Jake Gyllenhaal’s Crush on Halle Berry Will ‘Never Go Away’

13 Sep 2015 | Author: | No comments yet »

Jake Gyllenhaal wants to explore the world of Broadway musical ‘in near furure’.

OTTAWA: Provocateur Michael Moore is back after a six-year absence with a new documentary film, “Where to Invade Next,” pitching once again socialist ideals put to the test abroad to his fellow countrymen. The allure of TIFF events, getting up-close and personal with Toronto’s thriving arts and cultural community, not to mention big screen celebs, is one of the draws to downtown living.

The hunky actor shows off some fancy footwork—complete with gyrations, spins and slides—in Demolition, his upcoming dramedy in which he stars as a man who befriends a vending machine employee (Naomi Watts) and her son (newcomer Judah Lewis) after the tragic death of his wife (Heather Lind).The sprawling Toronto International Film Festival has begun, an 11-day event with 399 movies, big and small, from all over the world, many of them from studios and production companies hoping that someone will call out their name when the Oscars are handed out next February in Hollywood. Instead, Moore uses the term “invasion” to mean plundering other nations’ notions of happy workers, good education, humane prisons and empowered women. “So in a way, the perpetual war, the military industrial complex has resulted in the America we now have where we are not number one in probably anything anymore.” The Oscar-winning documentary filmmaker places himself in the action, as a pseudo conqueror who plants the American flag wherever he goes, baffling onlookers. For consummate urbanites who reside in the Entertainment District, the neighbourhood becomes their living room. “I’m a film buff and I’m really enthusiastic about TIFF. The ‘Southpaw’ actor had wowed audiences earlier this year when he co-starred in a three-show concert reading of ‘Little Shop of Horrors’, the 1982 Howard Ashman-Alan Menken musical about a man-eating plant. “I would love that.

I mean, I really, really love to watch films and rarely go a day without doing it,” says Samantha Dookhoo, a second-year fan of the annual festival that this year marks its 40th anniversary with more than 300 feature films (as well as dozens of shorts) plus the attendance of film stars from around the world. Then last year, after Birdman ran at Venice and Telluride, its team decided to bypass Canada in favour of a closing-night slot at the New York Film Festival. It runs until Sept. 20. “I wrote a few very short screenplays at my university, and did some filming as well,” says Dookhoo. “I studied directors like Martin Scorsese, Steven Spielberg, David Fincher, and Quentin Tarantino obviously, for Kill Bill.” She recently purchased a suite at Minto Westside condominiums, at Bathurst and Front Sts., to be closer to the Entertainment and Theatre Districts in the King West neighbourhood. “Once I’m in the area, I’ll be entrenched in the culture,” says Dookhoo. “I’ve got a beautiful unit, it’s on the fifth floor, overlooking the landscaping.

He wanted me to incorporate things I had never heard. “I think it’s one of those things where we all walk around, well, I’ll speak for myself, and you’re reserved and how you present yourself in one way or another or even to our friends or when you’re out on the street and Jean-Marc just said, ‘Let it go and who cares? He travels to other countries to find “America’s soul.” In Slovenia, he finds free university; in Finland, he marvels at its top education system; in Italy, he sees eight weeks of annual vacation and strong unions. Just let go and make a fool out of yourself.'” It wasn’t exactly in Gyllenhaal’s comfort zone. “There’s nothing more embarrassing while you’re doing it and more relieving when you finish than something like that,” he said with a big laugh.

Toronto sports several high-profile awards contenders — the journalism procedural Spotlight, the horrific African war drama Beasts of No Nation and the gripping mother-and-son saga Room among them — that found appreciative audiences at Telluride. The festival also boasts a host of premieres — Michael Moore’s latest hand-grenade documentary, Where to Invade Next, screened on Thursday night, with Our Brand Is Crisis, About Ray, Truth and many others to come — that will be in the conversation.

The director said he was urged back into moviemaking after the Occupy Wall Street movement and the unrest in Ferguson, Mo. “I thought it was important to re-enlist,” he said. “Demolition,” the festival’s official opener, premiered earlier in the evening. Premise: Period bio love story about the relationship between Danish artists Gerda (Alicia Vikander) and Einar Wegener (Eddie Redmayne) and how it evolves after Einar starts living as a woman. She couldn’t get much closer: the Colette Grand Café, at the base of the Thompson, is a TIFF party spot and last year hosted gala events including the GQ-Hugo Boss bash for the premiere of The Riot Club. The newly renamed Michigan Film & Digital Media Office announced Friday that the cable series had been given the OK for slightly more than $150,000 in incentives on an estimated $356,000 spent here during two days of filming that happened in late April. There, critics were split, with Variety calling Tom Hooper’s movie a “cinematic landmark” and the Guardian griping that it was a “determinedly mainstream melodrama that doesn’t really offer new perspectives on its theme.” Premise: Boston Globe reporters investigate allegations of abuse in the Catholic Church.

The move, which Trump announced via Twitter on Friday morning, gives him full ownership of the Miss Universe and Miss USA pageants and completes a divorce begun in June when NBC announced it was ending its business relationship with Trump, who had starred on the network as host of “The Celebrity Apprentice.” The network said in June it was severing ties with Trump because of comments he made about Mexican immigrants during his presidential campaign kickoff speech. It evokes a little more creativity than sitting in an office nine to five.” Hunichen was impressed with how the neighbourhood changed during TIFF last year. “It was so alive, so many more people down here — everyone’s out and about, everyone’s going to shows, there are parties on. Central State University, a historically black college in Wilberforce, Ohio, is permanently removing the name of comedian Bill Cosby from its communications building. Nero migrated from her home city of Burlington three years ago to be close to Toronto’s cultural corridor, and TIFF factored into the equation. “I wanted to immerse myself more in the core of the city and have more of the downtown feel.” Nero resides in a one-bedroom plus den at the Fashion House condominiums, which she says is rather spacious compared to other Toronto condo suites. “I have mine decorated in French vintage right now, which is nice to have because my old place was super-modern” she says. Worst case: With its tough subject, movie fails to find commercial success even after its strong festival notices and gets lost among higher-profile awards contenders.

Best case: Director Ridley Scott delivers a commercial hit that’s embraced by Oscar voters, bringing back the golden years of Black Hawk Down and Gladiator. Living where she does, Nero said it was easy to build a network of like-minded people in the building who also have a keen interest in cinema, and plans to attend TIFF events with a group of friends. “I’m really looking forward to Black Mass, the new one that’s premiering with Johnny Depp.” she says. “I heard that Scott Cooper is a really talented director and I’ve watched a few of the trailers and it looks like a pretty enticing film.” Elayne Williams is a devoted TIFF participant who lives at the Festival Tower condominiums.

Swift has already banked more than $128 million from her tour, according to Billboard — and she still has 24 more U.S. dates to play through the end of October. In 2012, Madonna’s MDNA tour took in $133.7 million in North America, according to Pollstar’s data, making her tour the No. 1 seller of tickets in a single year. ■ Hank Azaria has been cast alongside Robert De Niro and Michelle Pfeiffer in the upcoming Bernie Madoff film “The Wizard Of Lies.” The film, which recounts the scandalous tale of the disgraced Ponzi schemer (De Niro), is directed by Barry Levinson. Best case: Cary Fukunaga’s harrowing epic multiplies the strong reviews won at Telluride and Venice in advance of its simultaneous release on Netflix and in movie theaters.

Premise: A mother (Brie Larson) and her 5-year-old son (Jacob Tremblay) make the best of their lives as prisoners confined to an 11-by-11-foot shed in this adaptation of Emma Donoghue’s celebrated book. There is a social committee here that does a movie night and they inform the residents what’s showing and you can come and convive with your fellow residents. Best case: The unique premise and deft way it morphs from a survival thriller to an affecting drama about parental bonds, change and loss make it a must-see movie and catapult Larson into the thick of the lead actress conversation. Premise: Popular Hollywood screenwriter Dalton Trumbo (Bryan Cranston) tries to work his way back from the professional and personal horrors of the blacklist. Gibb , a journalist and past editor of Broken Pencil magazine, is set to publish a book in October celebrating the actor and titled National Treasure: Nicolas Cage.

Premise: Paolo Sorrentino’s (The Great Beauty) latest has Michael Caine and Harvey Keitel as old friends looking back at life and love with Jane Fonda killing it in a small, crucial role as a fading movie star. Worst case: The movie’s pervasive mood of old-guy regret doesn’t translate to anyone who hasn’t memorised the lyrics of To All the Girls I’ve Loved Before. The organizers are encouraging the community to “bike-in” to the venue. “It’s a fun twist on a drive-in,” Wallace says. “It’s really about coming back to what resonates in this area, that people are riding bikes, they’re not necessarily owning or driving cars.” The event will be live-tweeted, with the hashtags #WestsideTO and #NicolasUncaged, unique to the event.

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