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posted by Sep 17, 2014 • Filed in: Internet/Bloggers, Maps to the Stars, Movies, Press

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If you do not see a country listed and know the release date, feel free let us know! Please remember, these dates are subject to change at any time and often will without notice!

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posted by Sep 17, 2014 • Filed in: Internet/Bloggers, Magazine, Movies, Press, The Rover

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posted by Sep 17, 2014 • Filed in: Internet/Bloggers, Maps to the Stars, Movies, Press, Reviews

As always, it’s a challenge to fit in one’s “must-sees.” There are scheduling conflicts (like most festivals, TIFF has to deal with filmmakers who all want their pictures screened in the first weekend’s prime time spots), exacerbated by a lack of schedule options (most films only have two screenings in the first week now as opposed to the typical three or four that they had when I began attending). Occasional late starts (although not as many as last year) also complicated matters in terms of logistics, along with some computer snafus that left many ticketholders with seats to oversold screenings. Over 28 screenings had changes in venue, date, and/or time in the days before the festival opened, after selections had been made and tickets had been sold. Still, the TIFF staffers did their best to accommodate everyone. They always learn from their mistakes with the determination to put on a more trouble-free festival the following year.

In terms of film quality, though, TIFF lived up to expectations, as it always has in my nine years attending. There were about a dozen disappointments for me out of the 28 full-length features I attended — not necessarily bad, mind you, just that I had high hopes for them and they fell short. Several met or exceeded expectations. The rest, the ones which really made TIFF 2014 worth the trip, were pleasant surprises. So please keep in mind that even the “worst” ones on my schedule here could, theoretically, be among the best at other festivals, and would make my Top Picks from those respective fests. Just because you don’t see a title listed below doesn’t mean I didn’t love it — just that the list below is relative. .

I’ve narrowed the list down to my Top 10 using a 1-5 rating scale. Only one film deserved one star (avoid at all costs) and I gave two stars to four films (not recommended). Eight movies merited a three (I recommend it). There were five with a rating of four stars, ones I’d not only recommend but also would see again. That leaves the cream of the crop, which I’ve listed below. These are the 10 films that merited five stars — the ones I’d recommend, see again, and add to my home video collection.

Here is my Top 10 from the 2014 Toronto International Film Festival.

Big Game (Finland, Germany, UK)

Clouds of Sils Maria (France, USA)

Corbo (Canada)

Elephant Song (Canada)

The Humbling (USA)

Labyrinthus (Belgium)

Love & Mercy (USA)

Maps to the Stars (Canada, Germany)

Still Alice (USA)

Whiplash (USA)

HERE is the article written by Larry

Click HERE for more of Larry at the “Maps to the Stars” premiere at TIFF!

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posted by Sep 16, 2014 • Filed in: Internet/Bloggers, Movies, Press, The Rover

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@aacta

We’ve announced the 25 Feature Films in Competition for the 4th . Find out which films made the cut:

Feature Films In Competition are not nominees; AACTA members will vote to decide the nominees later in the year.

Their website said,

Anticipation around the 4th AACTA Awards increased today with the announcement that 25 Feature Films will compete in the 4th AACTA Awards.

The 25 Feature Films In Competition for the 4th AACTA Awards are: 52 Tuesdays; AROUND THE BLOCK; The Babadook; Backyard Ashes; Canopy; Charlie’s Country; Fell; Felony; Galore; Healing; I, FRANKENSTEIN; The Infinite Man; The Little Death; My Mistress; THE MULE; Predestination; The Railway Man; The Rover;Son Of A Gun; These Final Hours; Tracks; Turkey Shoot; The Water Diviner; William Kelly’s War; Wolf Creek 2.

Feature Films in Competition can be seen at the 4th AACTA Awards Screenings, 6 – 23 October in Sydney and Melbourne and online via AACTA TV, available any time anywhere.

[....]

The Feature Films in Competition mark the long list of eligible Feature Films to be narrowed down to a list of nominees via round one voting in November 2014.

[....]

Winners will be announced at the 4th AACTA Awards in Sydney, home of the AACTA Awards, in January 2015.

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MQ:

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Caitlin Cronenberg reported on her Instagram,

Oh what a #TIFF it was. This is one of my favourites! Robert Pattinson and Julianne Moore from #mapstothestars Shot in the @wmag studio! #nkprIT14 #gorgeoushumans #TIFF14

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I first would like to say, thanks again for letting me share my TIFF experiences with you all this year. It truly was a memorable experience, even more so knowing I had so many people out there supporting me.

For all those who haven’t seen Maps to the Stars yet, there may be spoilers in my review, so be forewarned:

Maps to the Stars Review

I’ve often found that even in some of the ugliest moments in life, there can always be found some beauty. This is definitely not the case with Maps to the Stars, however. As with Cosmopolis, the social commentary inherent to Cronenberg’s recent work certainly is retained in Maps to the Stars and the way he manages to get the message across, rather than the body horror we’re used to (though that is still very present as well – can’t have a Cronenberg film without some blood), is through the ugliness of human character. More specifically the ugliness in the characters of the unredemptive rich and famous.

This is definitely not a film for the weak hearted and squeamish. Amid the flawless mansions, poolside clubs and studio conference rooms of Hollywood we are confronted by the gross, obscene, weird, and just plain insane: Julianne Moore’s diabolical Havana Segrand, who will happily dance around to morbid news of a drowned child if it means she gets a part in a film; Havana conducting a meeting from the toilet while delivering ripe gusts of flatulence; Havana finding herself in an uncomfortable three-way with her boyfriend and a younger country singer; young Benjie who is surely a representation of the Justin Biebers of our generation as he discusses selling his feces to desperate fans with similarly vacuous peers; a blazing finale, consisting of a cringe worthy CGI inferno; beautiful faces reduced to bloody pulps before the credits roll…

After a while, the movie seems to drift from the social commentary (touching on it from time to time through cameos (by Carrie Fisher of all people) and name-drops and references to popular trends and popular movies – scientology and its cult like atmosphere is mentioned briefly but falls flat) and becomes much more a character piece. Throughout, everyone is wanting to achieve stardom and one could almost pity them if they weren’t so reprehensible and this is the source of a lot of the pitch black comedy within the film. Black to the point of uncomfortable chuckling especially in one scene concerning spontaneous Russian roulette and a household pet.

Oddly enough, the most resonant part of the film and perhaps the most disturbing was the central motif of incest. When it comes to incest, everyone thinks of the familial pairings of father / daughter or mother / son and in a few brother / sister (and believe me there are plenty of these in the literal sense in this film), but what the film also conveys is the truly incestuous, morally bankrupt nature of Hollywood. In addition to being incestuous amongst themselves, each character is internally incestuous, starring in a sequel or a remake of either a movie or their own lives.

Rob has a very small part in this film, supporting Mia’s character. His character is a complete non-entity, which is in itself a great metaphor for the millions of star reaching non-entities driving limos and busing tables in Hollywood. Despite this, his interactions with Mia and Moore allow for more of the subtler allusions to the underbelly of Hollywood. The brief interactions he had with Mia’s character are very reminiscent of the discussions within David Lynch’s Mulholland Drive, which also began with a starry-eyed young woman coming to Hollywood to follow her dreams. Rob’s infamous limo scene with Moore and his relationship with Mia’s character also cast aspersions on the nature of love in Hollywood. Love is nonexistent, most of the characters almost prostitutes, with love being merely leverage for advancement or research for character development.

I applaud Cronenberg for taking on the Hollywood machine and he definitely pulls no punches. Actions say it all in this film, especially when he takes the coveted Canadian Genie which Moore’s character strokes repeatedly, and pretty much tells the world where they can stick it.

You’ll have to watch the film to find out how though ;)

TIFF Write-Up

This was my third year coming to TIFF and as always, third time was the charm to having one of Rob’s films finally appear. If anyone ever has a chance to attend, I highly recommend going.

Tuesday morning I woke early to see if I could catch a glimpse of Rob coming or going from the TIFF Bell lightbox side entrance for the press conference. Unfortunately, I was standing on the wrong side of the barriers and was unable to vie for a photograph or autograph. Lesson learned, though I did catch a brief glimpse of him, Nick and Dean, despite my view being blocked by black SUV’s. I must admit, he’s a very quick individual. You blink and he’s gone.

The premiere went off surprisingly without any major hitches. Last year I attended the premiere of Twelve Years as a Slave and it ran almost an hour late before it started. I arrived three hours ahead to get a good spot and luckily scored myself a seat on the main floor only a few rows from the main stage. The only downside to going to the premieres at Roy Thompson is that the red carpet part you see on ETalk is down at the intersection of King West and Simcoe, outside of viewing distance from the ticket holder line. Can’t be at two places at once, unfortunately…

Once inside, they were showing the ETalk footage on the screen, so you got to see a portion of that before the movie started. Piers Handling, programmer for the gala premieres first came out to introduce the film. Then Cronenberg came out and introduced the cast one by one, giving high praise to all, especially Rob. Rob stepped out on stage with his usual shy stance, head bent, looking mainly to the right or left, but never at the crowd. Luckily with the aid of my trusty zoom lens, I was able to score some nice profile shots.

Once the film started, it appears Rob left briefly to go to a nearby restaurant, but came back as he was in the balcony with the rest of the cast at the end of the film. There was no Q&A at the end, unfortunately, but all in all the premiere was a lovely experience and I was glad to catch a slight glimpse of Rob on two occasions despite their brevity.

Thank you Samantha for your partnership with #RPWW!
Please support her Twitter @sjrresearch or visit her site SJR Research!

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posted by Sep 16, 2014 • Filed in: Campaigns, Christian Dior, Fan Submission, Internet/Bloggers

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Rob & DIOR

So, this evening I attended a fashion event with some old university friends, (some of you may know I studied fashion journalism before becoming a midwife) and we got around to talking the new Dior Spring/Summer ‘15 line. This season will bring a new male and female fragrance, along with a new advertising campaign. If dates are correct (and without dropping names!) Rob will be filming a new campaign Mid January 2015 for an April US release, european dates are not as yet known.

— 21 hours ago with 13 notes
#robert pattinson #christian dior #dior homme #dior

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posted by Sep 16, 2014 • Filed in: Internet/Bloggers, Movies, Press, Reviews, The Rover

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Read a list of reviews collected for “The Rover”! The Good, the Eh, and the Bad, reviews from all over the world can be seen under the cut!

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