In Es-Crowe: On “Elizabethtown”

Because Cameron Crowe considers it a work-in-progress, critics at last night’s TIFF screening of the interminable Elizabethtown were asked, in not so many words, to handle the film with kid gloves. (Apparently the folks at Venice saw a completely different cut.) So to avoid a flap, I won’t be posting a capsule review at the mothersite, but let me just say that the version I saw–which looked polished but by no means finished–makes one long for the subtlety and finesse of Garden State. (And really, how much more warning do you need?) Its epiphanies are so processed and its characters are so inorganically whimsical that the movie verges on self-parody (and it’s possible that a performance of “Free Bird” by the Stillwater-esque Ruckus pushes it over the edge, albeit consciously)–the suicidal hero (Orlando Bloom, channelling Crowe surrogate Tom Cruise (Elizabethtown‘s producer)), for instance, plans to do the deed by rigging up his exercycle with a butcher knife to simulate a stabbing motion!
TIFF ’05: Shopgirl
TIFF ’04: Saw
TIFF ’04: Palindromes
TIFF ’04: Keane
TIFF ’04: p.s.
TIFF ’04: Sideways
TIFF ’04: I ♥ Huckabees
TIFF ’04: White Skin
TIFF ’04: Tarnation
TIFF ’04: Blood
TIFF ’04: 5×2 – Five Times Two
TIFF ’03: The Agronomist
TIFF ’03: Bus 174
Virginie Speaks (sorta): FFC Interviews Virginie Ledoyen
September 15, 2003|Gallic ingenue Virginie Ledoyen strides confidently into the room, and the second she spots me we say a grinny "Hi!" in unison. Alas, the communication breakdown commences shortly thereafter: I was diagnosed with a swollen eardrum a few days before, and I lead our interview with a pre-emptive apology for any struggle I might encounter trying to hear her, which I think–combined with my being her last in a morning brimming over with interviews and the usual language-barrier issues–caused her to be a tad…brusque in her responses.