Results tagged “joydivision”

As the subject for a serious music book, Céline Dion––amazing or not––seems like an odd choice. In the latest book in the 33⅓ series, however––a series which typically looks at albums like the Beach Boys' Pet Sounds or Joy Division's Unknown Pleasures or the Rolling Stones' Exile on Main St.––Carl Wilson, probably Toronto's pre-eminent music critic, takes it upon himself to "[strive] to understand Céline's global popularity," in the process "fac[ing] the question of what drives personal taste––and whether it's possible to change it." Wilson, needless to add, is a brave, brave man.

During TIFF we said, "if you’re as big a fan of Joy Division as Torontoist is, you’ll quickly come to terms with the fact that Control is simply one man’s interpretation of Deborah Curtis’s book Touching from a Distance, and your overall feelings will (probably) lie on how you feel about that interpretation," and we stand by that even now—despite the gorgeous cinematography, which remains the film’s strongest point, we still like 24 Hour Party People better (even though that’s really about Tony Wilson).

It’s the final day of the festival, which is always rather maudlin one—although for those of us who try to cover it, the festival is largely a far too hectic, busy period of time, once things start to slow down the sudden lack of pressure is terribly deflating. Never mind—we’ll have some wrap up coverage for you next week. Tonight’s closing gala is Emotional Arithmetic, reviewed by Jonathan Goldsbie at the very beginning of our TIFF 2007 coverage. He called it a “highly-polished drama” but noted that it “plays out exactly as one would expect and is only rarely revelatory.” Head along to Roy Thompson Hall tonight to catch your last glimpse of the glamour and pageantry of the festival.

Today’s Reviews:

No Film Friday today as we’re too busy with the festival, but we can let you know that this week sees releases of some pretty decent-sounding films: 3:10 to Yuma, Shoot ‘Em Up and Hatchet. Er, and also The Brothers Solomon, starring Will Arnett and directed by Bob Odenkirk but apparently dire. Let's Go To Prison wasn't great either. Sob.

Out of respect for the funeral of Richard Bradshaw, the Toronto International Film Festival Group chose not to hold their traditional big final press conference in Nathan Phillips Square yesterday, and so with slightly less fanfare than usual we received a massive lump of press releases from the Festival announcing that they’ve announced absolutely everything about the festival there is to announce, pretty much.

After an exhaustive three days of Canadian Music Week, we bring you a recap of some of the bands Torontoist had a chance to take in. (You can also read another writer's take on the festival.)

A few weeks ago Kensington Market's Neu+ral Lounge announced on Stillepost that they were looking for djs and party organizers to take over their Saturday night slot. Organizers of Eat Your Greens, a Britpop, Mod and Soul night, have decided to leave the venue for the El Mocambo, and will be doing so starting February 10.

This is the best film at the festival yet. The feature debut of Joachim Trier, apparently a cousin of Lars Von Trier, there is (thankfully) absolutely no sign of any influence from his sickeningly overrated cousin. This movie stands alone as an astoundingly mature piece of work from the two time national skateboarding champ of Norway (really!)