As we may have mentioned before, here at Torontoist we’re terrified of zombies—terrified! But yet we still love zombie films enough to not run out of the theatre screaming (usually). However, we’re not sure we could deal with the the Rolling Stones in IMAX, as seen in Martin Scorsese’s concert film Shine a Light, released this week. A giant Mick Jagger looming over us, ready to eat our brains for sustenance! Horrifying! (We’ve been in trouble once before for saying someone looks like a zombie, but come on, you can’t argue with us here. The Rolling Stones look more like the walking dead than the Misfits have ever managed to.)
Anyway! We’ve gone right off Martin Scorsese ever since he accepted his pity Oscar (c’mon man, have some pride), and your interest in this is obviously going to be gauged on your interest in the Rolling Stones, so you know if you want to see it or not, right?
The film with the heaviest push this week is almost certainly Leatherheads, probably because we’re struggling to think of anyone who really wants to see a film about American football in the 30s. Despite direction from (the until now) reliable George Clooney, the film has been pilloried as directionless by pretty much everyone.
Also on release this week, Kenny, Under The Same Moon, Sex and Death 101, Nim’s Island and The Ruins, but we’d rather skip past all of those because there are a lot of festivals this week.
Cinéfranco continues, ending this Sunday with its closing film A Secret, as does the ReelWorld Film Festival, which closes with the Indian film Apna Asmaan. The Images Film Festival runs throughout the week (and has been given a nice round-up by NOW’s Norm Wilner), and there’s also the Toronto Singapore Film Fest, which opens tonight with Old Times and 18 Grams of Love at 7 p.m.
Finally, can’t forget Cinematheque Ontario, which is showing Chaplin’s not-particularly-famous flop Monsieur Verdoux tonight at 7 p.m. and on Sunday, too (at 3 p.m.). Eye’s Jason Anderson rates the film, which stars Chaplin as a “murderous bigamist and con artist,” highly, calling it “vicious yet elegant.”