Hiển thị các bài đăng có nhãn BellLightbox. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn BellLightbox. Hiển thị tất cả bài đăng
Thứ Ba, 31 tháng 7, 2012
FAT KID RULES THE WORLD - Review By Greg Klymkiw - This funny, joyous and moving new comedy directed by Matthew Lillard focusing on teen obesity continues its run at Toronto's Coolest independent theatre, The Projection Booth
Fat Kid Rules The World (2012) dir. Matthew Lillard
***1/2
Starring: Jacob Wysocki, Matt O'Leary, Billy Campbell, Dylan Arnold
Review By Greg Klymkiw
Upon seeing Fat Kid Rules The World, Matthew Lillard's lovely film from the fine screenplay by Michael M.B. Galvin and Peter Speakman, I was completely gobsmacked by how honest and real its portrait of teen obesity was. On every level, the film indelibly captures both the bittersweet and dark humour associated with the pain and horror of what it's like to be a fat kid. Most importantly, it tells an original, inspiring and genuine tale of how a fat kid not only gains the acceptance of his peers, but their respect for his inner qualities beneath the mounds of lard and flesh.
That the best independent American film of the past year also touches upon themes of friendship, loyalty and the importance of family is a mega-bonus.
That the film offers punk rock as a creative outlet for the main character to develop a greater sense of self-worth is several extra scoops of hot fudge marshmallow sauce on the cinematic ice cream sundae that is Fat Kid Rules The World.
Oh, and a few cheeseburgers, of course.
READ THE FULL REVIEW HERE
"Fat Kid Rules The World" continues its theatrical run at Toronto's coolest indie movie house The Projection Booth on Gerrard Street East, just south of India Town. For information and showtimes, visit the Projection Booth website HERE. MISS THIS AT YOUR PERIL.
Nhãn:
***1/2,
2012,
BellLightbox,
CFC,
Comedy,
Greg Klymkiw,
KFC,
Matthew Lillard,
obesity,
teenage obesity,
The Projection Booth,
TIFF,
TIFF Bell Lightbox,
TIFF Next Wave 2012
Thứ Năm, 28 tháng 6, 2012
JAWS - Review By Julia Klymkiw (Cub Reporter) - For Universal's 100th Anniversary, a new Spielberg-approved restoration of his modern horror classic is playing theatrically and launching in Toronto at TIFF Bell Lightbox. 11-year-old Klymkiw Film Corner Cub Reporter Julia Klymkiw weighs in with her thoughts!
JAWS (1975) dir. Steven Spielberg
Starring: Roy Scheider, Richard Dreyfuss, Robert Shaw
*****
Review By Julia Klymkiw - Cub Reporter
When I first saw Jaws I was 4-years-old and it was on DVD. I watched it at home on our television set. I loved it so much that I watched it over and over again. Seven years later, I went to see it on HD and on a huge screen in a real movie theatre. This was the first time I ever saw it this way and it felt like I was watching a whole new movie.
Jaws is so suspenseful you forget you are watching a film. You are Krazy-glued to your seat and unable to leave. The shark attack at the beginning of the movie makes you feel like you're right in there with that poor girl who gets eaten alive and you're the only one who survived.
The village the movie takes place in reminds me of where my own cottage is. What happens to the people there is what I imagined could happen here in real life. That's how realistic the movie is. Lucky for me, though, is that there are no sharks near my cottage because they need salt water to live.
The story is basically about a shark attacking people and after a certain amount of kills, three brave men: the sheriff, an old sea captain and a young rich guy who studies sharks, go out onto the ocean to hunt it down.
What makes the movie so suspenseful and scary is when the attacks happen you hear screaming and then the camera goes underwater to see the person who is being killed and there's a lot of blood. The movie goes back and forth between shots like this. One time, during an attack all you see is a lot of blood and a body part floating down to the ocean floor.
You almost never see the shark and this makes it super scary. Near the end when you do see the shark it is beyond scary. This is what makes horror movies really good. The other thing that makes the movie good is all the stuff that is like real life. There a neat scene where the sheriff is very tired and his little boy copies all the stuff his Dad is doing. All kids do stuff like that with their Dads. Even though a movie is make believe it is stuff like this that makes you believe everything you see.
When my Dad took me to the press screening of Jaws, he said he saw it way more times than me and that even though he knew he would enjoy seeing it again that it wouldn't scare him at all. This made me laugh quite a bit because Dad jumped out of his seat quite a few times - along with me, of course.
I told Dad that maybe it was because we were seeing it on a humungous screen in a real movie theatre that it scared him so much.
He agreed with me.
Now, you agree with me and go see Jaws on a big screen.
"JAWS" is playing in a director-approved restored HD master at the TIFF Bell Lightbox in Toronto and at select venues across the globe. For TIFF showtimes and information, visit their website HERE."
Nhãn:
*****,
1975,
BellLightbox,
CFC,
Guest Review,
Horror,
Julia Klymkiw,
Junior Cub Reporter,
KFC,
Steven Spielberg,
Suspense,
TIFF,
TIFF Bell Lightbox,
Universal Pictures
Thứ Ba, 8 tháng 5, 2012
FAT KID RULES THE WORLD - Review By Greg Klymkiw - This funny, joyous and moving new comedy directed by Matthew Lillard focusing on teen obesity continues its run at Toronto's Coolest independent theatre, The Projection Booth
Fat Kid Rules The World (2012) dir. Matthew Lillard
***1/2
Starring: Jacob Wysocki, Matt O'Leary, Billy Campbell, Dylan Arnold
Review By Greg Klymkiw
In America, 9 million children are obese. In Canada, one in four children are obese.
The vast majority of these North American children will remain obese and continue to make significant exponential weight gains into adolescence. The majority of these kids will carry extra poundage and make even more significant weight gains as adults.
Obesity costs the health care systems in North America over $100 billion dollars annually. It is a horrible disease that leads to a myriad of ailments, conditions and death. Maybe worst of all is the living death that comes from an utter lack of self-esteem - especially in adolescents.
I know.
Before the age of eight, I was rail-thin and active. In spite of my athletic prowess, I hated physical activity because it always seemed to get in the way of the thing I loved more than anything - movies.
I also discovered cheeseburgers.
I can remember the turning point as if it were yesterday. At age seven, during a sweltering July, my Mom picked up my little sister and I from a swimming lesson at the YMCA in north-end Winnipeg.
Mom took us to a glorious (now-long-gone) greasy spoon at the corner of McGregor and Mountain called the "Hi-Spot" where we pulled cold, wet bottles of Snow White cream soda from the huge red cooler near the counter - the stools populated by phlegm-hacking old Ukrainian men reading Racing Forms and smoking cigarettes. Transit Tom, as per usual in Winnipeg, was late.
Nothing like waiting at a bus stop populated by stunted, babushka-clad old ladies clutching shopping bags whilst we sucked back nice carbonated refreshers to greet the hot prairie sun hanging in the ocean-blue cloudless sky.
Tacked to the wood-paneled walls of the "Hi-Spot" was a huge colour poster of a hamburger delectably topped with melted orange-coloured cheese. I'd had hamburgers before, but this was something altogether new to my eyes and I longed to introduce it to my burgeoning palate.
I remember my mother refusing my request for this tempting comestible on the grounds that the restaurant itself was "unsanitary". She promised, however, to cook one up at home. When it happened a day or so later, I was hooked. In fact, my first cheeseburger was actually a patty of ground beef topped with globs of Kraft Cheese Whiz.
Later that year, McDonald's finally made its way to north-end Winnipeg. My best friend Ricky Klein and his family were headed there. They kindly invited me along. The parking lot was double and triple parked so Mr. Klein deposited his station wagon down the block and we made our pilgrimage to the Golden Arches - trudging like Scott of the Antarctic through deep snow and bitter prairie cold. Our goal was surely as precious to us as the South Pole had been for Scott.
The restaurant was full of eager Ukrainian and Jewish families from the neighbourhood, squeezed together in mutual sardine-like anticipation. I couldn't see anything at the front counter, just a sea of parka-adorned bodies - but when the family before us eventually squeezed their way out, it was not unlike the parting of the Red Sea (or, take your pick, like the clouds at the Pearly Gates as Jesus Christ beckoned us to enter).
"What'll you have?" asked Mr. Klein.
"A cheesburger!" I blurted immediately.
"No!" cautioned Ricky. "Get a Bic Mac! That's what I'm having."
So, two-all-beef-patties-special-sauce-lettuce-cheese-pickles-onions-on-a-sesame-seed-bun later, I was well on my way to corpulence. Inactivity and cheeseburgers (along with a rapidly developing taste for Old Dutch potato chips, kishka, garlic sausage and varenyky smothered in butter and bacon fat) led to becoming "pleasantly plump", "husky", "porcine" and eventually, "circus freak".
Over a period of thirty-plus-years, I did lose thousands upon thousands of pounds.
I've been fat, lean and everything in between. At present, with the invaluable assistance of bariatric surgery I've melted off 300 pounds in 3 years and have a mere 100 to go. Never has a lifestyle change been more productive and pain-free.
Still, fat pigs - no matter how thin and healthy they get - always think of themselves as fat pigs. The psychological effects of obesity are overwhelming.
For kids, it's even worse.
Upon seeing Fat Kid Rules The World, Matthew Lillard's lovely film from the fine screenplay by Michael M.B. Galvin and Peter Speakman, I was completely gobsmacked by how honest and real its portrait of teen obesity was. On every level, the film indelibly captures both the bittersweet and dark humour associated with the pain and horror of what it's like to be a fat kid. Most importantly, it tells an inspiring and genuinely realistic story of how a fat kid not only gains the acceptance of peers, but to respect the inner qualities beneath the mounds of lard and flesh.
That the film also touches upon themes of friendship, loyalty and the importance of family is a mega-bonus.
That the film offers punk rock as a creative outlet for the main character to develop a greater sense of self-worth is several extra scoops of hot fudge marshmallow sauce on the cinematic ice cream sundae that is Fat Kid Rules The World.
Oh, and a few cheeseburgers, of course.
Troy (Jacob Wysocki) is a poker-faced fat kid with no friends - save for those he knows via cyber-world avatars as he plays endless hours of online shooter games. His single Dad (Billy Campbell) is an ex-Marine who values athletic prowess and lavishes most of his attention upon Troy's younger brother Dayle (Dylan Arnold).
The kid's not really asking for much out of life, but life keeps tossing wads of shit in his face. Troy pines to attend the prom with the prettiest girl in school. His gym teacher finds every excuse under the sun to inflict physical activity/torture upon him. He sweats. He shuffles. He wheezes. He's picked on. He's laughed at. He's the target of every derisive prejudicial assumption both kids and adults have about obesity. He imagines, finally, a better world for all concerned - including himself - if he commits suicide.
Alas, Troy can't even kill himself properly. Stepping in front of a bus, he's rescued by Marcus (Matt O'Leary), a charming, inveterate bad boy who's been suspended from the same school our portly protagonist attends. Friendship is not too far behind - especially since Marcus suggests Troy be the drummer in his new punk band. Troy, however, doesn't know how to play drums. Marcus laughs this off. It's punk, after all. He also has friends in high places. A local bar owner Marcus knows is a former master drummer and Troy exchanges his janitorial services for lessons.
Conflict ensues when Troy gets really good, but Marcus begins to spiral downwards with his own sense of self-worth. Friendship, family and commitment must rule the day, but in life (and even in the movies), nothing is ever an easy-fix.
Fat Kid Rules The World is, without question, one of the most entertaining and heartfelt American films I've seen in quite some time. Lillard's direction is firm and he really has a knack for composing and capturing the film's mix of deadpan and dark comedy, yet balancing this with the movie's heavy-hitting combination of sentiment and humanity. Lillard also inspires a perfect cast - especially the brilliant Jacob Wysocki (Terri) as Troy. Wysocki's got a great hangdog mug, terrific comic timing and a formidable sense of restraint.
Galvin and Speakman's fabulous writing is never given short-shrift by Lillard. His stylistic flourishes are always subtle and as such, allows the depth of character and superb dialogue to breath and pulsate with life. The various turns in the story offer a great deal of surprise and as I alluded to earlier, none of the challenges come without a fight - we're always involved and transfixed with the journey of Troy and those around him.
And though it soon becomes clear that the film is building to a triumphant finish, the screenplay peppers the action with numerous life-like details that always root us in reality - the reality of acceptance and most of all, the reality that life is never perfect, but that we grasp and hold on to those things that best reflect the infinite joy and wonder of the world.
Importantly, the film MUST be seen by as many people as possible - teens, adults and educators. Obesity - especially in kids - is a horrific disease, yet it's so often looked upon by the majority of the population as some sort of weakness in the individuals afflicted with it. Save perhaps for alcoholism, obesity is the only medical condition to have not benefitted by the changing attitudes inspired by the non-facist aspects of political correctness.
Those afflicted with obesity require compassion, understanding, love, friendship and a helping hand.
Not prejudice.
Here's hoping Fat Kid Rules The World is a hit.
A real hit!
It not only deserves it, but so too do movie audiences of all ages and tastes.
The picture is first-rate entertainment, but it is endowed with a special gift - one that could actually change the world. Movies like that don't come along everyday, so don't miss this one.
"Fat Kid Rules The World" continues its theatrical run at Toronto's coolest indie movie house The Projection Booth on Gerrard Street East, just south of India Town. For information and showtimes, visit the Projection Booth website HERE. MISS THIS AT YOUR PERIL.
"Fat Kid Rules The World" had its Canadian premiere at the inaugural edition of the TIFF Next Wave film festival at TIFF Bell Lightbox.
Nhãn:
***1/2,
2012,
BellLightbox,
CFC,
Comedy,
Greg Klymkiw,
KFC,
Matthew Lillard,
obesity,
teenage obesity,
The Projection Booth,
TIFF,
TIFF Bell Lightbox,
TIFF Next Wave 2012
Thứ Bảy, 18 tháng 2, 2012
Les Dames du Bois de Boulogne - Review By Greg Klymkiw - With magnificently overwrought melodramatic dialogue by Jean Cocteau, Robert Bresson's dark, sexy tale of vengeance is not unlike some alternately vicious and romantic Gallic pairing of Fritz Lang and James M. Cain with healthy dollops of MGM womens' weepies. "Les Dames du Bois de Boulogne" is part of the continuing TIFF Cinematheque retrospective of the complete works of Robert Bresson as organized and curated by the legendary film programmer and curator extraordinaire James Quandt.
Les Dames du Bois de Boulogne (1945) dir. Robert Bresson
Starring: Maria Casarès, Paul Bernard, Elina Labourdette, Lucienne Bogaert
*****
By Greg Klymkiw
Hell hath no fury like a woman scorned and Robert Bresson easily delivers one of the sexiest, nastiest femmes fatales ever committed to film in his truly astounding Les Dames du Bois de Boulogne. Maria Casarès, who played the memorable Nathalie in Marcel Carne's Children of Paradise and was a favourite of Cocteau, takes on the role here of Hélène, a stunningly gorgeous woman of considerable affluence whose boredom and trifling leads to playing a dangerous game of deception and revenge.
Casarès is so astounding in this role, it sometimes shocks me that she wasn't whisked away to Hollywood by the likes of David O. Selznick to bring the sort of exotic foreign flare to Tinseltown studio pictures that the likes of Hedy Lamar, Ingrid Bergman, Greta Garbo and Marlene Dietrich delivered. With cheekbones to die for, dark piercing eyes, a stunning aquiline proboscis and lips that were made to alternately plant big wet smooches and to drip with blood, Casarès commands the screen here with the sort of screen presence designed to tantalize and terrorize.
She might well be the original spider woman of cinema - and her kiss is most deadly.
When Hélène seeks to liven things up with her foppish lover Jean (Paul Bernard), she offers up a "Dear John" speech designed to engorge his gonads and get him hot and bothered enough to put some spice back into their affair. Jean, not one to take a hint, boneheadedly admits to feeling similarly. He proposes they maintain their deep love as FRIENDS, but part as lovers.
Jean, take it from me, this was not a good move.
Hélène is cool about it all. Too cool. Her mind calculates a plan to get the ultimate revenge upon Jean - one that's so "take-no-prisoners" in its approach that it threatens to bring more than one innocent party down. She sets the wheels in motion for Jean to fall so madly in love with another woman, Agnès (Elina Labourdette) that he obsessively pursues her (with Hélène's manipulative assistance) until she falls in love with him too.
Marriage bells are imminent and Hélène even offers to completely coordinate the lavish public nuptials. Jean, it seems, has fallen for a former prostitute. Most of Parisian society is aware of this. Jean, blindly and madly in love, is not.
The story, rife as it is with so many foul twists and turns orchestrated by the nasty Black Widow Spider Woman, is a corker. While we follow with pure salacious joy, Bresson makes superb use of Jean Cocteau's ripe dialogue with a mise-en-scene that delivers a grotesque creepy-crawly pace that's punctuated several times with emotional coldcocks upon both the viewer and the characters in the piece whom Hélène victimizes.
After the wedding ceremony, Agnès takes ill when she discovers the guest list is replete with all the men she has serviced as a prostitute. Jean, still unaware of the deception perpetrated upon him is greeted with Hélène's foul scorn when she maliciously announces to him outside the church: "You've married a tramp. Now you must face the consequences. You're suddenly so sentimental. Since your marriage seems to mean so much to you, you mustn't run off. Return to Agnès' side. You won't be the only one to console her. All her lovers are inside. And there are plenty of them!"
Both the dialogue and Casarès's delivery are like a butcher knife to the gut. We've experienced her manipulations, but we've also been dragged through the pain Agnès has felt throughout the film - trying to hide her shame, trying to deny the love she feels for Jean and wishing she could undo everything to finally, for once, experience the sort of joy in life she once imagined having in childhood.
Bresson knocks us flat-out - not just with despair, but in those moments the film flirts with and eventually succumbs to the purity and power of love.
His movie is at once heartbreakingly dark and wildly romantic. Once again, it seems, for all of Bresson's (and his egghead champions) insistence upon avoiding typical tropes of commercial cinema, he yields a movie that offers everything an audience would want - including the kitchen sink.
That said, it's Robert Bresson's kitchen sink and as such, he delivers both the real goods and great cinema all at once. Les Dames du Bois de Boulogne is deeply moving and Bresson proves, once again, that he has few equals.
"Les Dames du Bois de Boulogne" is part of the TIFF Cinemtheque's major retrospective organized and curated by the legendary programmer James Quandt. Aptly titled "The Poetry of Precision: The Films of Robert Bresson", this and every other Bresson film is unspooling at the TIFF Bell Lightbox in Toronto and over a dozen cinemas across North America. The film is screening at TIFF Bell Lightbox Thursday February 23 06:30 PM and Monday March 5 06:30 PM. "Les Dames du Bois de Boulogne" is also available on a stunning Criterion Collection DVD. This is definitely worth owning, but only AFTER or in TANDEM with seeing the picture ON A BIG SCREEN - ON FILM.
To order tickets and read Quandt's fabulous program notes, visit the TIFF website HERE.
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