TIFF '24: "Grand Tour" confirms Miguel Gomes has the Magic Touch

by Cláudio Alves

Some directors wish to transcend the artform they practice. Watching their creations, one senses a force pressing upon you, pushing toward a prescribed and somewhat contradicting immersion. Their hands are forever busy, guiding the viewer away from the theater, from their awareness of the cinematic device. Such artists want you to forget you're watching a film. They beckon surrender, but not to cinema. Instead it's to their story, their vision, sometimes their message. And there's nothing wrong with this approach. But there's nothing right either, not necessarily. I know I fell in love with cinema because of its particularities, not in spite of them. So, I don't wish to forget or abstract myself from the lot. Maybe that's why I adore the cinema of Miguel Gomes as I do. 

Regard his filmography and you may realize he is the antithesis of those other cineastes. Moreover, Gomes is all the better for it. If you want proof, look no further than Grand Tour, for which the Portuguese filmmaker won a well-deserved Best Director prize at Cannes…

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Review: M. Night Shyamalan's "Trap" is a B-Movie and there is No Shame in that

by Cláudio Alves

Over the past 25 years, M. Night Shyamalan has built his reputation on twisty tales that sting with some nasty surprise before the end credits roll. Depending on the picture and the public's willingness to accept the director's oddities, his strategy has resulted in a handful of triumphs, a slew of mediocrities, and a couple of outright disasters. Going into Trap, one expects much of the same, but, in the biggest twist of all, Shyamalan has presented his audience with a fairly straightforward affair. The premise is simple, if ludicrous, the tone is sincere, and, for once, you feel the filmmaker's focus on entertaining rather than pulling the rug from under the viewer. M. Night Shyamalan's Trap is a B-movie that makes no apology about its ambitions or lack thereof…

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Review: "Challengers" throbs with desire

by Cláudio Alves

American mainstream cinema has rarely felt as sexless as it does today. Even in the period between the 1934 implementation of the Hays Code and its demise, screens felt roused with desire. In some ways, the prohibition of overt sexuality supercharged movies with erotic potential, like a pot of boiling water that heats up faster once you put a lid on it. But nowadays, such qualities feel like artifacts of a bygone era. That's not to say movies suddenly lack objects of desire. Instead, as RS Benedict put it in his essay on superhero films, "everyone is beautiful and no one is horny."  But here comes Luca Guadagnino to the rescue, that lustful Italian whose films beckon a return to hedonistic cinema even when produced within Hollywood. Challengers is a prime example of that…

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April Foolish Oscar Predix Pt 3 - Visual Categories

by Nathaniel R

Will ELVIS get the usual Catherine Martin nominations for a Bazmark production?

The April Foolish predictions continue with the visual categories which means the rest of the week is the highest profile of categories: Actors, Directors, and Pictures. Obviously this is too early for confidence -- especially in below the line categories since many films haven't released a single image yet. Much will change including which films get released but we'd hold up our year in advance prediction records against anyones.  At this point the only thing anyone has to go on is a) previous work from the craftsmen involved, b) whether the film might have a "Most" boost (contemporary set pictures generally struggle in the visual categories even when they're brilliant), c) hunches aka crystal ball projections as to how the film involved might fare overall. Regarding the latter, it's commonly understood that Best Picture heat will help you in every category even though each should be judged on its own merits.

Check out the charts, won'cha? Two items of discussion we wanted to underline follow after the jump...

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