samira Wiley (Poussey), Uzo Aduba (Crazy Eyes), Yael Stone (Lorna) and Matt McGorry (security officer John Bennett).

“Derek,” starring, written, directed and executive produced by the Emmy and Golden Globe award winner, is a very personal project for Gervais. He plays Derek, a gentle 50 year-old man who is an assistant at an old age home. Derek loves his work and the elderly people whose toenails he clips and hands he holds.

“It’s slightly more sincere than my previous work. In fact, it’s more sincere than most comedies,” Gervais told me. “ I’ve always snuck in pathos and drama in my work. You know ‘The Office’ wasn’t out and out comedy. It was about a man having a mid-life crisis.  It was a love story. ‘Extras ‘was about people who were friends. Fame interfered with their friendship,” he said. “The backdrops here is sort of sweeter, has more gravitas.”

The show has generated some controversy in England where critics say the show makes fun of the mentally challenged; Derek is often slack jawed and has facial tics. He may also have autism.

“I don’t think it’s controversial at all,” Gervais said of the show. “I think it’s incredibly sincere and sweet.”

There’s situational comedy, but Gervais is going for tears too. I cried as much as I laughed I told him. “That’s exactly right,” he said. “I think people are surprised about crying at a sitcom. But I don’t think it’s an obvious sitcom. I think it’s a comedy drama, just a very sweet little goofy show about some outsiders, and it’s quirky and very honest.”

As for who inspired Derek, he told me, “I suppose its sort of me, before you become aware,” he said. “He’s quite childlike and innocent and it’s going against all the cynicism. I’ve done like 10 years exploring fame in my work and I wanted to get back to ordinary people.”

The backdrop for the show he said were the people in his own family who were caregivers. “I’ve got years and years of stories from my mum, my sister-in-law, my sister, my niece and nephews now have gone into working in care homes, so I always try to write about what I know and they’ve told me stories I’ve been laughing at and crying at because it’s so sweet. They told me a story once, I can’t, it makes me well up,” he actually choked up a little trying to tell me a story one of his family members had told him. “An old man was sitting with his wife who was dying and he was singing, ‘You Are My Sunshine.’” Beat.  “I might do that in the show. How sweet is that? It’s just, uh!” He looked verklempt and put a hand on his heart.

Finally I asked about the inspiration for Derek’s shlubby caridgan  and his long hair, which he combs  down over his forehead. He sort of resembles Moe of the Three Stooges

“I love it. Yeah. It’s good,” Gervais said. “I’d walk around in sweatpants and a jumper with my hair forward all day if I could. It’s so refreshing.”

Porn Scorn: “Lovelace,” “Canyons” Are Box Office Bombs

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It should have been the summer of porn. There was certainly A LOT of publicity for Paul Schrader’s “The Canyons” and “Lovelace,” directed by Rob Epstein and Jeffrey Friedman. “The Canyons” had Lindsay Lohan and an actual porn actor, James Deen. “Lovelace” had an all star cast with Amanda Seyfried getting very good reviews as the erstwhile porn star who claimed she was forced to make the most famous adult movie of all time, “Deep Throat.”

But summer is over. “The Canyons” made a total of $50,000. “Lovelace” has taken in $354,764. Their 30 day runs in theaters are pretty much over. The rest of the money has to be made through either VOD or DVD. No one wanted to see them.

The makers of “50 Shades of Grey” should keep this in mind. Porn has never gone mainstream, really. It’s a home viewing event. Even under a raincoat, no normal person wants to watch very tawdry stuff with a room full of friends.

And apparently it doesn’t matter how much press the movie gets. Because these two films got hours and hours of time on TV and plenty more web and print press. But even very high recognition didn’t help.

It should be noted that “Shame,” Steve McQueen’s film about Michael Fassbender full frontal and getting it on every which way, made just $3.9 million in the US. It did rake in another $14 mil abroad. But the whole thing turned out to be a terrible shame, and a great Oscar punchline for George Clooney.

Katy Perry Does the Jungle Boogie in New “Roar” Video

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Katy Perry is ramping up for her new album. Today she launched the video for her new number 1 song “Roar.” Lions and tigers and bears! Katy goes all jungle boogie in this very well produced, not in the least provocative short film. Lady Gaga, the ball is in your court!

Exclusive: Star Wars Casting Call Goes Out in New York for 3 Main Roles

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“Untitled Studio Feature” is the way it’s billed today in casting sheets. But “Star Wars,” Episoede 7, is looking for three principal actors in New York. The giveaway: the director is J.J. Abrams and the studio is Disney. This is who they’re looking for:

[YOUNG MAN] Early 20s. Handsome, but not necessarily heroic. He is witty and smart. Physically fit.
[MAN] Late 20s. Physically fit, handsome and confident.
[YOUNG WOMAN] Late teens. Physically fit, raw energy, independent and with a great sense of humor.

In June a similar casting call went out in Los Angeles for these three, a little differently worded, plus a few others. It read like this:

Late-teen female, independent, good sense of humour, fit.

Young twenty-something male, witty and smart, fit but not traditionally good looking.

A late twentysomething male, fit, handsome and confident.

Seventy-something male, with strong opinions and tough demeanour. Also doesn’ t need to be particularly fit.

A second young female, also late teens, tough, smart and fit.

Forty something male, fit, military type.

Thirtysomething male, intellectual. Apparently doesn’t need to be fit.

So one can assume that Abrams found some of these people. It does sound like these are the progeny of Luke Skywalker (and someone), of Princess Leia and Han Solo.

Stay tuned…

Special Oscars Go to: Angela Lansbury, Angelina Jolie, Steve Martin, Piero Tosi

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The Academy of Motion Picture Arts & Sciences has announced the Governors Awards, aka Special Oscars for Lifetime achievement or humanitarian acts. They are a little surprising but the Governors knew what they wanted. The least surprising is Angelina Jolie for the Jean Hersholt Award. Jolie is relatively young, but she’s shlepped all over the world and into dangerous places on humanitarian missions. She definitely deserves something. Plus her battle with cancer was a watershed moment because it opened a discussion worldwide.

The special Oscars go to Angela Lansbury, Steve Martin, and Italian director Piero Tosi. Lansbury is really a Broadway and TV icon. Her movie career, with “The Manchurian Candidate,” is good, but it’s not really a Hollywood legend. Anyway, everyone loves Angela Lansbury.

Steve Martin? He’s made a lot of good movies, he’s very funny, and has a great art collection. His selection is out of left field, but maybe he’s representing all the “Saturday Night Live” people. His best film work was in “Grand Canyon,” I thought. And he writes terrific pieces for The New Yorker.

Tosi is a famous Italian costume designer who’s worked with many key directors. He has two Oscar nominations. His first film was in 1952.

What happened to Doris Day? I don’t know if they asked again and she turned it down again. But I know from being on committees there’s a lot of politicking. In the end, the four awardees are all very talented, and certainly deserve the honor.