Will Sloan

TIFF 2022 | The People’s Joker (Vera Drew, US) — Midnight Madness

By Will Sloan Because entertainment monopolies have plastered every visible surface of our cultural landscape with superheroes, a widespread perception has taken root that these characters constitute “our modern myths.” The companies themselves have helped foster this idea with such postmodern movies as The LEGO Movie (2014) and Spider-Man: Into the Spider-Verse (2018), which state…
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TIFF 2022 | The Fabelmans (Steven Spielberg, US) — Special Presentations

By Will Sloan Steven Spielberg has made at least ten movies that have become part of American folklore, and has ascended to the very highest echelon of society, so if there’s any living filmmaker whose perspective on himself and his work are of interest, it’s him. The chief insight that his cinematic self-portrait/origin myth The…
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TIFF 2022 | The End of Sex (Sean Garrity, Canada) — Contemporary World Cinema

By Will Sloan  Another modest sex comedy from the creative team behind My Awkward Sexual Adventure (2012), The End of Sex shifts its comedy-of-awkwardness to middle-age. After sending their two adolescent daughters to camp, long-married couple Josh (Jonas Chernick) and Emma (Emily Hampshire) finally have the time and space to revive their long-dormant sex life.…
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TIFF 2022 | Weird: The Al Yankovic Story (Eric Appel, US) — Midnight Madness

By Will Sloan I haven’t really kept up with Weird Al Yankovic’s music since I was a kid, but I did listen to it a lot back then, to the extent that I can’t hear “Gangster’s Paradise” or “MacArthur Park” without immediately thinking of his parodies. I know a lot of people who feel the…
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TIFF 2022 | How to Blow Up a Pipeline (Daniel Goldhaber, US) — Platform

By Will Sloan  This loose adaptation of Andreas Malm’s 2021 memoir/manifesto about the political necessity of property destruction is aimed directly at the zeitgeist. Hoping to price fossil fuel out of the market, a diverse crew of Zoomer activists from the lower rungs of the economic ladder collaborate on a plot to destroy a crucial…
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TIFF 2022 | Emily (Frances O’Connor, UK) — Platform

By Will Sloan  “In the village, they all call you the strange one,” says the future author of Jane Eyre to the future author of Wuthering Heights in this speculative biopic of Emily Brontë. More reclusive and less well-documented than her elder sister, Emily Brontë’s inner life has invited universes of speculation since her passing…
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TIFF 2022 | All the Beauty and the Bloodshed (Laura Poitras, United States) – TIFF Docs

By Will Sloan There has been much discourse in recent years about how best to “hold accountable” those whose wealth and privilege insulates them from the traditional levers of justice. The question is key to Laura Poitras’s documentary profile of Nan Goldin, which foregrounds the legendary photographer’s fight against the Sackler family, whose pharmaceutical empire…
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Deaths of Cinema | Print the Legend: Peter Bogdanovich, 1939–2022 

One time I was leaving Jack Ford’s house because I had a present I wanted to deliver to John Wayne. I told Ford, “It’s Duke’s birthday, I’m going over to give him a book.” “Eh?” he said. Sometimes Ford liked to pretend he was hard of hearing. So I repeated: “It’s Duke’s birthday, I’m going over to give him a book.” “Eh?” he said again. “It’s Duke’s birthday, I’m going over to give him a book.” Then a long pause. Ford says, “Duke’s already got a book.”
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