TIFF ’17: The Florida Project

Tiff17floridaproject

***/****
starring Willem Dafoe, Brooklynn Kimberly Prince, Bria Vinaite, Caleb Landry Jones
written by Sean Baker & Chris Bergoch
directed by Sean Baker

by Angelo Muredda “Stay in the future today,” a motel sign ironically beams early in The Florida Project, Sean Baker’s gorgeous, ebullient, and, as the kids say, problematic follow-up to his profile-raising Tangerine. The film is a contemporary fable about a cast of poor people, mostly kids, whose transient lives are lived in Kissimmee, Florida against the looming backdrop of Disney World. Their cheap motel rooms, hosted in a purple monstrosity semi-teasingly named The Magic Castle and negotiated week-to-week at best, serve as a temporary respite from homelessness, their inability to invest in a more permanent future rubbed in their faces daily by the tourists just passing through on their way to somewhere better. Dire as that might seem, Baker turns this downbeat ‘America today’ premise into the stuff of everyday beauty and wonder by lining up his brightly-lit but cool pastel aesthetic with the way his 6-year-old protagonist, Moonee (Brooklynn Kimberly Prince), sees the run-down souvenir shops, ice-cream parlours, and rival motels around her as a kind of raggedy jungle gym.

TIFF ’17: Molly’s Game

Tiff17mollysgame

*½/****
starring Jessica Chastain, Idris Elba, Michael Cera, Kevin Costner
screenplay by Aaron Sorkin, based on the memoir by Molly Bloom
directed by Aaron Sorkin

by Angelo Muredda You can thank anyone who came out of Steve Jobs yearning for Aaron Sorkin’s take on a sociopathic female protagonist with quixotic interests for Molly’s Game, the loquacious screenwriter/producer/playwright’s rancid directorial debut. Apart from some questionable onscreen graphics and stats that turn the film’s opening set-piece–a breakneck tour through the early history of subject Molly Bloom (not the one you’re probably thinking of)–into a gaudy arcade game, Sorkin the director shows some rare restraint, playing some seriously-overwritten material straight. That isn’t to say he’s an especially promising filmmaker, only that he mostly stays out of his cast’s way as actors like Jessica Chastain and Idris Elba stomp through mic-drop punchlines about money–Wall Street bro fist-pumpers like “I had just made three thousand dollars in one night”–and hyper-stylized speeches that tell us what their maestro really thinks about feminism, gossip, and overcharging prosecutors.

TIFF ’17: Motorrad

**/****screenplay by L.G. Bayãodirected by Vincente Amorim by Bill Chambers There is a whole subtext, nay, context begging to be unpacked in Motorrad, yet the filmmaking never inspires much curiosity about it, and it's all too easy to substitute the legacy of George Miller's Mad Max movies for table-setting. Shaggy Hugo (Guilherme Prates) breaks into a seemingly-abandoned garage and sees a carburetor he would like. The proprietor chases him with a shotgun, but an alluring, tomboyish woman (Carla Salle) intervenes, like the farmer's daughter convincing daddy not to shoot the stranger climbing out her bedroom window. Instead, they brand Hugo,…

TIFF ’17: Euthanizer

Armomurhaaja**½/****written and directed by Teemu Nikki by Bill Chambers Veijo (Matti Onnismaa) kills pets for people who can't afford to have them euthanized by a vet: Gas for the small ones, a bullet for the larger varieties. He feigns a mystical connection with animals to exact a steep price, though, shaming owners for being the potential cause of their furry friend's misery, like the young woman he chides for keeping her cat locked up in a tiny apartment. This doesn't stop some of his clients from using him as a glorified hitman, and when his dying father's nurse (Hannamaija Nikander)…