Until recently, to my way of thinking, the term “bullying” referred to groups of grade school, high school, or college-age kids who singled out and picked on a solitary young person who was viewed as being weak and vulnerable. But one current media item has been much on my mind. This is coverage of the alleged harassment of Miami Dolphins offensive lineman Jonathan Martin by one or more of his teammates. So the questions here become: Are insecure children the only victims of bullying? In fact, can a 300-pound professional football player also be bullied? Is there a difference between good-natured locker room ribbing and the kind of provocation that apparently was experienced by Jonathan Martin?
Back in September, a new film titled PARKLAND very quickly made the rounds of the film festival circuit, screening at Venice, Toronto, and elsewhere. Then in October, PARKLAND opened theatrically. Even before coming to movie houses, its November 5 DVD release date was announced. From a marketing standpoint, all of this makes perfect sense. That is because PARKLAND is an ensemble piece which recounts the chaos that occurred in Dallas, Texas, five decades ago this month, upon the assassination of President John F. Kennedy.
Reviewer Rob Edelman takes a look at the history of slavery in cinema upon the release of 12 Years A Slave...
For sure, 12 Years A Slave is one of the best films not just of the season but of the year. However, there is one point about the subject matter explored in the film that deserves to be challenged. At the start of the Toronto Film Festival press conference for 12 Years A Slave, the film’s director, Steve McQueen, casually observed that the subject of slavery “hasn’t been given a platform in cinema.” Well, this simply is not so.
Upon first seeing the word “vampire” in the description of ONLY LOVERS LEFT ALIVE, the latest Jim Jarmusch film, which was screened this year at the Toronto Film Festival, I thought to myself, “Oh, no. Not another vampire film.” And furthermore, is Jarmusch just being trendy here? Is he looking to latch onto the coattails of the TWILIGHT franchise by making a film about creatures who subsist by sucking the blood of living beings?
Before and during the recently-concluded Toronto Film Festival, I found myself inundated with emails drawing my attention to a range of films. None were hyping the titles with major movie stars and Oscar possibilities. The publicists of these films likely were turning away journalists who craved one-on-one interviews with a Meryl Streep, a Brad Pitt, or a Julia Roberts.
One of the highlights of the just-concluded Toronto Film Festival is a film with an upstate New York connection. And you can be sure that, come the end of the year, it deservedly will be atop a host of critics’ ten-best-films lists and deservedly will garner a host of Academy Award nominations.
Years ago, “older” films that were screened at film festivals included newly-restored versions of silent films or classic Depression-era features: in other words, films that were produced years if not decades before the births of Baby Boomer cineastes.