Category Archives: Luke Sneyd
It’s one of the most talked-about games of the year. And this week Destiny adds its first expansion back, The Dark Below. If you’ve been logging in any time with one of the best shooters in eons, you know it’s a superb yet amazingly conflicted experience. It’s kind of love and hate, with brilliant first-person-shooter mechanics, revelatory vistas, not one nor two nor three but four alien races to blow the crap out of, and a story that’s well, there’s sort of a story. It’s in there. But you have to put in some time. And you have to dig. In really awkward ways. Is Destiny gonna light up a gamer’s eyes if it materializes in space under the twinkling lights of a Christmas tree? Join me on the other side, guardian, and we’ll see what fate has to say.
With the Farrelly Brothers Dumb and Dumber To (2014) bumbling into theatres now, it’s fitting that TIFF has chosen this moment to look back at one of the great purveyors of goofball comedy, the legendary Mel Brooks. With films like The Producers (1967), Blazing Saddles (1974), and Spaceballs (1987), Brooks has carved out a huge swath of send-up satire that comedy directors today are enormously indebted to. Too?
Any film from Studio Ghibli is a treat. The Japanese anime house has put out some great movies over the years, including Hayao Miyazake’s films Princess Mononoke (1997), Spirited Away (2001), and Howl’s Moving Castle (2004). Now officially retired, Miyazake’s worked slowly but steadily, putting out a film every five years or so. His Studio Ghibli cofounder Isao Takahata is even less prolific. The director of the masterful WWII story Grave of the Fireflies (1988) has only made three films since, his last My Neighbors the Yamadas (1999) released over fourteen years ago. His return at age 78 with The Tale of the Princess Kaguya (2014) shows that Takahata hasn’t missed a beat. Beautiful and moving, he delivers another anime masterpiece.
“Whatever you do… don’t fall asleep.”
Yeah. That’s gonna work. Talk about an absolute classic catchphrase. Parents of newborns, late night essay crammers and insomniacs all know how weird your head can get without enough sleep. I’m in the mad throes of a rushed move myself, packing and running around at all hours, and I am spaced. If someone said that to me right now, in a dead serious hushed whisper, I can tell you, I’d freak the fuck out. Freddie Krueger knows where we all live, at night, when our eyes are closed and we’re most vulnerable. But he’s not real, it’s okay. That horribly burnt, disfigured face isn’t real. Those razor claws aren’t real. Have another cup of coffee. We’re fine. Let’s talk about the original A Nightmare on Elm Street, I’m just going to lean back, and… did you hear something? Never mind. It’s probably… just… the wind…
So Darren Aronofsky’s Noah with Russell Crowe was a huge hit, grossing over $350 million so far this year. Seems like people respond to the story of God pressing the reset button on a wicked old civilization, drowning every living thing on Earth in a forty-day deluge save for a faithful family and the animals they take aboard their ark. Clearly, Mr. Biblical God has no sense of proportion. Sol Friedman has his own take on the classic Noah story, in his scabrous animated short Day 40. Appearing at the Toronto International Film Festival in the Short Cuts Canada Programme 5, it’s a laugh-out-loud reimagining of the story loosely told from the animals’ perspective. Darkly comedic, Day 40 is sort of a pencil-sketch Animal Farm meets Robot Chicken, and boy does it go to some crazy places in its brief 6-minute runtime. Catch the sort-of-not-safe-for-work-but-not-really trailer and my interview with Friedman, after the jump.
Genre-bending is a real Korean specialty. From the family drama monster movie hybrid of Bong Joon-Ho’s The Host to the madcap martial arts western of Kim Jee-Woon’s The Good, The Bad, The Weird, films like these turn on a dime. You just never know what to expect. One big Korean film at the Toronto International Film Festival this year is Haemoo, directed by Shim Sung-bo. Relatively unknown, the first-time director co-wrote Memories of Murder in 2003 with Bong Joon-Ho, who returns the favour here producing and co-writing Haemoo. Not bad having the director of Snowpiercer in your corner. It isn’t all smooth sailing with Shim Sung-bo’s debut, though. Climb aboard, matey, and I’ll tell you the tale.
Who hasn’t fantasized about living a different life, bifurcated, one where you could make a whole new set of choices and see where they lead? But still live your own life, because what’s the value in the difference if you can’t compare? Of course we want it all, to be able to say definitively “this grass really is greener.” Part of the Short Cuts Canada programme on at the Toronto International Film Festival, Tony Elliott’s short Entangled realizes that dilemma in a clever and tense slice of sci-fi thrillerdom. Entanglement is the typically strange quantum concept that two particles anywhere in the universe can become linked, regardless of distance, and what happens to one will also affect the other. The director cut his teeth as a screenwriter, most recently working on the hit series Orphan Black. In Entangled, Erin (Christine Horne) is forced to care for her catatonic lover Malcolm (Aaron Abrams) after a quantum experiment goes very wrong. Determined to find the cause, she runs the experiment again on herself. What she discovers is literally mind-bending, and forces her to question how far she will go for love. Catch my interview with Elliott and the trailer for Entangled after the jump:
Finding new talent is a thrill, that delectable shock when you hit on something that speeds your pulse and your synapses and says, “Hey, bet you’ve never seen it done quite like this before.” Getting that thrill is what the Discovery Programme at the Toronto International Film Festival is all about. It’s a showcase of forty films featuring the best new directors from around the world. There’s a bunch of Canadian films in the Discovery Programme, cuz hey there’s nothing wrong with a homer. Two of them happen to have a lot in common. Both Bang Bang Baby and Songs She Wrote About People She Knows are musicals with a hesitant lead finding her way to her dreams. Now those dreams are pesky things, and they never quite turn out the way you expect.