Montreal Film Journal

2010 LOG (11)

(1 Nov) Sound of Noise (2010, Ola Simonsson & Johannes Stjärne Nilsson) 90
(1 Nov) Fous de leur village (2010, Vincent Audet-Nadeau)
(1 Nov) Adem (2010, Hans van Nuffel) 63
(2 Nov) Le nom des gens (2010, Michel Leclerc) 67
(2 Nov) Curling (2010, Denis Côté) 84
(3 Nov) Jaloux (2010, Patrick Demers) 81
(3 Nov) The Tree (2010, Julie Bertuccelli) 86
(4 Nov) La tête ailleurs (2010, Frédéric Pelle) 20
(4 Nov) Des hommes et des dieux (2010, Xavier Beauvois) 91
[ Part of our Festival du cinéma international en Abitibi-Témiscamingue coverage. ]

(7 Nov) La part d'ombre (2010, Charles Gervais)
[ Reviewed for Voir ]

(8 Nov) The People vs. George Lucas (2010, Alexandre O. Philippe)
(8 Nov) L'imposture (2010, Ève Lamont)
(13 Nov) Disco and Atomic War (2010, Jaak Kilmi)
[ Reviewed for Voir ]

(11 Nov) Lance et compte (2010, Frédérik D'Amours) 19
[ Pretentious, schmaltzy, flatly directed and poorly acted, this big screen spin-off of the long-lived Quebec TV series about Le National hockey team tries to cram way too many one-dimensional characters and underwritten storylines into one movie, mostly through tons of obvious and tacked on dialogue. Despite all the manufactured drama and ridiculous twists, "Lance et compte" ends up being dull and lifeless most of the time. At best, it's unintentionally hilarious, especially during the subplot involving Louise Portal's disgruntled shoe factory worker ("Oui, Olga, on va se battre!") and the affair Jason Roy-Léveillée has with a girl who uses words like "dichotomie" and quotes Balzac when she texts him. ]

(15 Nov) The Next Three Days (2010, Paul Haggis) 38
[ Reviewed for Voir ]

(17 Nov) Cool It (2010, Ondi Timoner)

(17 Nov) Waste Land (2010, Lucy Walker)
[ Reviewed for Voir ]

(22 Oct) Faster (2010, George Tillman Jr.) [ review ] 55

(23 Nov) The Kids Are All Right (2010, Lisa Cholodenko) 83
[ There's this quasi-genre we've been seeing develop over the past couple of decades, you know, this kind of quirky, liberal, easygoing dramedy about unconventional families. You could call these Sundance movies, but that would be a bit reductive. I think there's a universal quality to the best films like this, an abundance of warmth, humor, emotion, insight... Sexiness, too, in the case of "The Kids Are All Right", and even a musical number (sort of). But most of all, this is a picture full of complex and compelling characters, played by a wonderful ensemble cast: Julianne Moore and Annette Bening as middle-aged lesbians whose marriage is rife with tension, in part because the former is kind of daffy and the latter is more uptight; Mia Wasikowska and Josh Hutcherson as their teenage children; and Mark Ruffalo as the sperm donor who awkwardly becomes involved with all of them when the kids decide to seek him out. I liked just about everything about this fourth feature from Lisa Cholodenko: the sharpness of the dialogue, the brightness of the cinematography, the smooth flow of the editing, the indie rock soundtrack (Vampire Weekend, MGMT, etc.)... "The Kids Are All Right" goes to some unexpected places, but that always rings true nonetheless. And even though it cuts pretty deep at times, I'd still describe it as a feel-good flick. ]

(24 Nov) Down Terrace (2010, Ben Wheatley) 60
[ Reviewed for Voir ]

(25 Nov) Let Me In (2010, Matt Reeves) 71
[ Stephen King has recently claimed in his EW column that this is not only the best picture of 2010, but also "the best horror film of the decade." Now, when I read that, I hadn't seen "Let Me In", but I had seen the 2008 Swedish movie it's based on, "Let the Right One In", and figured that if one of those two was the best horror film of the decade, the original had to be it, right? Still, I have to say that, as it turns out, this is a more than worthy remake, staying true to its inspiration, tweaking a few things here and there, but mostly just retelling the same greatly moving story of the friendship/love between a lonely, ostracized little boy (Kodi Smit-McPhee) and of a mysterious little girl (Chloe Moretz) who happens to be a vampire. This is not what you'd expect from a Hollywood version, i.e. a louder, faster, gorier take on the source material. "Let Me In" is pretty much as quiet, meditative and artsy as "Let the Right One In", and all the more admirable for it. I guess one could say this is a pointless venture, but there are at least two elements that make it a must-see on its own: the typically brilliant score by Michael Giacchino and the amazing performance by Chloe Moretz who, at her young age, can already act circles around many of her more experienced peers. ]

(26 Oct) Somewhere (2010, Sofia Coppola) [ review ] 28

(30 Oct) Black Swan (2010, Darren Aronofsky) [ review ] 94

October / December