Review - Django Unchained (Tarantino, 2012) ****

 
In Quentin Tarantino's seventh film, the slavery-era set blaxploitation spaghetti-western Django Unchained, there is a chilly, winter-set scene where escaped slave Django (Jamie Foxx) and his German mentor Dr. King Schultz (Christoph Waltz) discuss the myth of a soldier climbing an impossible mountain to save a beautiful princess. Myth has always been a familiar motif in the two genres mashed-up to create what will probably be remembered as one of Tarantino's most powerful, funny and cinematically sumptuous opuses; we recall the swagger of the heroes in many a 70's funky action flick starring Richard Roundtree or Pam Grier and the legendary, mysterious cowboys of Sergio Leone westerns. Like a musician or DJ that can write a tune that yields a transcendent eclecticism, Tarantino writes and directs his films with a fervor that at once feels familiar but always carries the energy of a truly creative, original voice. Django Unchained is at once another reminder of Tarantino's fully formed intellect as a director of sublimely entertaining genre-subverting pleasures and an ode to the unmerciful, vengeful American hero.

At just under three hours, Django Unchained may try the patience of a fair number of filmgoers, but like Kill Bill and Inglourious Basterds, most will revel in the myriad of classically familiar archetypes and technical flourishes that inform the arguably-campy but shockingly brutal tone of the film. It is the epic tale of Django's excessively violent rise from slavery to save his wife Broomhilda (Kerry Washington) from the clutches of her new owner, the pretentious, flamboyant and powerful Mississippi plantation owner Calvin Candie (Leonardo DiCaprio, who delivers a stunningly memorable, award-worthy performance). Tarantino shoots among vast, desolate vistas, lensed by regular cinematographer Robert Richardson recalling The Good the Bad and the Ugly and sets scenes to an anachronistic, groove-heavy soundtrack that includes modern stars Rick Ross and John Legend alongside some old-school spaghetti-western inspired soul tunes. Django's journey is one that initially feels raw and new, but leaves us with a nostalgia that is instantly recognizable.

Tarantino's filmography has been consistently debated for its use of uncompromisingly bloody violence and harsh, sometimes intensely profane language. Here, the director outdoes himself, amounting to perhaps a self-lamentation on his own thirst for pulpy, transgressive material. In doing so, much like this year's The Cabin in the Woods, audiences will see a lot of their own bloodlust projected back onto them; accusations have already been flung, decrying Tarantino's pursuit to find new ways to explode human bodies with big guns and his extremely liberal use of the "N-word" out of the mouths of both black and white characters.

What matters most importantly is not that the film is historically "accurate" (reminder: this is the man that killed Hitler in his previous film), but that it reflects the inherently political and fundamentally American obsession with violent retribution as a means of conquering an oppressor. This is a theme that has carried through Tarantino's work since Kill Bill Vol.1, the director having now dissected the essential B-movie tropes of martial-arts films, World War II action flicks, spaghetti-westerns and blaxploitation films to unravel the underlying violence that permeates the quintessential hero's journey as a measure of their willingness to, as Django puts it so succinctly in this film, "get dirty." Django Unchained works so well and entertains so thoroughly because it wears pop-culture's absurdly twisted yearning for revenge right on its blood-splattered sleeve and asks crucial, heady questions about the cultural and historical implications of a dark time in American history.

TIFF 2012: Capsule Reviews

The Central Park Five
Dirs. Ken Burns, David McMahon, Sarah Burns
*** 

Ken Burns' documentaries have set the standard for in-depth analysis of the idiosyncratic traditions and transformative periods that have defined the socio-cultural history of the American west. But the through line that coarses through all of Burns' work has been the tumultuous, violent history of American racism, specifically the plight of African-Americans and the systemic inequalities that have informed their experience has an ethnic minority. Burns' new film,  The Central Park Five, is a straight-forward, but infuriating examination of what observers might call a modern public lynching; a story of racism set against the Crack epidemic that infected Black neighbourhoods in late 1980s New York City.

Directed alongside David McMahon and Sarah Burns (Ken's daughter), The Central Park Five tells the story of five ethnic NYC youths who were scapegoated by the NYPD and DA's office and subsequently imprisoned for the rape and beating of a Wall Street banker, attacked by a serial rapist while jogging through the city's storied park. Burns and company fashion the story as a product of the paranoid racial hysteria that captured New York in the summer of 1989, with the Crack epidemic reaching a violent climax and a sensationalist media subtly stoking the fire. This is a solid, straightforwardly engaging doc that works as a historical indictment; a reminder of the brutal, uncompromising American bigotry of centuries past and the power of optimism in the face of fear.

The Hunt
Dir. Thomas Vinterberg
*****

Thomas Vinterberg's (The Celebration) The Hunt is a spellbinding Danish drama about the extremes of love and the violent, irrational fear that grips those that love too much. Cannes Best Actor award winner Mads Mikkelsen (best known for playing the blood-crying heavy in 2006's Casino Royale) is emotionally shattering as Lucas, a handsome, masculine, respected Kindergarten worker whom is wrongly accused of a sexual encounter with his best friend and hunting mate's young daughter, sparking a small-town condemnation that spirals into psychological turmoil for Lucas and his teenaged son.

Vinterberg effectively casts no doubt on Lucas' innocence and the terrifyingly identifiable moral ambiguities that inform the paranoid, violent actions of his former friends and co-workers, bringing the viewer almost directly into the main character's shoes. This is a film that inspires frustration and anger in its depiction of group-think mentality as an irrational means of protecting loved ones; a scene inside a Church during a Chrismas Eve service is viscerally affecting as Lucas suffers a complete mental breakdown, set to the chants of his young accuser, surrounded by the townsfolk who have cursed his name. Tough, measured, world-class filmmaking.

Kinshasa Kids
Dir. Marc-Henri Wajnberg
**

An interesting, but frustrating doc/dramatic look at the plight of children living in the Congolese capital, Belgian director Marc-Henri Wajnberg's Kinshasa Kids is hopeful and raw, but lacking in plot and character. Opening on a grueling, real life ceremony that sees young children accused of witchcraft being exorcized of their demons by village witch doctors, the film follows young Jose, a Congolese boy who flees the ceremony and his family to live in Kinshasa, where he falls in with a gang of street-kids who find solace in song and spend their days hustling and stealing, trying to eke out enough money to eat and survive in the dirty, mean streets. The kids, aged somewhere between seven and eleven years old, join forces with Bebson, an eccentric but talented and connected singer / bandleader to start a band that would see them escape the misery and destitution of the slums.

As a naturalist snapshot of life in Kinshasa, Wajnberg's film for the most part is successful, but there just isn't enough substance or plot to keep us emotionally invested in the tribulations of Bebson and the kids, or even fill out its less than 90 minute run time. It's your standard underdog tale of discovering hope in the most unlikely of places, and there are real moments of fun, even joy amidst the misery, with a few crackling musical sequences and funny character quirks (a street-kid that has the moves of Michael Jackson is particularly memorable) but instead of the rousing, uplifting climax we expect, we're left with something of a dramatic slight.

TIFF 2012: Seven Psychopaths / Place Beyond The Pines

Seven Psychopaths 
Dir. Martin McDonagh
**** 

On paper, Seven Psychopaths, the follow up to playwright-turned-filmmaker Martin McDonagh's brilliant feature debut In Bruges seems overstuffed, being that it is essentially a tragi-comic-meta-meditation on the nature of movie violence and real violence. For me though, it was a bloody, subversive blast and arguably the funniest film I have seen thus far in 2012. Reuniting McDonagh with In Bruges lead Colin Farrell as Marty, an aloof, alcoholically driven screenwriter struggling to put words to the page for his latest script, convieniently called "Seven Psychopaths", the film finds buddies Farrell, loose cannon Billy (an unhinged Sam Rockwell) and stoic con-man Hans (Christopher Walken) as they traverse a metaphysical journey on the run from rabid gangster Charles Costello (a hilarious and equally unhinged Woody Harrelson) whose beloved Shih-Tzu Billy and Hans have kidnapped, while simultaneously searching for the right psychopaths for Marty's script.

McDonagh throws in lots of gunplay and his script overflows with witty, quotable quips, flashbacks and hugely likeable characters, despite their homicidal tendiences. But it's in the director's deconstruction of the abnormal but laudable ethics of his murderers that elevates the material from bloody, metaphysical satire into something more subversive. Each character, save for Farrell and the female characters in the film (whom, interestingly enough, are explicitly ackowledged to have been given the dramatic shaft) harbors a twisted backstory that exists to make sly commentary on the futility and deranged reality of violence itself.

A subplot that involves a wonderful turn by Tom Waits as a reformed serial killer-killer - or as he puts it, a "killer that kills people that go around the country killing people" - looking to see his wholly American tales of bloody vigilante justice turned into big screen fodder doesn't actually play into the main narrative arc, but is indicative of the tragic, but hilariously cruel ironies inherent in both In Bruges as well as this film. Here, McDonagh has a decidedly lighter touch, striving for something more palatable but perhaps less cohesive. Regardless, Seven Psychopaths is hugely layered, smart and satisfying entertainment.


The Place Beyond The Pines
Dir. Derek Cianfrance
***1/2 

Derek Cianfrance's latest is a taut, finely measured multi-generation crime saga that crackles with dramatic tension, uniformly excellent performances and a confident visual style to boot. His second film starring Ryan Gosling following Blue Valentine, The Place Beyond The Pines is a story about the fires of passion and violence passed down from fathers to sons and the moral ambiguities that haunt those who rely on the mantra of justice and "doing the right thing." To give away too much about the plot would be to ruin the shock and awe of some of the film's dramatic twists, but here Gosling plays Luke, a talented motorcycle stunt driver who opts to rob banks, desperately trying to provide for a bastard son conceived with Romina (Eva Mendes) in Schenectady, New York. Luke eventually comes crashing head-on with a Schenectady cop by the name of Avery Cross, played by Bradley Cooper. Their lives of both men, as well as the histories of their respective families feel the ripples of their confrontation for decades to come.

Ryan Gosling delivers another iconic performance here, creating a character that pulses with life, love and a dangerous passion that sometimes manifests itself in extreme violence. It's as if his character from last year's Drive was given tattoos, a ripped Metallica t-shirt, hormone injections, set loose in upstate New York and given an actual soul. Cooper too is at his very best, playing a man whose belief in justice strattles the line between idealistic and pragmatic but is forever shattered and ultimately blinded by regret. Also, a supporting turn by the chameleonic Ben Mendelsohn as Luke's accomplice is simply exceptional, cementing his place as one of the most talented rising stars in Hollywood.

This is a film that has already begun dividing critics, but mostly enthralled audiences and prospective buyers at its TIFF world premiere (as it is the most high profile film to enter this year's festival without a distributor). If you read what has been written about the film so far, reaction has swung from utter dismay at the film's treatment of its blue collar characters, accusations of pretention and over-reaching ambition, to staunch praise for its moving performances and willingness to explore the genetics of sin, regret and justice. And while some of the negative criticism is warranted, even the harshest of critics will succumb to the fact that this is a fully realized and emotionally powerful film, as undoubtedly unorthodox as it is in narrative, setting and character. For those that it does connect with, The Place Beyond The Pines will have seared a lasting burn on their hearts, as well as their minds.

CAC's TIFF 2012 Preview: Top 10 Picks

Hello CAC on Film readers and fellow TIFF goers. It's that time of year yet again in which Torontonians, industry-types and movie fanatics from around the world begin their descent into Hogtown for arguably the biggest publicly accessible film festival on the planet. So amidst the general feelings of overwhelming excitement, anxiety and anticipation for the Toronto International Film Festival and the massive amounts of data we have to sift through to plan our respective festival schedules, I give you my personal top 10 picks of TIFF 2012.

As usual, this year is jam packed with highly anticipated prestige studio films, small, challenging indies and passionate, provocative pictures from the world over, so hopefully you'll find a flick or two from this list that might poke at the part of your brain that contains your inner film buff.

1. To The Wonder

Special Presentation

Dir. Terrence Malick

Monday September 10 Princess of Wales 7:00 PM (Premium)

Tuesday September 11 Princess of Wales 3:00 PM

Sunday September 16 TIFF Bell Lightbox 1 9:45 PM

Master American director Terrence Malick’s second completed picture in the last few years has been shrouded in secrecy since news broke of its production after the release of 2011’s Palme D’or winning, Oscar nominated Tree of Life. What we know about To the Wonder is that it is a romantic drama starring Ben Affleck, Olga Kurylenko and Rachel McAdams. Not much else is known plot-wise, but one thing we know we can count on is a visually arresting, challenging and provocative experience. Tops of my personal picks for this year’s TIFF because Tree of Life made me cry. It was the first film to do so since 1996’s Jack.

 

2. The Master: Presented in 70mm

Special Presentation

Dir. Paul Thomas Anderson

Friday September 7 Princess of Wales - 9:00 PM (Premium)

Saturday September 8 Lightbox 1 - 3:15 PM
Sunday September 16  Lightbox 1 - 6:00 PM

A film that has been engulfed in a sort of curious controversy since it was branded as cinema wunderkind P.T Anderson’s “Scientology film”, for me, this could potentially be one of the most revelatory experiences at TIFF 2012. Presented in 70mm, early buzz has been intensifying, centered mostly around the raves for Joaquin Phoenix’s comeback performance and the gorgeous cinematography.

3. Seven Psychopaths

Midnight Madness

Dir. Martin McDonagh

Friday September 7 Ryerson Theatre 11:59 PM (Premium)

Saturday September 8 Scotiabank 1 3:30 PM

I love Colin Farrell, but he brings me down sometimes. Tigerland cemented his place in my book of extremely talented acting people, but Colin: Alexander, Miami Vice, now Total Recall? Come on man. Well back in 2009 he layed down his best performance in years, starring in In Bruges, Irish playwright-turned-filmmaker Martin McDonagh’s first feature film. Here he reunites with McDonagh, along with Christopher Walken, Woody Harrelson, Tom Waits and other badasses which, playing in Colin Geddes’ Midnight Madness program, should be another rollicking, vulgar and violent ride.

4. The Central Park Five

TIFF Docs

Dir. Ken Burns, Sarah Burns, David McMahon

Sunday September 9 TIFF Bell Lightbox 1 11:45 AM

Thursday September 13 Cineplex Yonge & Dundas 7 9:30 PM

Saturday September 15 TIFF Bell Lightbox 1 9:15 AM

Legendary Documentary filmmaker Ken Burns’ return to more concise fare from his lengthy, multi-part PBS mega-specials, The Central Park Five looks to represent the best of Burns’ oeuvre: incisive, provocative, and heavily concerned with the evolution of American race relations. Chronicling the “Central Park Jogger”  rape case of the late eighties, this saga of litigation and an outraged public garnered very positive word out of Cannes. My top TIFF Doc pick this year

5. The Place Beyond the Pines

Special Presentation

Dir. Derek Cianfrance

Friday September 7 Princess of Wales 6:00 PM (Premium)

Saturday September 8 Ryerson Theatre 11:00 AM

Blue Valentine director Derek Cianfrance’s sophomore feature The Place Beyond the Pines boasts a stunning cast in the form of Bradley Cooper, Eva Mendes, Rose Byrne and lead Ryan Gosling, and promises to be a taut, unforgiving drama. Gosling plays Luke, a motorcycle stunt rider from Schenectady, NY (his second stuntman/criminal role TIFF premiere in two years with last year’s Drive) who falls into some criminal business and attracts the ire of Bradley Cooper’s cop-turned-politician. Said to be something of a cross between Godfather and The Deer Hunter, if all the elements work well here, we could see potential awards buzz and a nice push for a strong box office take.

6. No

Special Presentation

Dir. Pablo Larrain

Monday September 10 TIFF Bell Lightbox 1 6:00 PM

Tuesday September 11 The Bloor Hot Docs Cinema 3:00 PM

Chilean director Pablo Larrain returns to TIFF to complete his trilogy of films chronicling life, death and hardship in dictator Augusto Pinochet’s reign of Chile. The first film of the cycle, Tony Manero, was a relentlessly intense, downbeat and horrifically violent look at the dreams of Pinochet’s poor amidst military dictatorship. This film, led by the always interesting Gael Garcia Bernal (Y Tu Mama Tambien, Bad Education, Babel) explores the downfall of Pinochet and the political atmosphere that toppled his government. Early buzz says the film, shot on analog videotape to mimic the visual aesthetic of late 1980s television, is a suspenseful, thought-provoking winner.

7. The Hunt

Special Presentation 

Dir. Thomas Vinterberg

Monday September 10 TIFF Bell Lightbox 1 9:15 PM

Wednesday September 12 TIFF Bell Lightbox 2 3:00 PM

Mads Mikkelsen (Casino Royale, Valhalla Rising) won the best actor award at this year’s Cannes Film Festival for his portrait of an innocent man accused of child molestation in Thomas Vinterberg’s (The Celebration) return to the festival circuit. The film comes to TIFF with a fair amount of hype given reviewers’ raves for Vinterberg’s “powerful” and “controversial” direction. Sure to be a conversation starter, this looks to be one of the stronger contenders for breakout foreign-arthouse pic at this year’s festival.

8. Argo

Gala Presentation

Dir. Ben Affleck

 

Friday September 7 Roy Thomson Hall 6:30 PM (Premium)

Saturday September 8 Visa Screening Room (Elgin) 11:00 AM

Saturday September 15 Visa Screening Room (Elgin) 3:00 PM

Ben Affleck continues his creative ascent in the second stage of his career, stepping behind the camera for the third time for his first period film, a historical thriller that recreates the mostly untold, but generally known tale of the Iran Hostage Crisis of 1979. Affleck takes the lead role as CIA “exfiltration” expert Tony Mendez, top-lining a stellar cast that includes Breaking Bad’s Bryan Cranston, John Goodman, Kyle Chandler and Alan Arkin.  Affleck took The Town to TIFF 2011 and received nearly unanimous critical praise, giving a substantial boost to that film’s awards buzz and box office take. Surely Warner Brothers hopes this film continues that tradition.

9. Kinshasa Kids

Contemporary World Cinema

Dir. Marc-Henri Wajnberg

 

Thursday September 6 TIFF Bell Lightbox 3 7:15 PM

Friday September 7 Cineplex Yonge & Dundas 9 3:00 PM

Sunday September 16 Cineplex Yonge & Dundas 3 6:00 PM

A pick by TIFF artistic director Cameron Bailey, this is one of those films that swims deep under the radar of the mainstream festival populace, but has the potential to be one of the most joyous, entertaining films screened this year. Kinshasa Kids is a verite-styled tale about a group of Congolese street kids that discover music as a means of escaping the violent paranoia of Kinshasians obsessed with purging the “child witches” from their city. The trailer (http://bit.ly/P4KsqO) paints a startlingly real, gritty and kind of funky picture of these kids’ lives in Kinshasa. Certainly one of the more intriguing films screening at TIFF 2012.

10. Eagles w/ Ron Levi

  

Contemporary World Cinema

Dir. Dror Sabo

Sunday September 9 Scotiabank 3 9:30 PM

Tuesday September 11 Jackman Hall (AGO) 4:00 PM

Sunday September 16 Scotiabank 4 9:30 PM 

This year TIFF has joined up with the University of Toronto’s Munk Centre for Global Affairs to offer extended Q&A sessions for five films in the Contemporary World Cinema program with world renowned speakers and experts. Dror Sabo’s Eagles is the story of two elderly, formerly elite Israeli army soldiers who decide to take the law into their own hands after becoming increasingly alienated by the state of affairs on the crime ridden streets of Tel Aviv. Ron Levi, an expert on global justice and human rights will lead the extended Q&A after the film, which promises to be a poignant, hard-edged look at elderly war veterans in an increasingly youth-focused world.