Liane Balaban

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The Grand Seduction Trailer


Murray French is a resident in a seaside village that is struggling desperately in the face of unemployment. They have only one hope; they can have a factory built which will provide the majority of the townsfolk with income. However, to secure the permission for it to be built, they must have a doctor living nearby. Luck seems to come their way when a young medic named Dr. Paul Lewis makes his way over to the town for a month-long stay and Murray and the other villagers set about trying to indirectly convince him to stay permanently; whether that is trying to get the local postlady to flirt with him or leaving him welcome gifts. But the more they try to give him reason to stay there, the more Paul starts to feel it's not his idea of home.

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Maniac Review


OK

Aside from being an exercise in point-of-view cinema, it's not clear why French filmmaker Khalfoun (P2) bothered to remake the notorious 1980 slasher horror. This version certainly doesn't include any of the subtext that made 80s horror so intriguing. Instead, it strings together a thin plotline as an excuse for extremely grisly violence and whizzy camerawork. That's enough to hold our interest, but it never gets under the skin.

It's set on the side-streets of Los Angeles, where Frank (Wood) lives in the family mannequin shop haunted by memories of his trashy mother (Olivo). A true psychopath, Frank prowls the streets at night attacking women and scalping them to create a sinister mannequin tableau back home. When he meets the French photographer Anna (Arnezeder), he decides to try and live a normal life. She is intrigued by his shop, and wants the mannequins for her gallery exhibition. But how long will it be before Frank snaps?

Filmed completely through Frank's eyes, we only get glimpses of Wood in mirrors and in a couple of eerie out-of-body shots along the way. But Khalfoun stirs in fantasy sequences, memories and delusions as well, trying to get us into the mind of this mild-mannered killer. Much of this is bravura filmmaking, with long takes and complicated camera angles combining with above-average make-up effects. With all of the brutality aimed at women, the film definitely recaptures the misogynistic tone of those 1980s video-nasties.

Continue reading: Maniac Review

The 35th Toronto International Film Festival - Alliance Films party to celebrate their 2010 TIFF lineup.

Rachel Blanchard and Liane Balaban - Rachel Blanchard and Liane Balaban Toronto, Canada - The 35th Toronto International Film Festival - Alliance Films party to celebrate their 2010 TIFF lineup. Saturday 11th September 2010

Rachel Blanchard and Liane Balaban

The 35th Toronto International Film Festival - 'Daydream Nation' premiere at the Ryerson Theatre

Liane Balaban and Rachel Blanchard - Liane Balaban and Rachel Blanchard Toronto, Canada - The 35th Toronto International Film Festival - 'Daydream Nation' premiere at the Ryerson Theatre Friday 10th September 2010

The 35th Toronto International Film Festival - 'Daydream Nation' premiere at the Ryerson Theatre

Liane Balaban Friday 10th September 2010 The 35th Toronto International Film Festival - 'Daydream Nation' premiere at the Ryerson Theatre Toronto, Canada

Liane Balaban
Liane Balaban

E! Oscar Viewing and After Party held At Drai's in The W Hotel

Liane Balaban Sunday 7th March 2010 E! Oscar Viewing and After Party held At Drai's in The W Hotel Hollywood, California

Liane Balaban

3rd Annual Women In Film Pre-Oscar Party held at a Private Residence in Bel Air - Inside

Liane Balaban, Guest and Rachelle Lefevre - Liane Balaban, Guest and Rachelle Lefevre Los Angeles, California - 3rd Annual Women In Film Pre-Oscar Party held at a Private Residence in Bel Air - Inside Thursday 4th March 2010

Last Chance Harvey Review


Grim
A film so mild-mannered it only occasionally registers a pulse, Joel Hopkins' Last Chance Harvey is best viewed as proof that not all filmed entertainment these days is nihilistic and grim. Occasionally there are still movies made about gentle, middle-aged people who have had a (mildly) hard time of things but still manage to find love in the gloaming of their years. The problem here being that mildness of heart does not translate into quality of art, or even entertainment.

The Hallmark-ready story begins with Harvey Shine (Dustin Hoffman), a borderline jerk of a guy who appears to have shut down on life by the time we find him. A jingle writer who once hoped for greater things musically, he's on his way to London where his daughter is marrying into a family that seems to have a greater affinity for his ex-wife's new husband than himself.

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