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

13 Sep 2015 | Author: | No comments yet »

At the Toronto International Film Festival: astronauts and unholy goats.

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.The opening night premieres of “Demolition” by Quebecois filmmaker Jean-Marc Vallee (“Dallas Buyers Club”) and Moore’s “Where to Invade Next” made an unlikely pair to kick off the festival on Thursday. “Demolition” won’t hit theaters until April, and “Where to Invade Next” is being shopped for buyers. 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.

Ridley Scott’s new film, an infectiously feel-good adaptation of Andy Weir’s novel about a likable botanist/astronaut stranded on Mars (it all makes sense when you see it, sort of), should be a huge hit when it opens in theaters next month. 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. Matt Damon reminds us, in just a few emotional scenes, how very good an actor he can be (I got a wee bit choked up at the end, myself), and Scott brings swift pacing and tension to a story for which, let’s face it, we can all guess the ending. 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.

He was joined, I heard, on the TIFF opening-night stage by a group of filmmakers who had their work featured in the original 1976, and again this year – quite an accomplishment, For the second straight year, TIFF’s organizers have opened “Festival Street,” an eight-block stretch of King Street downtown closed to cars for the fest’s opening weekend, and filled with masses of moviegoers, commercial kiosks, music, and people wondering where to charge their cellphones. 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. This is roughly the equivalent of closing Seattle’s Fifth Avenue between, oh, Olive and Columbia for a five-day weekend; it probably messes up traffic something fierce, but it’s great fun for festivalgoers and locals who cram the sidewalks looking for movie stars – or not, as the case may be. 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. I walked up to a rapidly growing crowd today and asked someone who we were watching for; she shrugged and said, “I don’t know. ‘The Martian’” maybe?” For one glorious moment I thought an actual Martian might be appearing, which would have been worth waiting for, but nobody materialized, not even Matt Damon.

I wandered off and found a kiosk titled L’Oreal Paris, with a line snaking around it, and asked two young women what they were waiting for; free makeup maybe? 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.

Central State University, a historically black college in Wilberforce, Ohio, is permanently removing the name of comedian Bill Cosby from its communications building. 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.

The screenplay occasionally veers toward movie-of-the-week, but Page and particularly Moore, as a dying cop fighting to transfer her pension to her domestic partner, are mesmerizing. 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. Another strong female-led film here is Denis Villaneuve’s “Sicario,” with Emily Blunt showing steely toughness as an FBI agent trying to break open a Mexican drug cartel; Blunt’s coolly confident performance and Roger Deakins’ artful-without-being-showy cinematography (in the yellow-brown light he captures, you can almost smell the dust in the air) are standouts.

Tomorrow: Eddie Redmayne in “The Danish Girl,” and Johnny Depp in “Black Mass” – and in whatever he chooses to wear on the red carpet, which might be Oscar-worthy in and of itself. Taylor Swift’s “1989” concert tour is on track to rival Madonna’s 2012 “MDNA” tour as one of the biggest North American ticket sellers by a female artist, recently released statistics show. 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. 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.

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.

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