Julianne Moore and Atom Egoyan - Julianne Moore, Atom Egoyan Toronto, Canada Toronto, Canada - 'Chloe' premiere held at Roy Thompson Hall - 2009 Toronto International Film Festival Sunday 13th September 2009
Maybe I over-hyped it in my mind, becoming too hopeful in the face of overwhelming praise for the film. Or maybe I know Egoyan's tricks too well by now. Either way, I left the film extremely pleased but depressed: partly because the movie is such a downer, and partly because I know Egoyan can do even better.
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She's an adult movie censor that surreptitiously videotapes the screenings so she can get off to them after hours.
Continue reading: The Adjuster Review
The action in Exotica jumps from one character to another, from location to location, and back into Brown's past occasionally, teasing the viewer with bits of information about how these people's lives are eventually going to gel into a cohesive story. As the story progresses, there are plenty of blanks left for the viewer to fill in as the action springs around. The seamless editing makes this seem natural, albeit a bit overdone at times, but eventually it all comes together to make perfect sense in the end.
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Why? While Egoyan is a master at working with cryptic source material, Felicia's Journey lends itself more to its source as a novel than the big screen. Basically, this is the story of two people. First is Felicia (Cassidy), an Irish lass who's travelled to the U.K. to search for the father of her unborn child. Along the way she encounters Joseph Hilditch (Hoskins), a sweet and friendly "catering director" who hides a secret that other critics will undoubtedly reveal, but I won't.
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All of which seems to further 2003 as the year of the outlandish fantasy. As Sylvain Chomet's singular vision brought us a work derived purely from an irrepressibly inventive mind with The Triplets of Belleville, here Canadian director Guy Maddin (Dracula: Pages from a Virgin's Diary, Fleshpots of Antiquity) works from a co-authored original screenplay with Kazuo Ishiguro (The Remains of the Day) in a manner that combines the storytelling and musical vitality of Topsy-Turvy with the visual imagery out of the German expressionism of F.W. Murnau (Nosferatu, The Phantom) but with its own richness of character. I call it "high concept 8mm."
Continue reading: The Saddest Music In The World Review
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