Ryan Kwanten

Watch: Ryan Kwanten basks in the mythology of 'True Bood' and 'Ga'Hoole'

Dedicated fans 'are a blessing and a curse'

The new animated film from director Zack Snyder, "Legend of the Guardians: The Owls of Ga'Hoole" was produced by Australian company Village Roadshow, and the gorgeous lush landscapes in the film are modeled on Tasmania, so it's unsurprising that many members of the cast hail from down under as well. Aussies include Anthony LaPaglia, Geoffrey Rush, and Ryan Kwanten. Most people know the blond Kwanten from the HBO series "True Blood," in which he plays Jason Stackhouse, a well meaning if not altogether bright Loisiana boy.

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<p>Shia LaBeouf, Josh Brolin, and Michael Douglas all star in Oliver Stone's sequel 'Wall Street:&nbsp;Money Never Sleeps'</p>

Shia LaBeouf, Josh Brolin, and Michael Douglas all star in Oliver Stone's sequel 'Wall Street: Money Never Sleeps'

Credit: 20th Century Fox

Review: Michael Douglas schools Shia LaBeouf in 'Wall Street: Money Never Sleeps'

Oliver Stone revisits past glory with flying colors

 I'm an old school Oliver Stone fan.  I was a freak about Oliver Stone the screenwriter before he ever started directing.  Movies like "Midnight Express" and "Scarface" and "Year Of The Dragon" and "Conan The Barbarian" all had his name on them, and as someone who wanted to write movies and who was blown away by the rabid energy of his work, I started paying close attention to his career.  I became manic about his work in '86 when he released "Salvador" and "Platoon" back to back, and I dug both "Wall Street" and "Talk Radio" when they were released.  It was the run of movies from "Born On The Fourth Of July" in 1989 to "Nixon" in 1995 where I think he was at his best.  Since then, he's been making interesting failures, eminently watchable films like "U Turn" and "Any Given Sunday" and "Alexander" and "W.", movies that are engaging enough conceptually but that fall apart under closer inspection, movies that just don't work on that all-cylinders-firing level that his best work does.  It's his fault, really.  You can't make "Born On The Fourth" and "The Doors" and "JFK" and "Natural Born Killers" back to back without setting up some lofty expectations.

Stone has long been hounded by his own habits and history, and his work has been a fairly naked attempt to grapple with his own identity as reflected back in America's narrative.  When he made "Wall Street," he was nailing down a type that was very much of a moment, the product of Reagan's America, and Gordon Gekko felt like something coughed up from the zeitgeist.  Someone had to make a movie about Gordon Gekko, and it took Oliver Stone to capture his voice.  When I first heard talk about a sequel to the film that wasn't even written by Stone, I was skeptical.  It sounded to me like an empty exercise, an attempt by Stone to return to commercial relevance by rehashing a past victory.  The script by Allan Loeb and Stephen Schiff is a smart update to the character, though, and they use the return of Gekko as an excuse to look at where we are now as a result of this last run on the American people by the various financial institutions.

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<p>Errol Morris is in Toronto with a new documentary called 'Tabloid'</p>

Errol Morris is in Toronto with a new documentary called 'Tabloid'

Credit: Errol Morris

Toronto: New Errol Morris documentary 'Tabloid' is compelling fun

The true-life story of Joyce McKinney proves perfect movie fodder

I love Errol Morris.  I don't love every one of his movies… a few of them are tough sits, movies I can't imagine watching a second time… but I think he's a tremendous character and a valuable voice in the world of documentary film.  He's been doing it right for as long as I've been watching movies, and his latest film, "Tabloid," is one of the most entertaining he's made in recent memory.

Right around the time I discovered Siskel and Ebert on television, they discovered Errol Morris and "Gates Of Heaven," and they started talking about him like he had invented fire.  I didn't get a chance to see his films until 1985, when I got hold of "Gates Of Heaven" and "Vernon, Florida" on home video.  As soon as I saw those two movies, I was smitten.  He is an expert at finding the exact right crazy person to talk to and pointing a camera at them and letting them talk and tell their own stories in their own words.  It is amazing how entertaining people are if you let them find and express their own voice, when you don't lead them.  Reality TV turns everyone into plastic-faced freaks, hyper-aware of the camera.  Morris has a gift for making people forget there's a camera, so they talk past it, directly to him.  The result is that it feels like they're talking directly to us, and it's very intimate.

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<p>Werner Herzog on location in France for his 3D documentary 'Caves Of Forgotten Dreams'</p>

Werner Herzog on location in France for his 3D documentary 'Caves Of Forgotten Dreams'

Credit: IFC Films

Toronto: Werner Herzog's 3D documentary 'Caves Of Forgotten Dreams' comes up empty

Is this more than just historic images?

You will find few more vocal fans of "Grizzly Man" than me.  I think Werner Herzog is one of the great wild men of cinema, frequently drawn to a challenge in the world of film simple to be the one who conquers it.  My first exposure to him was when I saw "Burden Of Dreams," the documentary about the making of "Fitzcarraldo," and watching this crazy German man try to push a boat up a mountain in the middle of the jungle, I immediately fell for him.  I love filmmakers like this, guys who seem touched by madness, and whose madness often leads to images of pure transcendent beauty.  Herzog could retire tomorrow and rest easy in the knowledge that he's a legend.

Instead, he continues to push himself in new ways, and conquering 3D seems to be his latest goal.  I'm not sure I'd say he conquered it (I have some issues with the process, at least based on our screening), but it is indeed an interesting step to try to use it to convey some experience that 99.9% of us will never have access to.  I will most likely never visit the Chauvet Cave near the Ardeche River in southern France.  It sounds amazing, this prehistoric spot that was miraculously preserved for 20,000 years before it was uncovered in 1994, and Herzog took a crew (with heavy restrictions in place) into the cave to capture the hundreds of paintings that were discovered there.

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<p>One of the young magicians in 'Make Believe' demonstrates a self-built trick as he prepares for a major convention appearance.</p>

One of the young magicians in 'Make Believe' demonstrates a self-built trick as he prepares for a major convention appearance.

Credit: Firefly Films

Toronto: 'Make-Believe' offers charming documentary look at teen magicians

The producers of 'A Fistful Of Quarters' have another winner

I'm going to review three documentaries I saw at this year's Toronto International Film Festival today, and I'm going to start with the smallest of the three, a movie that didn't even play at the general screening venue, but at the NFB room across the street, which holds something like 75 people.

"Make Believe" tells the stories of several different young magicians who are all training for a Las Vegas convention where they'll come together and compete for the title of Teen World Champion.  This is a style of documentary that we seem to see represented often on the festival circuit, so the key becomes how well the individual stories are told.  In this case, J. Clay Tweel picked the right kids, and spent the right time with them.  He got them to open up, for good and for bad, and the people around them relaxed, and the result is bracing and honest.  These are fascinating kids, all of them looking for something that distinguishes them from their community, all of them reaching to magic as a way of defining identity.

On a recent evening when everyone was at home and working all day, Toshi was desperate for some attention, and he decided that today was the day he was going to become a magician.  His idea of a magic trick was to stand in front of you, hold up his empty hands, then yell, "CLOSE YOUR EYES!" at you.  Once you did, he would run out of the room, noisily dig through is toy shelves, and then run back in to stand in front of you to yell, "OPEN YOUR EYES!" at which point a toy would "magically" appear in his hand.  What made it even better was the way he would add a flourish to each of his "tricks" and the pride he took in having fooled us.  It was beautiful, and that's the appeal of "Make Believe," watching these kids find this thing that gives them such joy.

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<p>Jason Schwartzman, Ted Danson, and Zach Galifianakis co-star in the deadpan comedy/mystery series 'Bored To Death' on HBO</p>

Jason Schwartzman, Ted Danson, and Zach Galifianakis co-star in the deadpan comedy/mystery series 'Bored To Death' on HBO

Credit: HBO Home Video

Review: 'Bored To Death' and 'The Extra Man' both highlight Jonathan Ames

Quirky character comedy abounds in this writer's work, bigscreen and small

It's odd to get to know an author as a character before you get to know their work, and even then, only through adaptation. 

Jonathan Ames is someone I plan to read now that I've gotten a sense of what his voice and his personality is, and I hope I enjoy his prose as much as I've enjoyed these two very different projects, both of which are eccentric comedies energized by exceptional casts.  I saw the first season of "Bored To Death" when HBO sent me the box-set of DVDs for the first year.  I saw "The Extra Man" as a screener here at my house.  And then I saw the first three episodes of the second season of "Bored To Death" when they were sent to my house as screeners.  And I think I've liked each thing I've seen a little more, which is probably a good sign, but may full well be a coincidence, or just a case of me realizing I like someone's comic sensibility.

HBO deserves credit for giving a show like "Bored To Death" a shot.  I'm sure the cast was the selling point for the network, but they've made two years now of this great crazy shaggy dog neo-mystery series in which Jonathan Ames is the main character, played by Jason Schwartzman.  He's a writer, sort of like the real Jonathan Ames, but on the show, he's struggling after the publication of his first novel.  He works for George Christopher (Ted Danson), publisher of a big New York magazine, and he's best friends with Ray Hueston (Zach Galifianakis), a comics artist who is in a relationship with Leah (Heather Burns).  Jonathan's trying to get over his relationship with Suzanne (Olivia Thirlby), who left him because of his drinking and his smoking pot.  Jonathan is feeling aimless and powerless in his life when he places an ad on Craigslist offering his services as a detective.  When someone responds to his ad, it sets Jonathan off on a wild ride over the course of what has so far been 11 episodes that has been getting better and better, and for me, it's "The Gowanus Canal Has Gonorrhea," the third one of the new season, that pushes the show over the top and into a new and better place.

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<p>The documentary 'Waiting For 'Superman'' tackles the collapse of the American public education system from a fresh angle</p>

The documentary 'Waiting For 'Superman'' tackles the collapse of the American public education system from a fresh angle

Credit: Paramount

Toronto: Hard-hitting documentary 'Waiting For Superman' a must-see for parents

The Oscar-winning director of 'An Inconvenient Truth' outdoes himself

Public education's on my mind these days.

I never really considered what my feelings were about the subject until it became personal, which is pretty much the way it happens for most people.  Sure, I had some general feelings about it, based on my growing up and attending both public and private schools at different points in my life.  But the idea of activism over the subject of education never occurred to me.

Not until I started trying to figure out my son Toshiro's education.

And not until I saw Davis Guggenheim's new film "Waiting For 'Superman'".

I talked to another critic outside afterwards who seemed to think all of the information in Guggenheim's film was "Been there, done that," and if that's true, I salute him for his exceptional knowledge of the problems our students and their parents face these days.  Maybe there are other documentaries that deal with the same general subject, but for me, "Waiting For 'Superman'" was an eye-opener, and there's a stretch of it that is the most emotionally difficult real-life material I've seen in a film since "Dear Zachary."

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<p>Antonio Banderas and Naomi Watts play out one of the many signature romantic square dances in Woody Allen's new comedy 'You Will Meet A Tall Dark Stranger'</p>

Antonio Banderas and Naomi Watts play out one of the many signature romantic square dances in Woody Allen's new comedy 'You Will Meet A Tall Dark Stranger'

Credit: Sony Pictures Classics

Toronto: Antonio Banderas and Naomi Watts in Allen's charming, slight 'Tall Dark Stranger'

Josh Brolin, Anthony Hopkins, and Frieda Pinto round out the eclectic cast

When you make a film a year, rain or shine, you'll end with some good movies just as a matter of general talent.  Woody Allen certainly knows how to make an engaging, easy sit at this point, and "You Will Meet A Tall Dark Stranger" is certainly painless.  To some extent, though, Allen's films are as familiar in their rhythms as the superhero origin story, and so it becomes about watching variations on a theme, watching how each different cast tackles the material.  You're either up for the familiar pleasures or you're not, and by now, I think most serious filmgoers know how they feel about Allen's work.

Let's say this was the very first time you're seeing a Woody Allen film, though.  I think sometimes we forget that's even possible.  But I know that the first Allen film I saw in a theater and not on home video was "Hannah and Her Sisters."  I would imagine this could well be someone's very first Woody Allen film.  It's the story of Helena (Gemma Jones), an older woman whose husband Alfie (Anthony Hopkins) has just left her.  She's ruined, and her daughter Sally (Naomi Watts) sends her to a psychic named Cristal (Pauline Colins), knowing it will comfort her.  Sally and her husband Roy (Josh Brolin) are in a holding pattern while they wait for him to finish his novel, something that terrifies him.  He spends his days watching a lovely young neighbor named Dia (Frieda Pinto) through her window, running from his work, while Sally spends her work days lusting quietly after Greg (Antonio Banderas), the owner of the gallery where she works.   Meanwhile, Sally's father Alfie is dealing with the ridiculous folly of his relationship with his mistress Charmaine (Lucy Punch).  It's typical Allen romantic roundelay, and there's a spirited energy to it this time around, but it doesn't add up to much.  If this were my very first Allen film, my reaction would be, "That's it?"

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<p>Edward Norton and Edward Norton star in the dark character comedy 'Leaves Of Grass,' written and directed by Tim&nbsp;Blake Nelson.</p>

Edward Norton and Edward Norton star in the dark character comedy 'Leaves Of Grass,' written and directed by Tim Blake Nelson.

Credit: First Look Pictures

Review: Edward Norton, Edward Norton, and 'Leaves Of Grass'

Dark comedy offers more than just a gimmick with Norton as twin brothers

One of the reasons I liked Edward Norton right off the bat as an actor with his first performance in "Primal Fear" is because he tackled one of the big showstopper scenery chewing archetypes, but his performance demonstrated a dedication to detail that was impressive.  I've done a lot of reading about multiple personality disorder over the years, and Norton got all the little things right.  Not in a showy way, but in a way that suggested a meticulous performer, a guy who was going to push himself.

Over the course of his career, that's what he's done consistently and well.  He is not someone who coasts on an easily defined character that he plays over and over.  He vanishes into roles.  He transforms himself.  And he always reaches for those little details that sell something.  Because he's that kind of actor, there are certain things I've always wanted to see him do, and as someone who is slightly obsessed with the idea of movies in which one actor plays twins, this was one of those challenges I always wanted to see him attempt.

Written and directed by Tim Blake Nelson, "Leaves Of Grass" casts Norton as Bill and Brady Kincaid.  One is an academic, quickly climbing the social ladder of the university world, and the other is a pot farmer.  To be fair, he's an amazing pot farmer, an artist of sorts, and he's scrupulously ethical about what he will and won't do.  That's proving to be a problem for him as Pug Rothbaum (Richard Dreyfuss), the gangster who staked him in the first place, is pressuring him to use his greenhouse as a meth manufacturing location, something Brady's deeply opposed to.  Seeing no other way out of his problem, Brady lays out a long con that starts with him faking his own death so that Bill, struggling with his own career issues, is called home for the funeral.  Once he learns Brady is alive, Bill tries to flee, but he gets pulled back into his brother's orbit, and over the course of a long, deranged weekend, everything about his life changes.  He's got to deal with his estranged mother (Susan Sarandon) and he meets a woman who deflates almost every idea he has about himself, Janet (Keri Russell in another winning appearance), and of course, he's got to work out his feelings about his brother.

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<p>John Leguizamo is one of the stars of Brad Anderson's new horror film, 'Vanishing On 7th Street'</p>

John Leguizamo is one of the stars of Brad Anderson's new horror film, 'Vanishing On 7th Street'

Credit: Herrick Entertainment/Mandalay Vision

Toronto: Hayden Christensen and John Leguizamo star in disappointing 'Vanishing On 7th Street'

Weak script and over-reliance on CGI cripple a smart idea

I don't know that I'd call Brad Anderson a strong narrative guy so much as he's a guy who knows how to evoke a mood and how to pull an audience into a specific place.  He's not a "horror director," per se, but he's certainly made his share of horror films, and quite well in some cases.  I love "Session 9," and I think "The Machinist" is a great slow burn.  When I was on my way up to Toronto for the film festival, "Vanishing On 7th Street" was one of my most anticipated titles just because of Anderson's track record.

Let's just call this one a disappointment.  I wasn't a fan right after the screening, but upon reflection, I'm even less satisfied with it, and it doesn't help that a screening of "Devil" reminded me of how much life you can still wring out of even the simplest formula as long as you approach it in the right way.  Anderson's film is a conventional genre exercise, but the choices he and screenwriter Anthony Jaswinski make cripple the exercise right off the bat, and the film never overcomes the built-in handicaps.  In short, the menace the film is built around is never menacing, and that's not because of the concept so much as the execution.  There's something creepy about the notion of evil that hides itself in any shadow in a world where light is slowly slipping away, and there are a few moments in the film that suggest just how a subtle, creepy version of that film might play.

This is not that version.

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