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Florence Pugh

TIFF Day #2 – 2024

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Hello NEON Community!

Today’s early films had an Ohio focus!

My first movie of the day was THE LUCKIEST MAN IN AMERICA, dir Samir Oliveros (USA) “Featuring Paul Walter Hauser (Richard Jewell), Walton Goggins, and David Strathairn, this stranger-than-fiction drama resurrects a hugely popular 1980s game show and the ‘luckiest man in America’ who broke it.” (taken from TIFF catalog) Based on a true story about how a man memorized and beat the “random” lights on PRESS YOUR LUCK, the protagonist from this scandal was from Lebanon, Ohio!  This funny, tense, and upsetting film works on so many levels.  From it’s vintage-looking credits and camera work to the crazy set-up, this movie is a lot of fun.  Though the ending was slightly unsatisfying, I think this film ultimately works.

Shot largely in Wilmington, Ohio, my next film was NUTCRACKERS, dir David Gordon Green (USA) “Ben Stiller stars as a city slicker forced to look after a quartet of mischievous rural orphans in this fish-out-of-water comedy that speaks to the hidden talents in each of us just waiting for a chance to shine.” (taken from TIFF catalog) This film has a giant heart…and despite its formula-driven script (with some cringe-worthy moments) and its overly predictable turns, the film lands exactly where it wants to – and I think it will work well with audiences.  The 4 boys (real-life siblings from Ohio) are pretty great, and you’ll likely recognize some settings (and maybe even some locals).

My next film was my first public screening of the festival (meaning it wasn’t just industry folks – but open to the general public)…and the director & cast were there! (Due to last year’s strikes, hardly any films had casts in attendance…so this will be a nice change this year.)   THE LAST SHOWGIRL, dir Gia Coppola (USA) “A seasoned performer must plan for her future when her show abruptly closes after a 30-year run. Starring Pamela Anderson, Jamie Lee Curtis, and Dave Bautista.” From a good script written by Kate Gersten – someone who “was there” when the last big, old-fashion Vegas show closed (known as Jubilee! – which Gersten said was referred to as “the last of the tits and feathers shows” ) – this story seemed quite authentic, and Pamela Anderson said she had been “getting ready my whole life for this role.”  Touching and full of melancholy, Anderson and Curtis are great in this film.  And I love when there’s a moment in a film that evokes the crowd to burst into applause.  A solid film from Gia Coppola

My first documentary of the festival was MISTRESS DISPELLER, dir Elizabeth Lo (China, USA) “Sure to be a conversation starter and filmed with an astonishing emotional intimacy, Mistress Dispeller follows the work of a Chinese woman who practices unorthodox techniques to repair marital infidelity.” From the director of STRAY – a doc we played at THE NEON about a dog living on the streets of Istanbul – this film had a very intriguing set-up.  The lines of documentary ethics seemed to be blurred in order to get the material…but so was the story of the protagonist who is called in to make extramarital affairs disappear.  I loved a lot of this film, and the last 8-10 minutes were very satisfying.  The post-screening discussion was very enlightening and answered my questions…but I think there’s a much stronger 40-60 minute film here instead of a feature.
There’s no trailer for this film…but here’s a clip:

 

My 9th film for the festival and fifth film for today is a winner! WE LIVE IN TIME, dir John Crowley (United Kingdom, France) “Featuring gorgeously detailed performances from Oscar nominees Florence Pugh and Andrew Garfield, this inventively structured romance explores the question of how to make the most of our time in this world.” (taken from TIFF catalog) The energy was high when I arrived at the Visa Screening Room.  Hundreds of fans were cheering for Andrew Garfield…and he was just a few feet away when I was checking in.  When I got to my nosebleed seat (about 5 stories up), the crowd on the street was chanting “Florence. Florence.”  This town is so ready to welcome big stars again!
This gorgeous, nonlinear film did not disappoint.  With three different timelines playing against each other, the title resonates even stronger as we get to know a couple who are dealing with pregnancy, cancer and the day-to-day act of living.  It’s a beautiful story, and these two actors are at the top of their crafts…and having them talk about how they worked on this project has been the highlight of the festival so far.

Thanks so much for reading.
Tomorrow is Almodovar Day!

More soon,
Jonathan

TIFF Bound! Submerging In Cinema!

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Hello NEON Community,

Thanks so much for checking in.  I’m making a list and checking it twice…and three times…and four times…all in an effort to squeeze in as many films as possible from the 50+ films I’d like to see over the next several days at The Toronto International Film Fest.  In the end, I’ll only have room for 30-35 screenings, so some films will have to wait.

It’s early morning on Wednesday, Sept. 4, and I’m about to head to the airport.  When I get to Toronto, I’ll head right to the industry hub where I’ll get my credentials for the festival.  My pass will allow me to see a handful of public screenings (those are the ones with directors & stars in attendance with interesting Q&A’s) as well as numerous press and industry screenings (which are generally no-frills – but full of folks like me as well as some high profile journalists and studio execs…all kinds of people from the industry).

I’m staying in a condo just a couple blocks from the middle of everything,  and I’m very excited about several films…and it’s always fun to discover films I didn’t know I needed to see.

Here are couple titles I’m excited about:

THE ROOM NEXT DOOR – Pedro Almodovar’s English-language feature film debut – starring Tilda Swinton and Julianne Moore.  If you’ve read my blog and newsletters before, you might know that Almodovar is my favorite director of all time.  I can’t wait for this one.  It just received a 17-minute standing ovation at the Venice Film Festival earlier this week.

WE LIVE IN TIME – the new film from John Crowley (director of BROOKLYN) – starring Andrew Garfield and Florence Pugh.  I think this film looks lovely, and I’m a big fan of BROOKLYN.

MISÉRICORDE, the new film from Alain Guiraudie (director of STRANGER BY THE LAKE) is on my list as well.

In addition to movies, I’ll get to sit in on an interview with Cate Blanchett at an event called IN CONVERSATION: CATE BLANCHETT.  I’ve been a fan for years (and there was even that time when I was a co-worker of sorts)…so I’m anxious to see her in this scenario.

Every day, I’ll take notes when I’m seeing movies.  I’ll assemble those notes each night and publish my posts.  This serves as a way for me to get my thoughts down on a daily basis…and to take you along for the ride.

If you’re in Dayton, please stop in to keep my co-workers company at THE NEON.  Thanks for all of your support.

More soon,

Jonathan

McCoy on Movies: Midsommar

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Swiss cult adventure proves gory and weird but ultimately boring in Midsommar

“Oh my – is that how much money Avengers: Endgame has made so far this year?!” Christian (Jack Reynor) and Dani (Florence Pugh) look on in horror in a scene from writer/director Ari Aster’s MIDSOMMAR. Credit: Merie Weismiller Wallace, courtesy of A24. © 2019 A24. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Archie Madekwe, Ellora Torchia, and Will Poulter


DIRECTOR(S): Ari Aster

THE BACK STORY: Dani (Florence Pugh) and Christian (Jack Reynor) are in a relationship. A bad relationship. And they need to break up. But just as Christian’s friend Mark (Will Poulter) – along with Josh (William Jackson Harper), who is getting ready to complete his Ph.D research – convinces him that he should break up with Dani, tragedy strikes. So, not only does Christian NOT break up with Dani, he decides to invite her along on the trip that he, Mark and Josh are to take to Sweden. They are headed to Sweden courtesy of an invite from Pelle (Vilhelm Blomgren), a foreign exchange student who has invited them to come just in time for Midsommar, the biggest festival in his village of the year.


But with almost perpetual daylight permeating the village, Dani, Christian and company are about to learn that some nightmares can happen right out in the open.
THE REVIEW: “Maybe it’s just me.”The scariest thing about Midsommar is that it not only got made and some people will enjoy it, but that you can expect yet another piece of schlock to come from writer/director Ari Aster as a result.

You know the expression “Fool me once, shame on you. Fool me twice, shame on me”? Well, it’s a pretty safe bet I won’t be going to see one of Aster’s works for a third time as Midsommar is two hours and 20 minutes of a SLOW, you can see all of this coming gory and freaky “film” that uses his visuals to cover up for a lack of something, you know, good.

As someone who was not a fan of Aster’s previous work, 2018’s Toni Collette-led vehicle Hereditary, I was prepared for what I thought I would be getting with Midsommar. And boy, was I not wrong as the film (1) has a deliberately slow pace intended to build drama that feels like a certain well-known torture technique as scenes play  out drag out needlessly in (2) fake art house cinematic fashion. Throw in (3) Aster’s signature gory, unflinching visuals which are more gross than great art even by many horror movie standards and (4) a story that doesn’t inherently possess any more intrigue than “this is happening to these characters” versus why it’s happening to them. Seriously, outside of Pugh, everyone else is essentially fodder for a body count. The film will likely feel as long for the audience as it does for its characters, which is a shame because it didn’t have to be as devoid of intrigue other than “does this end the way I think it will (it does)” if you’ve been paying attention. At best, Midsommar is the type of film that will make most rational people go “Well … That was … different” when what they really mean is “That was atrocious! At no point was I truly scared, the characters are so one dimensional that you only really care about the one and the story is so morose I guess  I paid money to feel bad because I wanted to and didn’t know it.”

Now, perhaps you are among those that still enjoy watching movies where you are smarter than the characters – who are clearly too stupid to see something is amiss – and movies where weird for the sake of weird is the norm. Maybe you just can’t wait to see the year’s craziest sex scene outside of a Game of Thrones re-run complete with full frontal nudity from both genders. Or perhaps you want to go to a movie just to watch something where you and your hipster friends can revel in the lush landscape shown onscreen while the story, no matter how stunted or familiar – it might FINALLY be time to let Nicolas Cage off the hook for most of those Wicker Man (which this movie borrows from HEAVILY) jokes now – Midsommar is.

The one nice thing I can and will say is that Pugh turns in a very dedicated performance as Dani, making you feel all her anguish, pain and depression at every turn. That in turn does help add to the movie’s overall feel-bad vibe, but save for the big reveal – I’m not going to spoil it for those of you determined to see in spite of this review – but Pugh shows her mettle with a great performance in an otherwise not-so-great movie.

Believe me when I tell you – I hate writing in first person, but with a movie like this, it’s hard not to – that unless you are (1) a fan of those slower, 60s and 70s style horror movies that wanted to be Alfred Hitchcock films but lacked the originality and flair; (2) are the type of person that watches a movie and often finds yourself saying things like “ahh, the subtext” or “oh – a wry homage to …” or (3) just are the type that turns off your brain and completely buys in to the events in a movie, you should probably just stay home. And to all those who would say, “Well, you just didn’t get it,” I would counter with “No, I got it. I just hated it to the point I can’t even look at an IKEA sign and not remember how much I did.”

In other words, unless you really have 140 minutes to dedicate to what equates to a bad trip (metaphorically and literally) and watch a group of people you mostly won’t care about have an experience that isn’t that entertaining as much as it is abnormal, astoundingly aberrant and at times downright asinine, avoid Midsommar for all seasons to come.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):