Here's the pick of
the worst films at the festival this year.
Yet while there were undoubtedly
worse films at the festival, the failure of Gravity is not, in my opinion, relative.
Not exact matches
Ana Lily Amirpour follows up her alt - cult sensation A GIRL WALKS HOME ALONE
AT NIGHT with her sand - blasted, dystopian love story THE
BAD BATCH; Maren Ade delivers what will be the most uncomfortable
film of the
festival, the desert - dry black comedy TONI ERDMANN; and Julia Ducournau's directorial debut, RAW, takes us on a cannibalistic coming - of - age shock ride that resonates long after its stunning finale.
Some of these launched
at prestige fall
film festivals («Downsizing,» «Molly's Game,» «Hostiles,» «
Film Stars Don't Die in Liverpool»); others are bonafide awards contenders (Steven Spielberg's «The Post» and Paul Thomas Anderson's «Phantom Thread»); and some, like Hugh Jackman vanity musical «The Greatest Showman,» will soon skid into either
bad reviews or audience reaction, or both.
However he does admit that things were
at the
worst a couple of years ago, when Toronto decided to drop any
films from the popular first half of its schedule that had premiered anywhere else — but now, he says, the ban is over and it is more relaxed, and there is now less competition between the three
festivals.
While definitely not the
worst film I saw
at the
festival, (that title would belong to Gravity), La última película remains an interesting, yet trying and monotonous take on «the death of cinema.»
What The Disappearance of Eleanor Rigby needs
badly is a Gala showcase
at an upcoming
film festival.
It's a job that involves screening some 200 feature
films for consideration, managing a
festival weekend staff of 800, and occasionally delivering
bad news, which many in Hollywood say Huntsinger is especially good
at, thanks to a mixture of honesty and warmth.
The Alliance of Women
Film Journalists, Inc. (AWFJ), a not - for - profit corporation, is an association of professional female movie critics, reporters and feature writers working in print, broadcast and online media, dedicated to supporting work by and about women — both in front of and behind the cameras — through intra-group promotional activities, outreach programs and by presenting annual EDA Awards in recognition of outstanding accomplishments (the best and
worst) by and about women in the movies, and EDA Awards
at selected
film festivals throughout the year.
Bad Black You hope that
at its core a
film festival will provide proof of the continued health of cinema.
A always been the case, Row Three staff and contributors along with a few a regular reader or two provide a tiny capsule, a postcard if you will, of all the
films that they saw
at the
festival, accompanied by an identifier - tag: [BEST], [LOVED], [LIKED], [DISLIKED], [DISAPPOINTED], [FELL ASLEEP], [WALKED OUT], [HATED] and [
WORST].
As has always been the case, regular Row Three contributors along with a few readers provide a tiny capsule, a postcard if you will, of all the
films that they saw
at the
festival, accompanied by an identifier - tag: [BEST], [LOVED], [LIKED], [DISLIKED], [DISAPPOINTED], [FELL ASLEEP], [WALKED OUT], [HATED] and [
WORST].
It's still a masterpiece compared to «Blackwood» [F], a British supernatural thriller that wasn't just the
worst film we saw
at this year's
festival, it might be the
worst we've seen in ten years of attending the LFF.
After seeing the
film for myself
at the
festival, I don't think there could have been a better place to premiere a
film that is focused on the making of one of the
worst films ever than
at SXSW.