Toronto International Film Festival

[Maltin]

As Leica has posted up some of the films being screened at the Venice Film Festival, here are some of the films premiering at the 31st Toronto International Film Festival in early September.

All the Kings Men (directed by Steven Zallian)

Remake of the 1949 Best Picture Oscar winner based on Robert Penn Warren's Pullitzer Prize winning novel about the rise and fall of a self-made and self-styled "red-necked hick" who batters his way to poliitcal kingdom (based on Huey Long). The main character is played by Sean Penn.

Bernard and Doris (Bob Balaban)

Based on the life of billionairess Doris Duke (played by Susan Sarandon) who left all her fortune to her gay butler (played by Ralph Fiennes).

The Pleasure of Your Company (Michael Ian Black)

Comedy starring Jason Biggs whose life is apparently changed when he meets a quirky waitress played by Isla Fisher.

Copying Beethoven (Agnieszka Holland)

Diane Kruger plays a music student who helps Ludwig van Beethoven (played by Ed Harris) to publish the score for his Ninth Symphony.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Larry Charles)

Sacha Baron Cohen stars as Kazakh journalist Borat Sagdiyev, who travels to the US to document the contrasts between his homeland and the US.

Black Sheep (Jonathan King)

Comedy horror about genetically engineered killer sheep.

Trapped Ashes (Ken Russell/Sean Cunningham (Friday the 13th)/Monte Hellman/John Gaeta (visual effects supervisor of The Matrix))

Anthology in which four people trapped in a horror film set in a Hollywood studio each tell a creepy story. Joe Dante directs the wraparound segments.

All the Boys Love Mandy Lane (Jonathan Levine)

Peers of teen diva Mandy are killed off one by one.

Fido (Andrew Currie)

A Canadian film starring Billy Connolly as a zombie who mistakenly eats his next-door neighbour.

Away From Her (Sarah Polley)

An adaptation of an Alice Munro short story about a wife's slide into Alzheimer's. Starring Gordon Pinsent and Julie Christie.

The Journals of Knud Rasmussen (Zacharias Kunuk and Norman Cohn)

A portrayal of the lives of the last great Inuit shaman, Avva, and his beautiful and headstrong daughter, Apak. Unsurprisingly, based on the journals of 1920s Danish ethnographer Knud Rasmussen.

Kabul Express (Kabir Khan)

Set in post-9/11 Afghanistan following five characters over a fateful 48 hours.

A Grave-Keeper's Tale (Chitra Palekar)

Film based on the outcast story "Baayen" (Witch), by Mahasweta Devi, and starring Nandita Das.

Vanaja (Rajnesh Domalpalli)

Coming-of-age story about a teenager studying Kuchipudi dance who comes to the attention of her mentor's son.

A Cry in the Dark (Haobam Paban Kumar)

An examination of the persecution of India's Manipuri population.

Dixie Chicks -- Shut Up and Sing (Barbara Koppel and Cecilia Peck)

Documentary following the group caught in a political storm because one of them said on stage at a 2003 London concert "Just so you know, we're ashamed the president of the United States is from Texas." on the eve of the American invasion of Iraq.

Lake of Fire (Tony Kaye)

Documentary about the American abortion debate.

The Prisoner or How I Planned to Kill Tony Blair (Petra Epperlein and Michael Tucker)

Documentary film using a comic book motif to tell the story of an Iraqi cameraman's wrongful arrest and interrogation by American forces including a stay at Abu Ghraib prison.

Primo Levi's Journey (Davide Ferrario)

Documentary following in the footsteps of the Holocaust survivor and scholar’s return trip from Auschwitz to Torino 20 years after his death.

Ghosts of the CiteSoleil (Asger Leth)

Documentary about brothers who are also leaders in Haiti's slum gangs during Jean-Bertrand Aristide's presidency.

Shame (Mohammed Naqvi)

Documentary in which a Pakistani woman breaks a code of silence after her rape.

Kurt Cobain: About a Son (AJ Schnack)

Documentary narrated by Kurt Cobain tracing his life from his hometown of Aberdeen to his famed days with Nirvana. Film draws on over 25 hours of previously unreleased audio interviews.

Blindsight (Lucy Walke)

Documentary about a group of blind Tibetan teens climbing Mount Everest led by famed blind climber Erik Weihenmayer.

This Filthy World (Jeff Garlin)

John Waters' one-man show.

Office Tigers (Liz Mermin)

Documentary about young Indian professionals working in an American-owned outsourcing company, learning the rules of corporate culture.

Yokohama Mary (Takayuki Nakamura)

Documentary about a woman well-known to street dwellers as an infamous prostitute for over 50 years who painted her face white and lived on the streets. Film looks into the mysterious disappearance of this eccentric old woman as one man scrambles to find her before he dies of cancer.

Made in Jamaica (Jerome Laperrousaz)

Musical documentary of Jamaican life, recounting the personal stories and struggles of reggae and dance hall artists who have made it out of their native ghetto and into the global spotlight.

 

[Leica]

Maltin, that must have been a lot of work. Thank you - you're my kind of person

I love festivals. This year I'm trying to blag free passes to two, and even possibly some work (in subtitling).

 

[Maltin]

Maltin, that must have been a lot of work. Thank you - you're my kind of person

I love festivals. This year I'm trying to blag free passes to two, and even possibly some work (in subtitling).

As you did quite a bit of work on the Venice and Cannes ones, I thought I would save you some effort.

Which festivals are you hoping to go to?

You mentioned about going to film festivals on the other thread but the only major one that I have been to is the London Film Festival, which I hope to go to again this year. Would like to go overseas somewhere.

 

[Leica]

...

 

[Maltin]

Not that many of you are interested, but more premieres have been announced for the festival.

Bonneville

Feature directorial debut from Christopher N Rowley about three women who spontaneously embark on a cross-country road trip.

Arvilla (Jessica Lange) finds herself at an emotional crossroads so hijacks her two best friends (Joan Allen and Kathy Bates) and they all set off in a vintage 1966 Bonneville convertible. What is supposed to be a quick trip to catch a flight to California ends up being the ride of their lives.

El Cantante (Leon Ichaso)

Biopic of salsa star Hector Lavoe (played by singer Marc Anthony) and his muse and love Puchi (Jennifer Lopez).

The film follows Lavoe from his early years as a teen singer in Puerto Rico to his later life as a Latin idol in New York and years battling drug and alcohol addictions.

For Your Consideration

Latest comedy from Christopher Guest looking at the trials and tribulations of acting in the film industry.

The Last Kiss (Tony Goldwyn)

Remake of the Italian film made in 2001.

Stars Zach Braff in the story of a man coming to grips with turning 30. His girlfriend become pregnant when an attraction forms between him and an 18-year-old (Rachel Bilson of "The OC").

The Magic Flute (Kenneth Branagh)

Coinciding with the 250th anniversary of Mozart's birth, film transposes the Mozart opera to WWI, with a new libretto from Stephen Fry. Score performed by the Chamber Orchestra of Europe. Premiering on the same day as at the Venice Film Festival.

Penelope (Mark Palansky)

Modern day fairy tale about love and self-acceptance. Story of a woman (Christina Ricci) afflicted by a strange curse that can only be broken when she is loved by one of her own kind (wealthy, society family)

Seraphim Falls (David Von Ancken)

A thriller that takes place just after the Civil War about two men (Pierce Brosnan and Liam Neeson) in a deadly battle in the wilderness of the American West.

Stranger Than Fiction (Marc Forster)

A novelist (Emma Thompson) is finishing her latest work, but it turns out her lead character (Will Ferrell) is a real person who's none too thrilled that he's about to be killed off. Supporting cast includes Dustin Hoffman, Maggie Gyllenhaal and Queen Latifah.

Venus (Roger Michell)

Story of two veteran actors (played by Peter O'Toole and Leslie Phillips) whose quiet lives are changed when Leslie Phillip’s character’s grand-niece (Jodie Whittaker) shows up on the scene. Richard Griffiths and Vanessa Redgrave also star.


Hopefully some of these will come to the 50th London Film Festival in October.

 

[Greta]

Perhaps attendees of the festivals might post recommendations after viewing? The unwashed, unsophisticated might appreciate some cultural elucidation - I know I would.

 

[Maltin]

Perhaps attendees of the festivals might post recommendations after viewing? The unwashed, unsophisticated might appreciate some cultural elucidation - I know I would.

Unfortunately I won't be attending the Toronto or the Venice festivals, however the main point of the thread (and adding to the Venice thread and creating the London one) was to update it once the films had premiered to give the critical reaction and then possibly to comment on them once I (or others) had seen the films.

If anyone is attending the festivals and would like to post some recommendations, that would be

 

[Maltin]

A full list of films has been announced.

http://www.e.bell.ca/filmfest/2006/home/default.asp

Some more world premieres include:

A Good Year (Ridley Scott)

Comedy based on Peter Mayle’s novel about a workaholic who inherits a vineyard from his uncle.

Starring Russell Crowe, Albert Finney.

Amazing Grace (Michael Apted)

The idealist William Wilberforce (played by Ioan Gruffudd) manoeuvres his way through Parliament in 18th century England, endeavouring to end slavery in the empire.

Breaking and Entering (Anthony Minghella)

After his office is repeatedly burgled, Jude Law follows the thief home and is drawn to the boy’s mother (Juliette Binoche).

Mon Meilleur Ami (Patrice Leconte)

Follows the story of François (Daniel Auteuil), an antique dealer who sets out on a charming adventure to find himself a best friend.

 

[Leica]

On the topic of festivals, here's the poster for Sitges this year (6-15 October).

 

[HackneyE9]

The Magic Flute (Kenneth Branagh)

Coinciding with the 250th anniversary of Mozart's birth, film transposes the Mozart opera to WWI, with a new libretto from Stephen Fry.

- Makes mental note to avoid that one.

 

[Maltin]

All the Kings Men (directed by Steven Zallian)

Remake of the 1949 Best Picture Oscar winner based on Robert Penn Warren's Pullitzer Prize winning novel about the rise and fall of a self-made and self-styled "red-necked hick" who batters his way to poliitcal kingdom (based on Huey Long). The main character is played by Sean Penn.

Trailer for this is online.

http://www.apple.com/trailers/sony_pictures/allthekingsmen/

Apparently the story has been updated to be set in the 50s rather than the 30s of the original.

Bosley Crowther of the New York Times described the original as a "rip-roaring film".

I hope the remake is as good.

 

[Reno]

The Magic Flute (Kenneth Branagh)

Coinciding with the 250th anniversary of Mozart's birth, film transposes the Mozart opera to WWI, with a new libretto from Stephen Fry.

- Makes mental note to avoid that one.

Shame, it's my favourite opera, but I'm not much a fan of Branagh as a director.

 

[Maltin]

All the Kings Men (directed by Steven Zallian)

Remake of the 1949 Best Picture Oscar winner based on Robert Penn Warren's Pullitzer Prize winning novel about the rise and fall of a self-made and self-styled "red-necked hick" who batters his way to poliitcal kingdom (based on Huey Long). The main character is played by Sean Penn.

The Hollywood Reporter is impressed with Sean Penn but not with the film as a whole.

You would not immediately think of Sean Penn for the role of Willie Stark, the powerful and hugely ambitious Southern politician around whom Robert Penn Warren's famous 1946 novel revolves. You think of a big man because the character was modeled after Louisiana's flamboyant governor Huey P. Long and was played in the original 1949 movie by Broderick Crawford, both stocky men. But Penn fills the screen with this cagey and cunning character, his oratory so loquacious an enemy would vote for him and a body seeming to move in several different directions with every step. In one of his greatest screen performances, Penn nails the contradictory and compelling genius of a small-time rural pol, who dreams and schemes his way to the top of a corrupt system designed to keep men like him on the outside.

This charismatic performance, surrounded by incisive turns by an all-star ensemble cast, gives furious energy to a movie that doesn't seem to know how to contain it. Writer-director Steven Zaillian's questionable solution is to fit this rambunctious portrait of unruly Southern politics in a monumental frame where Southern Gothic meets Leni Riefenstahl. Neo-classical buildings and old-money mansions tower over mere mortals or glower with oligarchic rage. Ominous darkness reaches into the corners of a screen that is as close to black-and-white as a color movie can achieve. James Horner's music thunders so melodramatically you expect lightning to fill the sky at any moment.

Audience can certainly find entertainment in this movie, so long as no one takes things too seriously. One suspects, however, that Zaillian and a vast team of producers and executive producers that includes political consultant and pundit James Carville believe they are making a serious commentary on American politics.

All the King's Men - THR review

Variety are less keen:

Overstuffed and fatally miscast, "All the King's Men" never comes to life. Despite location shooting and obvious sincerity, this second screen version of Robert Penn Warren's Pulitzer Prize-winning 1946 novel about a corrupt populist Southern governor not unlike Louisiana's Huey P. Long doesn't seem authentic for a moment, due to a glittering array of actors who look and sound like they've come from different ends of the English-speaking world -- which, in fact, they have. Absent any point of engagement to become involved in the characters, the film feels stillborn and is unlikely to stir public excitement, even in an election year.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (Larry Charles)

Variety and Screen International like it.

A hand grenade lobbed towards the American heartland, mockumentary Borat explodes with intermittently uproarious results. Fans of Sacha Baron Cohen’s enthusiastic Kazakhstan reporter and his television escapades will not be disappointed by a feature debut filled with caustic encounters and razor-sharp observations. Others might wonder what all the fuss is about; Borat may hit the bullseye more often than not but then again it is taking aim at some fairly unmissable targets.

A gormless Kazak reporter learns about America in uproariously funny mockumentary "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan." Lead character invented by Brit comedian Sacha Baron Cohen retains an innocent sweetness that mollifies offense his decidedly un-PC remarks might cause.

 

[Maltin]

For Your Consideration

Latest comedy from Christopher Guest looking at the trials and tribulations of acting in the film industry.

Ten years into a collaboration that has produced the well-received mockumentaries "Waiting for Guffman," "Best in Show" and "A Mighty Wind," Christopher Guest and Eugene Levy shed the gimmick and tackle the bizzers among whom they live and work in almost surreally fast-paced, film-within-a-film narrative laffer "For Your Consideration." The story of a supposedly prestige film production comically roiled by rumors of kudos buzz, the pic is too heavy on ethnic humor and industry in-jokes to attract many in flyover territory, but will garner more than enough critical huzzahs from those it lampoons to incrementally broaden the duo's ever-growing fan base in theatrical and fiercely cultish ancillary.

The Last Kiss (Tony Goldwyn)

Remake of the Italian film made in 2001.

Stars Zach Braff in the story of a man coming to grips with turning 30. His girlfriend become pregnant when an attraction forms between him and an 18-year-old (Rachel Bilson of "The OC").

Proving that with solid direction, tight writing and strong performances an American remake can actually be as good as the foreign-language original, "The Last Kiss," an unusually perceptive dramedy about contemporary relationships also manages to stand quite capably on its own two feet.

The Last Kiss - THR review

The Magic Flute (Kenneth Branagh)

Coinciding with the 250th anniversary of Mozart's birth, film transposes the Mozart opera to WWI, with a new libretto from Stephen Fry. Score performed by the Chamber Orchestra of Europe. Premiering on the same day as at the Venice Film Festival.

There's not much magic left in Kenneth Branagh's "The Magic Flute." Relocating the 1791 opera to WWI, dousing it in widescreen CGI and adopting a hard-edged approach that worked for "Hamlet" but squeezes most of the lightness and fun out of Mozart's featherlight masterwork, Branagh has wrought a "Flute" for high-end aficionados only. Lavishly mounted and well sung, but thin on charm and spontaneity, pic is likely to hit a bum note at general wickets.

Stranger Than Fiction (Marc Forster)

A novelist (Emma Thompson) is finishing her latest work, but it turns out her lead character (Will Ferrell) is a real person who's none too thrilled that he's about to be killed off. Supporting cast includes Dustin Hoffman, Maggie Gyllenhaal and Queen Latifah.

A highly original script by newcomer Zach Helm, some superlative performances and the deft guiding hand of director Marc Forster, trying his hand at comedy for the first time, make Stranger Than Fiction the season's must-see film for discerning audiences.

Venus (Roger Michell)

Story of two veteran actors (played by Peter O'Toole and Leslie Phillips) whose quiet lives are changed when Leslie Phillip’s character’s grand-niece (Jodie Whittaker) shows up on the scene. Richard Griffiths and Vanessa Redgrave also star.

Peter O'Toole reigns once again onscreen in "Venus." Playing his first meaty leading film role in perhaps two decades, the still charismatic and silver-tongued star scores a bull's-eye here as an aged thespian who, despite failing health, can't resist playing out a final dalliance of a sort with a nubile young thing. Genuinely funny, randy and moving by turns, breezily enjoyable throughout, this small-scaled, thoroughly British entertainment will appeal most to older viewers, but good reviews and word of mouth could push it to a wider audience.

Seventy-four-year-old Peter O'Toole could well earn himself an eighth Oscar nomination (which, not counting his 2003 honorary award, would be his first nom since 1982's "My Favorite Year") for his superbly rendered portrayal of a working English actor whose autumn years yield a surprise third act.

While the vehicle that will likely take him there -- Roger Michell's "Venus," in which O'Toole finds himself falling hard for his best friend's cheeky grand-niece -- hits a few bumpy patches after a very promising start, it hands the accomplished actor one of his best roles in years, and he masterfully runs with it.

Venus - THR review

 

[Maltin]

A Good Year (Ridley Scott)

Comedy based on Peter Mayle’s novel about a workaholic who inherits a vineyard from his uncle.

Starring Russell Crowe, Albert Finney.

"A Good Year" marks an experimental venture by director Ridley Scott and star Russell Crowe into romantic comedy with slapstick touches. It's always commendable for talented artists to flex different muscles and try new things. But from the looks of this movie, comedy is the forte of neither man. You sense in every frame the strain to be lighthearted. Consequently, "A Good Year" is at times downright clumsy. You know what the filmmakers are trying to achieve and see the labor going into the attempt, but for them to fall so short is unsettling.

A Good Year - THR review

A light rose from Ridley Scott compared to the hefty cabernets he usually turns out, "A Good Year" is a divertissement, an excuse for the filmmakers and cast to enjoy a couple of months in Provence and for the audience, by proxy, to spend a couple of hours there. A simple repast consisting of sometimes strained slapsticky comedy, a sweet romance and a life lesson learned, this little picnic doesn't amount to much but goes down easily enough...

 

[Maltin]

Appalling, tasteless, grotesque, politically incorrect ... slanderous.

The Hollywood Reporter also liked Borat.

Borat - THR review

They also think For Your Consideration is funny too.

"The outrageously hilarious "For Your Consideration" was well worth the wait."

For Your Consideration - THR review

Screen International were also keen on it.

"The finest comedy stems from painfully truthful, accurate reflections of real life. That may explain why Christopher Guest’s sharply observed ensemble comedies have become such surefire guarantees of hilarity. For Your Consideration is no exception as it captures all the inanity and indignity of the Hollywood Oscar season."

 

[Maltin]

Amazing Grace (Michael Apted)

The idealist William Wilberforce (played by Ioan Gruffudd) manoeuvres his way through Parliament in 18th century England, endeavouring to end slavery in the empire.

Crisply told and sincerely thesped, "Amazing Grace" is a workmanlike costumer that distills Blighty's long battle for the abolition of slavery and the personalities behind landmark antislavery legislation into a tidy story of conscience and perseverance.

The dullness of virtue infuses this historical story of the British MP who spent his life fighting the appalling institution of slavery in the British Empire. This is about as safe a historical/political topic as a filmmaker can tackle, where right and wrong are as clear as day. The only cause for wonder for a modern-day viewer is the speciousness and cynicism of the arguments made in favor of the institution in those days.

Amazing Grace - THR review

Breaking and Entering (Anthony Minghella)

After his office is repeatedly burgled, Jude Law follows the thief home and is drawn to the boy’s mother (Juliette Binoche).

The possible upsides of lying and being burglarized are among the numerous topics held up to the light for close examination in "Breaking and Entering." Anthony Minghella's film is conspicuously thoughtful and civilized as it provides a close-up snapshot of particular aspects of life in London at this moment. Entirely respectable in every way, it nonetheless has a very cool body temperature and thus likely will inspire polite admiration rather than excitement among viewers

Anthony Minghella’s first contemporary London-set film since Truly Madly Deeply in 1991, Breaking And Entering is an ambitious but disappointing affair revolving around middle class folk from North London in crisis. Although handsomely produced and featuring one or two noteworthy performances, it is hijacked by a surprising lack of plausibility, both in the actions and emotions of its characters.

"Breaking and Entering," the first movie Anthony Minghella has directed from a screenplay of his own since his impressive 1991 debut, "Truly Madly Deeply," relates a commonplace story about a couple whose love has gone into eclipse so they must either repair or abandon the relationship. What gives the movie its intrigue and vitality though is the neighborhood where the story takes place. Minghella's real interest seems to lie in exploring an area of his hometown of London that teems with immigrants from everywhere.

Breaking and Entering - THR review

Mon Meilleur Ami (Patrice Leconte)

Follows the story of François (Daniel Auteuil), an antique dealer who sets out on a charming adventure to find himself a best friend.

Patrice Leconte is in a light but thoughtful mood in "My Best Friend," a buddy movie that actually ponders the nature of what it is to be a buddy. Deriving a compact tale from Olivier Dazat's story with his regular screenwriting pal Jerome Tonnerre, Leconte finds substance in the formulaic premise of a man who bets he can prove he has a best friend -- even though he has none.

Director Patrice Leconte has declared he no longer wants to do "overly serious movies" and that after three more films he will discontinue making films altogether. "My Best Friend" is the discouraging result of these twin decisions to downshift. One looks to Leconte for some of the finest, most sophisticated and compassionate filmmaking coming out of France, not for a situation comedy.

"My Best Friend" is not a bad film and veteran star Daniel Auteuil makes any film he inhabits an interesting place to visit.

Mon Meilleur Ami - THR review

 

[Maltin]

El Cantante (Leon Ichaso)

Biopic of salsa star Hector Lavoe (played by singer Marc Anthony) and his muse and love Puchi (Jennifer Lopez).

The film follows Lavoe from his early years as a teen singer in Puerto Rico to his later life as a Latin idol in New York and years battling drug and alcohol addictions.

The downward spiral for the main characters in "El Cantante" begins in the first scenes, so all director Leon Ichaso can do to distract you from the depressing story of salsa king Hector Lavoe is put as much exuberance into the musical performances as in the drug highs. Thus Ichaso fills his movie with so many chart-busting hits, "El Cantante" almost feels like a party film. Unfortunately, the music is as irresistible as the tired story of a musician succumbing to substance abuse is resistible. What can you do with a character whose own wife admits that the greater he becomes as an artist, the deeper he sinks as a human being?

Real-life husband and wife Marc Anthony and Jennifer Lopez provide the real chemistry -- albeit the combustible kind -- as Lavoe and his wife of 20 years, Puchi. And Anthony's re-recordings of Lavoe's classics bring great energy to the movie.

El Cantante - THR review

Seraphim Falls (David Von Ancken)

A thriller that takes place just after the Civil War about two men (Pierce Brosnan and Liam Neeson) in a deadly battle in the wilderness of the American West.

Irishmen Liam Neeson and Pierce Brosnan play opposing soldiers in the post-Civil War entry "Seraphim Falls," a beautifully shot (by Oscar-winning cinematographer John Toll) but dramatically empty pursuit picture set in the untamed West.

A first feature by busy TV director David Von Ancken, the sparsely written film has the visual resonance of a John Ford Western but ultimately moves slower'n a tumbleweed in a vat o'molasses.

Even two such charismatic actors as Neeson and Brosnan, all scruffy but no less photogenic, are hard-pressed to inject some much-needed vitality into their sparse lines, which have a habit of drifting off into those wide open spaces.

Seraphim Falls - thr review

 

[Maltin]

Toronto round up

Variety's chief film critic, Todd McCarthy, has commented on his highlights from the Toronto Film festival. Apart from loving Borat, it was interesting to see him state the following:

there seems to be a mini-trend afoot of European films skillfully applying some of the lessons and expertise of Old Hollywood in ways that New Hollywood seems almost entirely incapable of today and would do well to relearn. I'm thinking specifically of Florian Henckel von Donnersmarck's outstanding German drama "The Lives of Others," about the insidiously thorough surveillance of East German citizens by the Stasi intelligence agency; Paul Verhoeven's WWII drama "Black Book," his return to Dutch filmmaking after 15 years in Hollywood; and Patrice Leconte's French buddy comedy "My Best Friend."

On My Best Friend (Mon Meilleur Ami)

my colleague Robert Koehler and several others assured me that this tale of a successful man forced by a wager to produce a best friend when he has none is an immensely satisfying piece in the vein of Preston Sturges and other classical-era practitioners of inventive character writing and romantic comedy. The fear is that some studio will buy it in order to remake it and in the process formularize the freshness right out of it.

"The Lives of Others," which looks destined to enjoy great success in the U.S., benefits from being a fresh take on life behind the Iron Curtain, one that couldn't have been made (or at least wasn't) before the Wall came down.

On Black Books (Zwartboek)

It is, as the aforementioned Sturges once formulated things, a "deep-dish" movie, one that embraces its melodrama and far-fetched coincidences and unlikely contrivances rather than becoming embarrassed about them.
...
Despite the tragedy and pain involved, I can't think of a WWII movie that's been this much fun to watch since possibly the 1960s.

And finally he concludes:

Hollywood could relearn some lessons worth knowing from its own legacy by watching some of these new European films.

The depressing thing is that it definitely could, but probably doesn't care and won't.

 

[Dhimmi]

Get ye to Switzerland.