Breakfast at Tiffany's
Similar2046 (2004), A Beautiful Mind (2001), Ali: Fear Eats the Soul (1974), Annie Hall (1977), Bridget Jones's Diary (2001), Caché (2005), Enchanted (2007), Eternal Sunshine of the Spotless Mind (2004), Fantomas vs. Scotland Yard (1967), Four Weddings and a Funeral (1994), Ghostbusters (1984), GoodFellas (1990), Home Alone 2: Lost in New York (1992), King Kong (2005), Léon: The Professional (1994), Manhattan (1979), Maria Full of Grace (2004), Match Point (2005), Men in Black II (2002), Moulin Rouge! (2001), Muriel's Wedding (1994), Pi (1998), Sissi (1955), Sleepless in Seattle (1993), Sliver (1993), Stalker (1979), Stranger Than Paradise (1984), Taxi Driver (1976), The Bridges of Madison County (1995), The Cider House Rules (1999), The Godfather Part III (1990), The Good German (2006), The Terminal (2004), The Usual Suspects (1995), Vertigo (1958), Wonder Boys (2000),
John Carney's new drama is just one of a diverse collection of features at this year's Toronto International Film Festival.
This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the works being covered here wouldn't exist.
Irish filmmaker John Carney made his big breakthrough in 2007 with Once, a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. This was followed by Begin Again (2013), a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. After that came Sing Street (2016), a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. Continue Reading →
The Portrait of a Lady
Campion followed The Piano with a Henry James adaptation dedicated to the magnificently fraught question of desire or duty.
Artwork: Felipe Sobreiro
In the wake of the critical success of The Piano, Jane Campion’s 1996 adaptation of Henry James’s The Portrait of a Lady barely made a splash at the box office, grossing only a fraction of The Piano’s $140 million US earnings. It too seemed to puzzle critics. Some called it “claustrophobic” and “stifling,” and to be fair–they’re not wrong. The world that James creates in his masterful 600-page novel is at once lush and chilling, thrillingly intimate and so frustratingly tragic that as a whole it’s nearly impossible to quantify. James’s Portrait is not necessarily Campion’s, and vice versa. But few authors have had such a clear-eyed view of the inner lives of women, so it’s fitting that Campion–a director who has always portrayed women as they are, without pretense or romanticization–should be the one to adapt James’s greatest work. Continue Reading →
The In Between
Young love: Sometimes it crashes into us like lapping waves hitting a picturesque beach. Other times, it’s a car wreck, leaving a mess in its wake. The In Between, Paramount+’s new teen supernatural romance, is the latter - a subpar film that can’t be resuscitated, even at the best attempts of Joey King and a solid supporting cast. Continue Reading →
The Curious Case of Benjamin Button
I've been told that at Christmas Time, we are honest, so in that spirit, allow me to start this look back review with my own bit of honesty. I've seen The Curious Case of Benjamin Button twice before watching it for this review. The first time I hated it. The second time, I hated it until I fell asleep about 20 minutes in. Continue Reading →