Reviews

Review by David Baldwin

Jenny (Gina Rodriguez) and Nate (LaKeith Stanfield) have just broken up. They were dating for 9 years in New York City, but decided to end their relationship when Jenny gets her dream job at Rolling Stone magazine in San Francisco. With one week until the big move, she looks to her friends Erin (DeWanda Rise) and Blair (Brittany Snow) to help cheer her up and go on one last adventure.

It took me two tries to watch Someone Great. Admittedly, I was extremely tired the first time I watched first-time director Jennifer Kaytin Robinson’s film and fell asleep after about 20 minutes. But I watched it again from the start the next day, and immediately realized what a terrible mistake I made. Robinson has created a raw, emotional, and charming film that speaks to what friendship means in the face of becoming an adult — and the maturity on display here may catch you off guard.

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Review by David Baldwin

What I have always found fascinating about movies is the fact that once they are finished and released into the world, they rarely change. Sure there have been Director’s, Extended and Unrated Cuts released after the film’s initial release (Ridley Scott is the KING of tinkering with his movies and never being satisfied with any of his final cuts) but they rarely alter the original content or message. They merely add to and/or enrich and/or destroy the viewing experience. What does change, almost every single time, is how we as individuals feel about the movie we are watching. It’s not unheard of to watch a movie you liked for the second or third time and have absolutely no idea why you ever enjoyed it in the first place, or vice versa. And I find that this ideal happens substantially more often for films I see at festivals, specifically the Toronto International Film Festival.

I mention and namedrop TIFF because the first time I saw Unicorn Store was at its World Premiere screening during the festival back in September of 2017. It was Day 5 of the festival and my first movie of the day. I had slept in that day not just due to exhaustion from the previous four days, but I was also still reeling from seeing mother! the night before (I went into that movie completely blind as my fifth movie of the day and was not okay afterwards). I was excited to see Unicorn Store that day for multiple reasons: it was Oscar-winner Brie Larson’s directorial debut; it was playing at my favourite venue, the Ryerson; and it was not an obscenely priced Premium ticket to pick up. I sat down in my seat, took not-all-that subtle photos of the celebrity sitting behind me (the team flanking him was less than thrilled), and waited for the film to start.

Looking back at my Twitter feed from that day, it looks like I enjoyed the film for the most part. But as days and weeks turned into months, I forgot about it and it quickly became one of four movies I saw during that festival that never officially saw the light of day again. Flash forward over a year and a half later, and Unicorn Store is finally being released on Netflix. But a lot can change in that amount of time, even if the movie itself has not done much changing.

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Review by David Baldwin

I was a Disney kid growing up. The numerous VHS tapes gaining dust in my Mom’s basement can attest to that fact. My all-time favourite was Aladdin, but I’m told I was a big fan of The Jungle Book, The Sword and the Stone and Robin Hood when I was much younger. And while we ended up buying and watching a lot of other random Disney movies (and some sequels), we never bought Dumbo. And the more I think about it, I do not even think I watched Dumbo in it’s entirety until I bought the Blu-ray myself nearly ten years ago. I knew who he was, but the fondest memory of the character I have was his brief appearance in Who Framed Roger Rabbit?.

Which made this weekend’s release of the live action remake/reimagining/rewhateverweshouldcallit all the more interesting. Unlike Guy Ritchie’s Aladdin remake I’m destined to be much too critical of, my nostalgia for Dumbo does not run nearly that deep. Having recently re-watched the original film, I was genuinely shocked how little I remembered about it. And sure, I am not the biggest proponent of Disney remaking every single one of their animated classics, but I was willing to give this one a chance because of its stellar cast and because I still have a soft spot for Tim Burton.

I should have known better.

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Review by David Baldwin

My exposure to Mötley Crüe has been limited at best. I played their songs in Rock Band and Guitar Hero. I was briefly obsessed with “Kickstart My Heart” after hearing it during the trailer for the all but completely forgotten Clive Owen romp Shoot ‘Em Up (do you remember that movie? I own in on DVD and remember literally nothing besides Owen’s character liked to chew carrots like Bugs Bunny and used one to stab a guy). A girl I was intrigued with had a grotesque image of a two-faced demon from Nikki Sixx’s book The Heroin Diaries tattooed on her hip. That’s pretty much where my knowledge begins and ends.

Oh, and I watched Tommy Lee and Pamela Anderson’s sex tape when I was a teenager, as you do.

So when it came time to watch The Dirt, I was at a bit of a loss. Do I wade in as blind as possible or do I look up some of the stories? Do I just trust that the filmmakers will be honest in their portrayals? And if they aren’t, will the movie and music be entertaining enough for me to completely look past it?

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Review by David Baldwin

I turn 32 this weekend, so my future mortality has been top of mind as of late. I am not sure if 22-year-old me would be excited or disappointed at who I have become. I have had highs, lows and plenty of what-have-yous over the past 10 years and am literally coming off the most exciting year of my life. Some of these moments were planned, some not so much. Some were those classic “Jesus Take the Wheel” moments you can never have too many of. So while my writing situation is less than ideal at this given moment (a grungy food court in downtown Toronto where a couple is breaking up feet away from me), I was very much in the right frame of mind to watch Paddleton, the latest Netflix film from the Duplass Brothers.

Paddleton revolves Michael (Co-Writer Mark Duplass) and Andy (Ray Romano), best friends who live in the same apartment complex. They are both single and hang out together often – mostly at Michael’s place, which is on the ground floor directly below Andy’s. Michael has terminal cancer and has been given only months to live. Neither are ready to lose the other, but Michael wants to be sure he makes the decision on how he leaves this world.

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Review by David Baldwin

I love watching the Oscars. Full stop. Despite the on-going shenanigans the Academy continues to pull on a daily basis, not to mention the seething and vile commentary from bloggers and Film Twitter, I am still very excited for this year’s ceremony. But much like the rest of you, I rarely know which Short Films to pick when I am filling out my ballot for the yearly office Oscar pool. I have had some successes in the past — and by sheer luck, went 3/3 way back in 2004 and then never again — but I typically miss properly predicting these categories entirely.

So when the opportunity arose to watch and review these films this year, I jumped at the chance. I am always well versed in the nominees for the major categories, but the Shorts have consistently been a major blind spot. And now I’m slightly more optimistic at my future picks this year. I still need to catch up on the Documentary Shorts, so today I will focus on the Animated and Live Action Shorts.

Here’s hoping the Docs are a little more uplifting, because if there’s anything these short films have in common so far, it’s that they are very bleak and depressing. And the majority of them involve children.

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Review by David Baldwin

When I pitched watching Velvet Buzzsaw to my wife, I mentioned that Dan Gilroy had written and directed two other films: Nightcrawler, which I love, cherish and still to this day remain devastated did not land Jake Gyllenhaal a Best Actor Oscar nomination; and Roman J. Israel, Esq., a total mess of a movie that landed Denzel Washington a Best Actor Oscar nomination, despite featuring the single worst performance Denzel has ever given. The film was better used as a punchline in a Weekend Update sketch involving Bill Hader’s Stefon which still makes me laugh just thinking about it.

So needless to say, it was a 50/50 shot going into Velvet Buzzsaw. I refused to watch the trailer (and you should too) and tried my very best to stay away from any and all of the Sundance reviews. But even after seeing Gilroy’s mash up of satire and horror set in the world of art dealers, creators and critics, I am still sort of confused about what a Velvet Buzzsaw is. But I would be lying if I said I didn’t enjoy the hell out of whatever Gilroy thought he was making here.

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Review by David Baldwin

I watch a lot of movies, so it seems to shock friends and co-workers any time I have not seen the popular movie of the moment as quickly as they have. I usually have the standard excuse of “It’s on the list” or “I’m waiting for Netflix”, but as must-see content continues to pile up on an almost hourly basis, I find myself consistently behind the curve. Quitting my full time job is not an option (especially when you’ve only recently become a full-time homeowner), so I’m constantly playing catch-up.

I say all of this, because the last few weeks have been dominated by discussions about Christmas, New Year’s, whether or not Die Hard is a Christmas movie (spoiler alert: It is), and Bird Box. The film premiered with little fanfare at AFI Fest in November (mostly because they cancelled their Red Carpet coverage out of respect for on-going wildfires terrorizing California at the time), but has since become one of the most watched original Netflix films, has inspired conspiracy theories about the veracity of the memes about the film being posted on Twitter, and now has inspired its own social media challenge related to activities being performed while blindfolded.

So yes, it makes sense that someone would be surprised I had not watched the film just yet. I made a point of fixing as soon as I possibly could.

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I didn’t hate Fifty Shades of Grey when I watched it at a packed screening back in 2015. And I didn’t hate Fifty Shades Darker when I watched in at home last Spring in all its timid “Unrated” glory. Both films were badly written and badly acted, but they were functional pieces of entertainment that were clearly not designed for me. They provided some intentional and unintentional laughs, and were not nearly as bad as some of the films I actually went to see purposely.

But the finale, Fifty Shades Freed — or climax as the posters so playfully tease — is a whole other beast entirely. And while I joked on Facebook that it was a “triumph of cinema”, it is easily the exact opposite.

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#TIFF17 has come and gone, and like most years — it kicked my ass. I saw 32 films this year between Thursday September 7 and Friday September 15 (along with 4 before the festival even began), shattering my previous best of 25 films from previous years. And I tied my personal best number of films seen in 1 day at 5. I was hoping to see 6, but the combination of Revenge starting almost an hour late (at 1AM no less) and the eye-opening experience of watching mother! were a bit too much to handle. So while I am disappointed that I cut this year short, I am more than satisfied with what I did see.

I had a lot of activity going on Twitter reviewing all the films quickly, but did get to write out a few journals for the great Oscar-tracking site NextBestPicture.com. Here are the links to the journals filled with thoughts on the films I saw, as well as some of my experiences (including getting to tell Nicolas Cage he was my spirit animal!).

On the Ground at TIFF – Days 1 & 2
Film Highlights — Call Me By Your Name, Lady Bird, Super Size Me 2: Holy Chicken!

On the Ground at TIFF – Days 3 & 4
Film Highlights — The Current War, Molly’s Game, mother!

On the Ground at TIFF – Days 5 & 6
Film Highlights — Darkest Hour, The Disaster Artist, The Shape of Water

On the Ground at TIFF – The Final Days
Film Highlights — Mudbound, Professor Marston and the Wonder Women, Three Billboards Outside Ebbing, Missouri

And here are the links to the capsule reviews I wrote for my favourite film and celebrity news site, Mr. Will Wong:

Lady Bird
mother!
The Shape of Water

Until next September!