2011 CAST Awards

Awards season is one of my favourite times of the year but this current season has just been unbelievably busy for me. As a result, I have not been able to dedicate really any time to covering it, thus far. I will certainly be covering the Oscars when they're announced later this month and I will certainly be presenting my own Mouton d'Or awards shortly before that. In the meantime though, I participated again this year in the Cinema Appreciation Society of Toronto year end awards. This essentially involves mostly film bloggers submitting their favourite films from the last year and having those results tabulated by the originator of the idea, Mr. James McNally, from Toronto Screen Shots. Over 40 bloggers participated in the survey and these are the official results ... (Click any highlighted title for the Black Sheep Review.)

FILM TITLE	POINTS	MENTIONS	SEEN
1. Drive	548	31	36
2.The Artist	479	26	29
3. The Tree of Life	460	24	27
4. Attack the Block	386	25	36
5. Take Shelter	376	20	21
6. Midnight in Paris	330	24	31
7. Melancholia	306	19	26
8. Shame	284	19	28
9. Beginners	281	19	24
10. Martha Marcy May Marlene	279	20	24
11. Hanna	235	18	28
12. Café de Flore	207	9	13
13.The Raid	205	12	15
14. Blue Valentine	192	11	30
15. Bridesmaids	185	18	31
16.The Muppets	179	14	25
17. The Illusionist	174	11	22
18. The Descendants	172	11	16
19. Super 8	167	16	31
20. Contagion	167	14	22
21. The Interrupters	167	10	12
22. Tabloid	165	12	20
23. Hugo	162	10	23
24. The Trip	159	14	24
25. Meek’s Cutoff	159	10	18

I have to say that I'm very happy with the final results and not the least bit surprised to see DRIVE in first place. Seven out of the Top 10 films are also on my Top 10 so I can relate to the list. In fact the only title I think has no business anywhere near this list is ATTACK THE BLOCK really. Again though, bloggers thend to be of the geekier variety, or at least the one's in this group anyway, so it isn't a surprise to see it there. The geek factor is also why DRIVE as the best film of the year makes sense to me. All that underground, cult cinema style was bound to win out over everything else.

I was fortunate enough to participate in a podcast discussing the results of the CAST awards and you can link to that podcast here. (The CAST Awards Podcast 2011)

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Black Sheep's Top 10 of 2011!

(Click on any highlighted film title for the original Black Sheep review.
Or any highlighted name for the Black Sheep interview.)

Happy New Year everybody! I always take it easy on New Year's Day and look back at the year that was, in film and in general for my life and career. This year was a fantastic year for film and for my career, as it turns out. The films are coming up a bit later but as for my career, I finally feel this year like a real film critic. I am published regularly in Hour Community in Montreal and in Ottawa Xpress. I have been invited to participate in podcasts and am regularly on the air on CJAD 800 Montreal, the city's leading English language talk radio station. I was once again granted accreditation to cover the Toronto International Film Festival, which not only led to a plethora of amazing interviews, but also allowed me to be within 5 feet of Madonna. We didn't speak. Next time.

I took this. On my phone. She was right there!

My job as a film critic is a freelance one. It does not pay my bills. I have a day job for that. In a bank. The opportunities afforded me in my life are not those of your typical banker, I assure you. One of the greatest perks is getting to sit with and speak to filmmakers I admire a great deal. This year I spoke to people I never imagined I would. I started the year speaking with Oscar nominee, Javier Bardem, about the dark and heartbreaking triumph, BIUTIFUL. I finished the year speaking with Oscar hopeful, Michael Fassbender, about the equally exquisite, SHAME. In between, I also spoke with Morgan Spurlock, Ryan Gosling, Elizabeth Olsen, Gus Van Sant, Matthew McConaughey, Antonio Banderas and the director of this year's Oscar front runner, THE ARTIST, Michel Hazanavicius, amongst many others. I think my favourite interview I did all year was with Mike Mills, about his touching film, BEGINNERS. To speak with him about the very personal story that inspired the film was an honour. He has a beautiful soul and clearly the bravery needed to share it with others so freely.

My interviews have even led to a number of cover features for Hour Community and Ottawa Xpress. Here is a sampling (soon to be found framed on my wall).

You may already be familiar with my Top 10 Films of 2011 list, as it was already published in Hour Community. I still had a few films left to see before the end of the year and thought maybe one of those might change the final results, but alas, no. THE ADVENTURES OF TINTIN sure came close but still, no. My Top 10 is a mixed bag of the big and the small, the tragic and the delightful, but most importantly, all ten of these pictures genuinely touched me in one way or another. They are all remarkable achievements in their own rights and it is my pleasure to share them with you.

In alphabetical order ... Here is Black Sheep's Top 10 of 2011!

THE ARTIST

Directed by Michel Hazanavicius

THE ARTIST defies all current rule by adhering to the rules of another era. In doing so, it recaptures an innocence and sense of magic that is sorely lacking from most of today's movies. Seeing it embraced is so wonderful because I know that the warmth I felt watching it is being spread to many unsuspecting and appreciative filmgoers.

BEGINNERS

Directed by Mike Mills

I know I said my interview with Mike Mills was my favourite of the year but I assure you I was in love with BEGINNERS before I met him. His musings about love and history are so whimsical yet they hold an unexpected weight of understanding at the same time. A second viewing simply had me basking in what a special film it is.

BRIDESMAIDS

Directed by Paul Feig

I never expected BRIDESMAIDS to make this list. I laughed when I saw it in theatres but was also torn about how realistically it portrayed the damage that permeates today's dating scene only to reinforce that love saves all in the end. I saw it again some time later. I don't know what kind of mood I was in the first time but this time, I lightened the F up and laughed my A off. My wig is off to Kristin!

THE DESCENDANTS

Directed by Alexander Payne

Alexander Payne's first film in seven years, THE DESCENDANTS, is the stuff Best Picture Oscars are made of. Or at least they should be, in my humble opinion. Payne, with the great help of his talented ensemble, let by the schleppiest George Clooney I've ever seen, has found the perfect balance between Hollywood accessibility and independent heart. It is his finest film.

DRIVE

Directed by Nicolas Winding Refn

Watching DRIVE was one of the most exhilarating experiences I've had at the movie is my life. The trailer itself gave everything away but I had somehow managed to block all of that out before seeing it. This allowed me to soak in every little morsel of Nicolas Winding Refn's genius style and Ryan Gosling's smouldering intensity. It goes from quiet to completely disquieting in no time and it gets my motor running every time I see it.

MARTHA MARCY MAY MARLENE

Directed by Sean Durkin

Stop balking at the title and see this movie. Sean Durkin, a first time filmmaker has created a truly disturbing experience with MARTHA MARCY MAY MARLENE. The way he sees the story, in fractured pieces and bizarre but beautiful angles, draws our attention directly to the breakout performance of the year. Elizabeth Olsen is just mind-blowing in this. I could not stop looking at her nor did I want to.

MELANCHOLIA

Directed by Lars von Trier

This is another title I never expected to figure into this list. I have a complicated relationship with Lars von Trier. I am sure I'm not the only one either. All the same, MELANCHOLIA, which some might call his most accessible work to date, is absolutely breathtaking from beginning to end. It is masterful filmmaking and von Trier strikes an incredibly delicate balance between the bleak, the realistic and the unexpected humour that lies in between.

SHAME

Directed by Steve McQueen

I was so moved by Steve McQueen's HUNGER that when I heard he had teamed up with Michael Fassbender again for his second feature about sex addiction, I was naturally very excited. SHAME isn't an easy experience but such are some people's stories. Fassbender's Brandon has a story some would scoff at but McQueen makes his addiction completely understandable. The fact that he does so without truly diving into Brandon's past is a compliment to Fassbender's incredible depth.

THE TREE OF LIFE

Directed by Terrence Malick

This year is full of surprises. Never have I seen a more polarizing film experience and when I first saw THE TREE OF LIFE, I fully understood both sides. It wasn't until a second viewing that I let the side of me that loved this film take full control and just let it rush over me. Not only is it the most gorgeous looking and sounding film I've seen all year but it is, in the right light, a beautiful poem of epic proportion. Oh, and it also gave us Jessica Chastain. For that reason alone! 

(I reviewed the film twice. The links above are to my most recent review. Click here to read the original review.)

WE NEED TO TALK ABOUT KEVIN

Directed by Lynne Ramsay

I always have a hard time finding the words to describe WE NEED TO TALK ABOUT KEVIN. I definitely need to see it a second time before I can fully appreciate its beauty and depth. In the meantime though, I know how it made me feel, how it sucked me in and really kept me there throughout the film, wondering what had happened and why. Tilda Swinton does it again. That woman knows from cold.

TIFF Take 2 for me! Always unbelievable.

And that's 10, in case you lost count. Thanks for all your support this past year, with your sharing on Facebook and your tweeting and retweeting, and with just your reading of my work in general. I am truly grateful. Soon it will be your turn to tell me your favourites of the year for the Black Sheep Reviews Readers Choice Mouton d'Or Award so keep an eye out for that. The full Mouton d'Or Award nominations will be announced on January 22. In the meantime, I wish you all great success in 2012!

I leave you with a list of five more excellent films from 2011 that didn't quite make the Top 10. They do deserve honourable mention though.

50/50

Directed by Jonathan Levine

PARIAH

Directed by Dee Rees

TAKE SHELTER

Directed by Jeff Nichols

TINKER TAILOR SOLDIER SPY

Directed by Tomas Alfredson

TYRANNOSAUR

Directed by Paddy Considine

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Black Sheep interviews Elizabeth Olsen

What’s in a name? In the festival circuit breakout, MARTHA MARCY MAY MARLENE, the heroine has four of them. Meanwhile, the actress who plays her has a name you’ve likely never heard before. With five films being released over the next year and mounting awards season buzz for her first though, you will know the name, Elizabeth Olsen, soon enough and you’ll be hearing it for a long time to follow as well.

“I try not to think about things like momentum and trying to act fast while things are hot,” Olsen tells me, over the phone, after I suggest that things are indeed hot for her right now. “I’m just going to try to continue making choices based on script, character, project, who’s involved, rather than try to jump on some sort of momentum.”

Olsen as Martha, Marcy May or Marlene

Her choices thus far have been pretty sound or at least have the potential to be. Her upcoming projects include working with filmmakers like Bruce Beresford (DRIVING MISS DAISY), Rodrigo Cortes (BURIED) and Josh Radnor (Ted from How I Met your Mother). It is her breakout in MMMM (cool acronym, huh?), with first time feature filmmaker and now good friend, Sean Durkin though, that will serve as her ultimate unveiling.

“Sean wanted to cast an unknown actress for Martha,” Olsen reveals. “He thought it was really important for the audience to see it without any baggage from someone’s prior work because it is such a specific story.” The story in question centers around Martha’s escape from a cult and her difficult integration back into the family she ran from. Her memories and her nightmares become intertwined, making for a unique and haunting film experience. (Read the 5-star Black Sheep review here.)

Olsen with Oscar nominee, John Hawkes

While It is true that people may not know her name, it is a stretch to suggest Olsen comes without baggage. Olsen is the younger sibling of infamous twin sisters, Mary-Kate and Ashley Olsen. And while she may bear a distinct resemblance to them physically, it only takes about five minutes of watching her on screen to realize she is where she is right now based on the sheer magnitude of her talent and not her connections.

This talent is the reason I chose not to discuss her sisters with her during our interview. It is also the reason that the possibility of an Oscar nod is being tossed around for her turn in MMMM. “First off, that’s just like so, it’s so hard for me to wrap my head around it because this is my first movie being released,” Olsen declares, clearly humbled and reluctantly excited by the possibility. “It’s so difficult for me to see that as part of my reality. For me, what I hope comes out of that mere buzz is more people will end up seeing the movie because of that.”

Olsen with co-star, Sarah Paulson

A significant audience would certainly vindicate the five week shoot, in which Olsen only had one day off and two weeks to prepare for, not to mention the dark places she had to visit in her mind to make Martha believable. “I have a pretty active imagination,” Olsen explains when I ask how she was so convincingly able to look like a shell of a human being on screen at times. “I just would put myself in situations, not like Martha’s situation, but more like something I could relate to, that would be more like a parallel. It makes the movie harder to watch because you remember the things that you were trying to figure out for yourself when you played those scenes.”

It may be dark but MARTHA MARCY MAY MARLENE is nothing but a bright beginning for an exciting new actress with great promise. “At the end of the movie, I did feel sad to leave her behind but I also felt relieved,” Olsen confides, showing genuine conflict. Now many months later, there is no question of the pride she derived from the experience. “I truly believe it’s an original and different cinematic experience for modern day film. I don’t think a lot of films are made like this anymore and I hope people just come game to have a whole different type of experience watching a movie.”

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MARTHA MARCY MAY MARLENE

Written and Directed by Sean Durkin

Starring Elizabeth Olsen, Sarah Paulson, Hugh Dancy and John Hawkes

Martha: Do you ever have that feeling where you can’t tell if something’s a memory or if it’s something you dreamed?

Instantly uncomfortable, MARTHA MARCY MAY MARLENE, is unlike any experience I’ve had at the movies. It is at times both eerily quiet and dishearteningly noisy; it is painfully present but yet also lost in a haze of what is real and what is imagined. It inspires great sympathy and even greater anxiety. Its tension is palpable and its style is distinct and effective. MARTHA MARCY MAY MARLENE is a truly accomplished piece of filmmaking from writer-director, Sean Durkin, a first time feature filmmaker. With that in mind, it is just plain shocking across the board.

As skillful as Durkin proves to be, he has help, led by a star-making turn from lead actress, Elizabeth Olsen. Olsen, who incidentally is the younger sibling of Mary-Kate and Ashley (and I’m sure never tires of seeing that repeated in print), is incredible as Martha. We meet her when she is Marcy May, her name changed when she entered a seemingly loving commune. Her new family turns out to be an abusive cult, led by recent Oscar nominee, John Hawkes (WINTER’S BONE), but the warmth they show her is still enough for her to leave behind the family she had always known. Olsen carries so much depth in her composure, her face and general demeanor are cold and lifeless. Still, there is fight inside her that breaks through the surface from time to time, hoping to make its presence more permanent. Olsen makes Martha’s struggle so grave, you feel as though she could slip away from everything at any moment, never to return. She is simply captivating and I could barely breathe as I watched her push back from hell.

Durkin takes this towering performance and drops it in the middle of a world of bewilderment, bouncing back and forth in time and place between Marcy May’s time with her adopted “family” and Martha’s attempt to reintegrate into society with her sister (Sarah Paulson) and her husband (Hugh Dancy). At times, many of them in fact, she cannot distinguish between the two experiences and subsequently, neither can we. Her transition is never simple and both situations place rules on her that she struggles against, leaving it open for debate as to which scenario provides her with real love, if any. MARTHA MARCY MAY MARLENE is as disturbing as you would expect from what I’ve described but it is also just as revelatory.

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Black Sheep's TIFF11 Review

Officially, it has been eleven days since TIFF sucked me into its unique brand of vortex but I've been dedicating my time to the festival for what seems like weeks now. I caught my first pre-TIFF screening on  August 16 and finish today with my 35th and final film. Sure there is a lot of time in a month to see 35 films but more than 20 of them were in the last 10 days alone. Factor in all the writing, all the interviews and all the running around too and it is easy to see why some in the industry describe this festival as an endurance test.

I know a few people in the biz here and there but, for the most part, I keep to myself. I hear things though. I hear other journalists who have been doing this way longer than I have talk about how happy they are that its ending, complaining about everything from the free food to the films themselves. And while TIFF seems like such a burden for them, its like Christmas for me. Sure, its easy for even me to complain when I have six interviews in a day and not one of them seems to start on time, but I am always grateful for the amazing opportunities being part of this festival affords me.

Meeting Roger Ebert at big book signing

This year, I did three times as many interviews as I did last year. I met with filmmakers I admire a great deal, including Gus Van Sant, Steve McQueen and Jean-Marc Vallee. I interviewed actors I love to watch, including Ryan Gosling, Michael Fassbender and Matthew Goode. I met the reigning king of all film criticism, Roger Ebert. I even stood three feet away from the biggest artistic inspiration of my life, Madonna, on her red carpet for W.E.. Sure, I never got to fit in A DANGEROUS METHOD into my schedule and my Jessica Chastain interview was canned at the last second but that's TIFF. You can plan as much as you want, and I assure you I did a great deal of advance planning this time around, but something will always change. You just have to ride it out, wherever it takes you. And if you just sink into the journey, you will have plenty of time to appreciate it.

I took this at the W.E. red carpet. I was shaking a lot.

And now, I would like to run down my 10 favourite TIFF11 films and five least enjoyed, beginning with the latter. (Click any linked film title for the full Black Sheep Review.)


TOP 5 WORST TIFF11 FILMS I SAW
(in alphabetical order)

ANONYMOUS
Directed by Roland Emmerich
Mr. Emmerich tries to break away from the genre he is famous for with this period melodrama about the authenticity of Shakespeare's work but only ends up making yet another disaster movie.

BUTTER
Directed by Jim Field Smith
Any hope of this Jennifer Garner political satire having any bite whatsoever melts away in the first ten minutes. Though the subject is butter carving, this film never takes proper shape.

LIKE CRAZY
Directed by Drake Doremus
This movie about two young people in love and trying to make it work with an ocean between them should have been called "Like Tedious and Insipid".

TAKE THIS WALTZ
Directed by Sarah Polley
I know a great deal of people who loved this movie about a woman torn between two men but I never really saw why other man (Seth Rogen, Luke Kirby) would want the woman (Michelle Williams) in the first place.

TRESPASS
Directed by Joel Schumacher
First of all, Mr. Schumacher has no business at TIFF to begin with. This was the funniest film I saw at TIFF and it's supposed to be a hostage thriller.

Mia Wasikowska and Glenn Close in Albert Nobbs

TOP 10 TIFF11 FILMS I SAW
(in alphabetical order)

50/50
Directed by Jonathan Levine
It'd billed as a cancer comedy but, as I've now told everyone I know, I cried five times watching this. The fantastic cast, led by Joseph Gordon Levitt, make this a must see fall film.

ALBERT NOBBS
Directed by Rodrigo Garcia
Glenn Close gives the performance of her career as a male butler in this fascinating period drama about gender identification and sexuality. She is a shoe-in for an Oscar nod and I hope the film picks up a few more for itself too.

THE ARTIST
Directed Michel Hazanavicius
Everything you've heard about this enchanting black and white, silent film is true. It is a simply told and brilliantly executed celebration of the cinema. You cannot help but feel happy when you see it.

THE DESCENDANTS
Directed by Alexander Payne
I love Hollywood storytelling when it's done right, with heart and intelligence. This George Clooney vehicle is an incredibly unique tale that reminds us that we never know what will happen in our lives that will bring us closer to ourselves and the one's we love.

DRIVE
Directed by Nicolas Winding Refn
I feel like people are all Drive'd out at this point but I personally want to see this movie again and again. It has an energy and tone to it that you don't often see come out of Hollywood. In time, this will be a cult classic.

Tilda Swinton in We Need to Talk about Kevin

MARTHA MARCY MAY MARLENE
Directed by Sean Durkin
This was the first film I saw for TIFF this year and it remains one of the most disturbing experiences I had throughout the entire festival. Elizabeth Olsen is incredible in her debut and I hope she is able to hold the momentum she has started until she earns an Oscar nod for this.

MELANCHOLIA
Directed by Lars von Trier
I'm not ordinarily a huge fan of this man's work but I was fully absorbed by Lars von Trier's fascinating and visually stunning contemplation on depression set against the end of the world. Somehow, despite its subject matter, it still manages to be amusing.

SHAME
Directed by Steve McQueen
Michael Fassbender will pick up his first Oscar nomination for this incredibly honest look at sexual addiction. Audiences have been somewhat polarized on this but that often tends to happen when the mirror is held up to them with such strength.

TYRANNOSAUR
Directed by Paddy Considine

Actor turned director, Paddy Considine, has written a tale of two people struggling with the misery that has consumed their lives. To say it is dark would be a grand understatement but if you can find the hope in the film, it will move you significantly.

WE NEED TO TALK ABOUT KEVIN
Directed by Lynne Ramsay
This is by far one of the most striking and colourful films I saw this year. Tilda Swinton is unbelievable as a mother grappling with the love she feels for her sociopathic son. Bloody brilliant.

That's me with my pass! Always an honour.

I want to thank everyone that made TIFF11 possible for me. First of all, my editors at Hour Community and Ottawa Xpress for sending me. My boss at the bank for giving me the time off to pursue my passion. All the great PR people at Alliance, StarPR, AMPR, Fox Searchlight, Sony and eOne for all their assistance with booking advance screenings and interviews. And of course I need to thank my readers and fellow film enthusiasts for keeping the conversations going on the site, on Twitter and in person during the festival.

TIFF brings film fans from all over the world to Toronto and it is a pleasure to share this experience with everyone who truly appreciates just how rare and amazing it is. I am truly blessed to have had this opportunity for a second year and hope it comes around again next year. Thank you again for all your support and until then, Happy TIFF!

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TIFF Review: MARTHA MARCY MAY MARLENE

Written and Directed by Sean Durkin

Starring Elizabeth Olsen, Sarah Paulson, Hugh Dancy and John Hawkes

Martha: Do you ever have that feeling where you can’t tell if something’s a memory or if it’s something you dreamed?

 Instantly uncomfortable, MARTHA MARCY MAY MARLENE, is unlike any experience I’ve had at the movies. It is at times both eerily quiet and dishearteningly noisy; it is painfully present but yet also lost in a haze of what is real and what is imagined. It inspires great sympathy and even greater anxiety. Its tension is palpable and its style is distinct and effective. MARTHA MARCY MAY MARLENE is a truly accomplished piece of filmmaking from writer-director, Sean Durkin, a first time feature filmmaker. With that in mind, it is just plain shocking across the board.

As skillful as Durkin proves to be, he has help, led by a star-making turn from lead actress, Elizabeth Olsen. Olsen, who incidentally is the younger sibling of Mary-Kate and Ashley (and I’m sure never tires of seeing that repeated in print), is incredible as Martha. We meet her when she is Marcy May, her name changed when she entered a seemingly loving commune. Her new family turns out to be an abusive cult, led by recent Oscar nominee, John Hawkes (WINTER’S BONE), but the warmth they show her is still enough for her to leave behind the family she had always known. Olsen carries so much depth in her composure, her face and general demeanor are cold and lifeless. Still, there is fight inside her that breaks through the surface from time to time, hoping to make its presence more permanent. Olsen makes Martha’s struggle so grave, you feel as though she could slip away from everything at any moment, never to return. She is simply captivating and I could barely breathe as I watched her push back from hell.

Durkin takes this towering performance and drops it in the middle of a world of bewilderment, bouncing back and forth in time and place between Marcy May’s time with her adopted “family” and Martha’s attempt to reintegrate into society with her sister (Sarah Paulson) and her husband (Hugh Dancy). At times, many of them in fact, she cannot distinguish between the two experiences and subsequently, neither can we. Her transition is never simple and both situations place rules on her that she struggles against, leaving it open for debate as to which scenario provides her with real love, if any. MARTHA MARCY MAY MARLENE is as disturbing as you would expect from what I’ve described but it is also just as revelatory.

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Black Sheep previews TIFF 2011

This will only be my second year covering the Toronto International Film Festival, in any official capacity that is. Last year, I had no idea what to expect from TIFF, as it is more affectionately known. I wanted to hit the festival running but TIFF just ended up running me ragged instead. If I wasn't sprinting from one venue to the next to catch another screening, I was rushing to an interview or trying to squeeze in some of the mounting writing that was waiting for me at home. I wasn't eating or sleeping properly and the moment I thought I had two minutes to breathe, my body shut down and I suffered through the last stretch of the festival with a massive head cold. Despite all of this, it was still one of the best times of my entire life.

A reader took this shot at the TIFF Box Office and sent it to me.

It may be naive to suggest but I am determined that this year is going to be even better. This year I will be sure to take my vitamins daily and to buy a subway pass so that I don't have to show up to interview filmmakers I admire with sweat dripping down my brow. I will also be stepping up my film intake as well. I devoured 30 films last September and this year I hope to hit 40. Having caught a bunch of films in pre-TIFF press screenings, I am already nicely on track to accomplish this. I'm also in a pretty good position to make some last minute recommendations for anyone looking to scour craigslist for exorbitantly overpriced tickets.

Keeping in mind that I've only seen 10 films so far, here are a few I don't think you should miss ...

THE ARTIST

Directed by Michel Hazanavicius

This much buzzed about silent film is my early prediction for the Cadillac People's Choice Award, an honour based solely on festival goer votes. It is charming and simple but its execution is an intricate design that will surely wow both audiences and critics, just as it did earlier this year at Cannes.

DRIVE

Directed by Nicolas Winding Refn

Refn took the directing honours at Cannes for this fact paced, ultra violent thriller. This is none too surprising considering how smooth the ride really is; it swerves through its seedy premise just as easily as it does the streets of Los Angeles. And with Ryan Gosling at the wheel, Refn can take me anywhere he likes.

THE IDES OF MARCH

Directed by George Clooney

And if you didn't get enough Gosling after that, you can catch him in the starring role in Clooney's first directorial effort in three years. To be honest, I cannot decide which movie I prefer him in; his abilities are becoming more and more remarkable with each passing year it seems and Clooney more than redeems himself for his last film, LEATHERHEADS, too.

MARTHA MARCY MAY MARLENE

Directed by Sean Durkin

This was my first TIFF11 film of the year and it has set the bar pretty high for everything I've seen since. Durkin's first feature made an indelible impression on Sundance audiences earlier this year and while that was surely in no small part due to his disturbing screenplay and direction, it is the breakout performance by newcomer, Elizabeth Olsen, that everyone will be talking about come awards season.

MELANCHOLIA

Directed by Lars von Trier

I would not have believed you if you had told me that one of my favourite movies of 2011 would be by the notorious Lars von Trier. While the director will not be in attendance at TIFF (he does not fly and lives in Denmark), his presence will surely be felt by anyone who sees his latest. I have never seen such a darkly humorous take on the apocalypse, nor one that is as unforgettable as this one.

Score tickets to any of those films and you will not be disappointed, I assure you.

Here now is the full list of films I hope to catch during the 36th annual Toronto International Film Festival.

50/50

Directed by Jonathan Levine

THE ARTIST

Directed by Michel Hazanavicius

A DANGEROUS METHOD

Directed by David Cronenberg

A MONSTER IN PARIS

Directed by Bibo Bergeron

ALBERT NOBBS

Directed by Roberto Garcia

ANONYMOUS

Directed by Roland Emmerich

BURNING MAN

Directed by Jonathan Teplitzky

BUTTER

Directed by Jim Field Smith

Quebecois director, Jean-Marc Vallee returns to TIFF with CAFE DE FLORE

CAFE DE FLORE

Directed by Jean-Marc Vallee

CHICKEN WITH PLUMS

Directed by Marjane Sartrapi and Vincent Paronnaud

COMIC-CON: EPISODE IV - A FAN'S HOPE

Directed by Morgan Spurlock

CORIOLANUS

Directed by Ralph Fiennes

DAMSELS IN DISTRESS

Directed by Whit Stillman

DEATH OF A SUPERHERO

Directed by Ian Fitzgibbon

THE DESCENDANTS

Directed by Alexander Payne

DRIVE

Directed by Nicolas Winding Refn

FRIENDS WITH KIDS

Directed by Jennifer Westfeldt

TIFF opens with this Davis Guggenheim directed documentary about U2

FROM THE SKY DOWN

Directed by Davis Guggenheim

THE IDES OF MARCH

Directed by George Clooney

INTO THE ABYSS

Directed by Werner Herzog

JEFF WHO LIVES AT HOME

Directed by Jay Duplass and Mark Duplass

KEYHOLE

Directed by Guy Maddin

THE KID WITH THE BIKE

Directed by Jean-Pierre and Luc Dardenne

THE LADY

Directed by Luc Besson

LAST CALL AT THE OASIS

Directed by Jennifer Yu

LIKE CRAZY

Directed by Drake Doremus

MARTHA MARCY MAY MARLENE

Directed by Sean Durkin

MELANCHOLIA

Directed by Lars von Trier

MISS BALA

Directed by Gerardo Naranjo

MONEYBALL

Directed by Bennett Miller

TIFF then closes the festival with PAGE EIGHT, from Oscar nominated screenwriter, David Hare.

PAGE EIGHT

Directed by David Hare

PEACE LOVE AND MISUNDERSTANDING

Directed by Bruce Beresford

PINA

Directed by Wim Wenders

RAMPART

Directed by Oren Moverman

SHAME

Directed by Steve McQueen

THE SKIN I LIVE IN

Directed by Pedro Almodovar

SLEEPING BEAUTY

Directed by Julia Leigh

TAKE SHELTER

Directed by Jeff Nichols

Seth Rogen and Michelle Williams try not to step on each other's feet in Sarah Polley's TAKE THIS WALTZ.

TAKE THIS WALTZ

Directed by Sarah Polley

THINK OF ME

Directed by Bryan Wizemann

TWIXT

Directed by Francis Ford Coppola

TYRANNOSAUR

Directed by Paddy Considine

W.E.

Directed by Madonna

WE NEED TO TALK ABOUT KEVIN

Directed by Lynne Ramsay

WINNIE

Directed by Darrel Roodt

The Toronto International Film Festival runs from September 8 until September 19.

For more information, visit the TIFF website.

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