<p>Evidently, my interview with Chris Hemsworth took place in the afterlife.</p>

Evidently, my interview with Chris Hemsworth took place in the afterlife.

Credit: HitFix

Chris Hemsworth weighs in on the difference between 'Thor' and 'Avengers' movies

Can you guess which one he prefers?

TORONTO - This year's festival has certainly not been short on star power, but I've done fewer interviews this time around than any year I've been up here. That's good in a way because it means I've seen more films, but there were a few conversations I absolutely couldn't miss out on.

We'll be bringing you chats with Ron Howard, Daniel Bruhl, and Olivia Wilde in support of the new film "Rush" very soon, but for tonight, I wanted to share just a bit of the conversation I had with Chris Hemsworth, who plays Formula 1 superstar James Hunt in the film.

When we first saw Hemsworth in "Star Trek" in 2009, he stole that film in just a few short minutes at the beginning, and it didn't remotely surprise me that Hollywood immediately started trying to figure out what else they could do with him."Cabin In The Woods" is a movie I like a lot, but it's not really a showcase for who Hemsworth is as a performer. Sure, he gets the special "Samuel L. Jackson in 'Deep Blue Sea' Award" for going out in style, but it's not his movie.

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<p>Karen Gillan and Brenton Thwaites have to return to the home that nearly destroyed them as children to fight a subtle, potent evil.</p>

Karen Gillan and Brenton Thwaites have to return to the home that nearly destroyed them as children to fight a subtle, potent evil.

Credit: Intrepid Pictures

Review: Katee Sackhoff and Karen Gillan both do strong work in creepy 'Oculus'

Director Mike Flanagan's got real chops at both smart and scary

TORONTO - One of the reasons people often seem frustrated by horror films is because of how often certain tropes are trotted out and dressed up for new audiences, and at some point, it starts to feel like you've seen every variation, every interpretation, and it just becomes familiar and numbing. The truth, of course, is that good storytelling is good storytelling, and familiarity does not have to be a bad thing by definition. Mike Flanagan's "Oculus" is a strong example of how you can take something that sounds familiar and, by focusing on performance and the small details, create something that elevates formula.

Director Mike Flanagan, working from a script he co-wrote with Jeff Howard, tells a pretty conventional haunted house story in an unconventional way, and it's so smartly built, so smoothly handled, that you may not realize that about 90% of the film takes place inside this one house. I've seen plenty of low-budget films that were restricted to that sort of space because of money, and they don't know how to keep it interesting, but Flanagan does an exceptional job of not just effectively managing the space, but also juggling chronology. The film begins with a dream involving a man, a gun, and two kids, and as it reaches the culmination, we cut to a psychiatrist's office, where Tim Russell (Brenton Thwaites, who has the best haircut I've ever seen on a mental patient in a movie) is describing the dream to his therapist. Tim's just turned 21, and his doctor believes that he has been cured and is ready to be released to the world again.

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<p>Meryl Streep and Julia Roberts both do stand-out work in 'August:&nbsp;Osage County,' but the film still feels oddly muted.</p>

Meryl Streep and Julia Roberts both do stand-out work in 'August: Osage County,' but the film still feels oddly muted.

Credit: The Weinstein Company

Review: Julia Roberts and Meryl Streep try hard but 'August: Osage County' falls flat

HitFix
B-
Readers
n/a
All the star power in the world can't quite bring it to life

TORONTO - Tracy Letts has had three of his plays adapted to film now, and I think based on the evidence of the latest, "August: Osage County," it is safe to say that William Friedkin has a far better handle on how to handle his scripts than John Wells does. Both "Bug" and "Killer Joe" are sweaty, upsetting movies that put us face to face with unsettling characters in dire circumstance, and both films have a jangling nervous energy to them that seems perfectly in sync with what Letts does on the page. Considering the stage version of "August: Osage County" won Letts a Pulitzer, it would not be outrageous to suggest that this arrives on movie screens with more expectations than the other two films, and that perhaps it is precisely because of those expectations that the end result feels like a disappointment.

In the film's opening moments, a beautifully cast Sam Shepard plays Bev Weston, the patriarch of a largely-absent family, and he talks about the truce he has made with his wife Violet (Meryl Streep). She takes pills, and he drinks, and the two of them leave each other alone about their vices. It seems like an uneasy peace, though, and as he talks more about his wife and her habits, we see that he's interviewing a Native American girl named Johnna (Misty Upham) about becoming their housekeeper.

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<p>James Hetfield is going to outlive us all, isn't he?</p>

James Hetfield is going to outlive us all, isn't he?

Credit: Picturehouse

Review: Metallica's 'Through The Never' pushes 3D IMAX past the breaking point

HitFix
B+
Readers
n/a
Even non-fans may find themselves banging their heads

TORONTO - On the heels of "Avatar," Hollywood went slightly crazy for 3D, and between weak post-production conversions and unnecessary use of the process, they have already started to kill any interest the audience has in it, which is a shame. Alfonso Cuaron's "Gravity" makes a strong case for the dramatic potential of the format, and now Nimrod Antal's "Metallica Through The Never" reinforces just how visceral an experience it can be when used correctly.

This morning's screening of the film at the Toronto Film Festival was held in the IMAX theater at the Scotiabank complex, and I can honestly say it was one of the most technically impressive screenings I've seen in IMAX anywhere. The soundtrack alone is such an intense experience, such an assault, that I started laughing trying to imagine the horrified crowd sitting in a tender, quiet Iranian drama next door. I've said before that the sound systems in IMAX theaters are as important as the size of the screen, and it sounded like this film gave that system a workout it's never had before.

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<p>By far, this is the weirdest scene in 'Spring Breakers'</p>

By far, this is the weirdest scene in 'Spring Breakers'

Credit: Entertainment One

Review: Eli Roth's 'Green Inferno' delivers plenty of sick cannibal kicks

HitFix
B-
Readers
n/a
Is South America the land of the free for genre directors right now?

TORONTO - Since the first time I came to Toronto for the annual film festival, I have viewed Midnight Madness as my favorite part of the entire event. I've managed to attend nearly every possible Midnight Madness screening each year, and some of my favorite memories of my time here come from not only the movies shown, but the people in the audience and the lunacy of the event surrounding the movies. Programmer Colin Geddes throws a hell of a party, and until I'm in the Ryerson, surrounded by the bloodthirsty fans of the madness he unveils every year, I don't really feel like I'm in Toronto.

As a result, the first two nights of this year's festival left me a bit off-balance because scheduling issues left me stranded, unable to get to either "All Cheerleaders Die" or "The Station." I hope to catch up with both of them, but it won't be the same as it would be with that audience. On Saturday night, however, I finally worked things out and I made it to my favorite aisle seat in the Ryerson in plenty of time for Eli Roth's world premiere of his new horror film, "The Green Inferno."

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<p>Mark Ruffalo and Keira Knightley are both excellent in John Carney's enchanting new film 'Can A Song Save Your Life?'</p>

Mark Ruffalo and Keira Knightley are both excellent in John Carney's enchanting new film 'Can A Song Save Your Life?'

Credit: Exclusive Media Group

Review: Keira Knightley and Mark Ruffalo are luminous in the beautiful 'Can A Song Save Your Life'?

HitFix
A
Readers
n/a
John Carney's latest musical is another gorgeous story of love and art

TORONTO - One of the things I love about music is the way it can act like a sort of time machine, transporting you back to the moment you first heard it or a particular performance you saw, and more than that, it can remind you of the person you were at that moment. I hear certain songs, and the world around me melts away and I find myself feeling and remembering and I can't think of anything else that does it quite the same way.

In 2001, I made a last minute trip to Sundance with Kevin Biegel, another of the writers for Ain't It Cool. We didn't plan it. We had no idea what we were doing. It was the first time at a major film festival for either of us. And for the most part, we just sat in the press screening rooms watching whatever played, not sure what to expect. At the end of one of those days, already packed with great movies like "Chain Camera" and "Dogtown & Z-Boys," we saw the first screening of "Hedwig And The Angry Inch," and when it got to the song "Origin Of Love" in the middle of the film, I was transported. It seemed to me to be the perfect explanation of what it is we look for in this world in other people, inclusive of everyone, optimistic but heartbroken, and by the time the song was over, it was one of my favorite songs of all time.

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<p>Matthew McConaughey's strong, empathetic work is one of the highlights of 'Dallas Buyers Club'</p>

Matthew McConaughey's strong, empathetic work is one of the highlights of 'Dallas Buyers Club'

Credit: Focus Features

Review: Matthew McConaughey is terrific in the moving historical drama 'Dallas Buyers Club'

HitFix
A-
Readers
n/a
Hollywood finally seems ready to have a real conversation about AIDS

TORONTO - At some point in the future, when people are writing a history of how cinema processed and showcased the way HIV and AIDS affected life in the late 20th century and beyond, "Dallas Buyers Club" will definitely be part of that conversation, and the film seems to occupy a space at both ends of the timeline right now. It deals with the early days, when people still didn't understand much about it, but it looks at that time with the perspective of right now, allowing them the distance to really get the story right.

It is my sincere wish that we never see Matthew McConaughey star in another shitty romantic comedy again. He is way too interesting for that, and there's a reason he became a punchline for a few years. It's not because he's a bad actor; far from it. It's because it looked like he decided just to coast and not push himself. You cannot say that about "Dallas Buyers Club," though. This is a ferocious performance, funny and angry and emotional, and watching it, I felt like it fulfilled all of the promise he has shown over the years and then some. There is nothing held back here, and that laconic cowboy charm of his is put to perfect use. Ron Woodruff was an electrician and a sort of low-level hustler/party boy who loved his drugs almost as much as he loved his sex. In the early sequences in the film, he is blatantly homophobic, a "good ol' Texas boy," through and through, and it's so casual, so much a part of the everyday language he and his buddies use, that when he learns he has HIV, he practically goes crazy and attacks the doctor. He is furious that anyone would accuse him of having something that is supposed to only kill gay people.

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<p>Sandra Bullock and George Clooney share one of the few quiet moments before 'Gravity' sends them both spinning through space.</p>

Sandra Bullock and George Clooney share one of the few quiet moments before 'Gravity' sends them both spinning through space.

Credit: Warner Bros.

Review: Sandra Bullock is amazing in Alfonso Cuaron's dazzling 'Gravity'

HitFix
A+
Readers
n/a
How often can you claim you saw something genuinely brand-new?

TORONTO - Living at this point in the history of cinema is a privilege, thanks to the way we are able to enjoy movies from any previous era while also seeing how cinema continues to grow and change and adapt, and one might be forgiven for thinking that at this point, we've seen it all. It's not true, though, and the proof this year comes from director Alfonso Cuaron, whose new movie "Gravity," his first in seven years, seems determined to actually push the visual language of film forward.

Even better? He actually succeeds at that lofty goal.

On the page, "Gravity" is the very definition of simplicity. Two astronauts are working on a space shuttle when they get a warning that a satellite explosion has now created a field of debris that s moving in an incredibly fast orbit around the planet, and that they are in its path. Before they can do anything about it, the debris smashes into their shuttle, utterly destroying it, stranding the two of them in space. The rest of the insanely-tight 88 minute running time is spent trying to figure out how to survive and, if at all possible, make it back to the surface of Earth.

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<p>What's the matter, Daniel?&nbsp;Something got your goat?</p>

What's the matter, Daniel? Something got your goat?

Credit: Toronto Film Festival

Review: Daniel Radcliffe's all grown up in 'Horns'

HitFix
B-
Readers
n/a
Flawed but compelling adaptation of Joe Hill's novel should please fans

TORONTO - Joe Hill has got to be feeling good tonight.

Before the world premiere of Alexandre Aja's "Horns," adapted from Hill's second novel, several members of the cast joined the author onstage to introduce the movie. Seeing Hill, there's always that jolt at first where I'm struck my how much he looks like his father at that age. At this point, Stephen King is probably numb to the idea of movies based on his work. For Hill, though, this is brand-new territory, and based on how closely the film hews to his book, he must be pleased.

Unfortunately, screenwriter Keith Bunin's  fidelity to the novel means that the book's problems are now the movie's problems, and while I liked much of "Horns," I do think it has a few major issues. If you didn't read the novel, the set-up is pretty simple. Ig Perrish (Daniel Radcliffe) and Merrin Williams (Juno Temple) have been in love since they were kids, which makes it all the more difficult to understand what happened when Merrin's dead body is discovered, her head bashed open. Immediately, Ig becomes the only suspect in the case, and he finds himself having to cope with his own crippling grief even as the media and the law fall on him like a ton of bricks.

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<p>Hugh Jackman and Jake Gyllenhaal find different paths through the darkness in the harrowing new film 'Prisoners'</p>

Hugh Jackman and Jake Gyllenhaal find different paths through the darkness in the harrowing new film 'Prisoners'

Credit: Warner Bros

Review: Hugh Jackman and Jake Gyllenhaal both dig deep for the brutal, haunting 'Prisoners'

HitFix
B+
Readers
B
The French-Canadian director of 'Incendies' makes a strong US debut

TORONTO - I think it's safe to say that "Prisoners" is the best police procedural since "Se7en," and it works as a grim, ugly companion piece to that film in the way it is meticulously plotted without ever truly telegraphing its intentions. The difference is that "Prisoners" also focuses on the way grief drives us mad in the long haul, and just how fragile parents are when it comes to the notion of anything happening to their children.

I've certainly seen a number of films that cover similar thematic ground to "Prisoners," but Aaron Guzikowski's script takes its time, laying out its various tricks and traps very carefully, so that when it decides to hurt you emotionally, it does so with maximum efficiency. The film begins with a Thanksgiving celebration shared by two families. Keller Dover (Hugh Jackman) and his wife Grace (Maria Bello) take their kids down the street to share the day with Franklin Birch (Terrence Howard) and his wife Nancy (Viola Davis). Ralph (Dylan Minnette) and Eliza (Zoe Borde) are the teenagers in the families, and they also both have little girls, Anna (Erin Gerasimovich) and Joy (Kyla Drew Simmons).

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