Absolutely no one can think of an interesting way to introduce Bobcat Goldthwait’s return to feature direction, (after 1992’s Shakes the Clown) Sleeping Dogs Lie, because by the very nature of the film you’re forced to kind of explain that it’s about a woman sucking off a dog but really it’s a complex film about relationships. Anyway, now that’s over, we can say that we didn’t get a chance to see it at TIFF but everyone liked it a lot then and everyone likes it a lot now. NOW give it the cover feature, and Barrett Hooper notes it has “a perversely appealing mix of romance, humour and bestiality that will have you laughing hard and nodding knowingly even as it leaves the occasional bad taste in your mouth”.
Torontoist will bet you a fair amount of money that the first draft ended “…Of dog semen.”
One of the biggest stories of TIFF was, of course, Borat, or to give it its stupidly long title, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. Our very own Boy Reporter checked it out, and said, “The movie is funny and yes there are some genuinely painfully funny and frightening moments in this film. But after a while even the best jokes get old.”
Eye’s Jason Anderson isn’t that impressed with Babel, despite mentioning strong performances; “the whole is weakened by the plot contrivances, vaguely defined themes and the spurious attempts at moral equivalency that link it all together”. At the beginning of the review, though, he says, “As my favourite wrestler might’ve said, Babel’s gonna put you in a world of hurt”. We can’t quite place who his favourite wrestler is; can you, readers?
The Moving Pictures Festival began last night and continues until Saturday, ending with Dancing Shadows: New Canadian Dance on Film And Video at 9 pm (at the Gladstone), and the Planet in Focus Film Festival continues until Sunday.
Cinematheque Ontario is heavy with Roberto Rossellini, including our pick, Rome Open City, tonight, 6:30pm, on Saturday at 8:15pm and Wednesday at 8:30pm. We saw it on an astoundingly awful print with the laziest subtitles ever (one sentence per half hour, it felt like) so the chance to see it on the big screen in a restored print is a fantastic opportunity.