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After re-watch of THE NICE GUYS, Pam Bondi is (though much shittier) kind of a dead ringer for Kim Basinger’s evil, fascist-wannabe Head of the Justice Department. So either Shane Black is a seer or Bondi was looking for a “role model”. Possibly both.

At last night’s screening of HUNDREDS OF BEAVERS at the Revue Cinema, they mentioned there were still tickets for tonight’s 7:30 show. If you can, GO! It was an absolute delight seeing it with a crowd. My Letterboxd comments: boxd.it/dlTMbf

I beg of you to watch WINTER KILLS (1979) before it leaves the Criterion Channel in the next few days. It’s a blast (John Huston in red scivvies, Sterling Hayden in a tank, Anthony Perkins being all-knowing, Toshiro Mifune, Liz Taylor drops in for 2 seconds, etc). Satire is thick & sadly accurate…

Catherine O’Hara’s characters, those incredible impersonations, her improv abilities and just her overall aura (for lack of a better word) of kindness just gave me so much joy. I hope she knew she did that for so many and was so very formative in our senses of humour. youtu.be/QwLZfPPM7GQ?...

Very sad news that Rob Hirst - co-founder & drummer of Midnight Oil and activist - has passed away. One of the most (yes, I’ll say it) incendiary shows I’ve seen was them at Le Spectrum in Montreal in 1985. The power AND the passion of Hirst will be missed greatly… youtu.be/HgcBxhlcHTA?...

Yay!

Amazing news! I’ve seen it twice though never with an audience - ticket acquired!

Finally decided to update my Letterboxd and start tracking films (added Top 20 lists for each year too!). Just for fun, tried & actually managed to import last year's viewings from a text file - gotta say, it was pretty good at getting most of the films right. letterboxd.com/bob_turnbull/

Admittedly, I’m always a bit surprised when @matinee.bsky.social asks me back for another podcast. Happy, but surprised. Mainly because we do tend to digress an awful lot. But hey, Digressions are the spice of life. Anyway, I digress…Really enjoyed our chat below with @filmhill.bsky.social

“If it cost a cent to rent a tuxedo for an elephant, I couldn’t rent a t-shirt for a flea.” - Warren Oates in 92 In The Shade

You can’t fault me for spending a rainy day in theatres…Going to Lightbox to see THE MASTERMIND, DIE MY LOVE and Lucille Hadzihalilovic’s THE ICE TOWER. Suck it grey skies!

Randomly noticed that one of my Bluesky friends had mentioned that THE RETURN OF COUNT YORGA was a thing, so I immediately ran to it with open arms (having loved the first one). Such a wise decision that was! It’s fun, has some great surprises and boy was it gorgeous…

I didn’t think GRAND THEFT HAMLET would work or even be as entertaining my son’s gameplay, but I fell so easily into the rhythms of the film. Yeah, I said film…It’s funny, incorporates story themes into its characters’ lives and is even deeply affecting at times. Really wonderful and creative stuff.

Though I really enjoyed the fullness of M3GAN 2.0’s silly fun, it would’ve received top marks solely for its diegetic Kate Bush needle drop…

Robert Mulligan's 1974 THE NICKEL RIDE is aggressively quiet and slow at times, but it scratched that itch for mid-70s neo-noir and never felt forced or littered with plot contrivances. Jason Miller nails the fatalism and paranoia. I understand why I had never heard of it, but...then again I don't.

It’s not that I NEED to see ONE BATTLE AFTER ANOTHER again to fill in plot points or themes, it’s just that I really WANT to see it again. Just to enjoy it all again. Like now.

Fresh out of ONE BATTLE AFTER ANOTHER…What an incredibly propulsive movie that was. Not just entertaining, but completely engaging for every moment. Also disturbingly sad. “Life man! LIFE!!”

Finally got around to watching 1985’s RAZORBACK. Story and characters much worse than expected, but WHOA - even on a VHS looking stream from Hoopla, this thing looked gorgeous. Great use of light and “monster” design (last 10-15 minutes showed that off well) for a lowish-budget 80s film.

Apparently all the kids are using Letterboxd, so here’s my attempt at listing my Top 16 of #TIFF50 : boxd.it/OQOTU

I couldn’t help but feel like I’ve seen most of the misery brought on to the characters of GIRL done before…Not that this story isn’t worth telling or that it was told poorly, but I’m not sure it added much more. #TIFF50

SILENT FRIEND is a glorious film for the senses - the visuals, the sounds…hell, it was even tactile at times. Nature leading us to be more open with the world and people around us. My favourite of #TIFF50

A little extra cleanup from TIFF… RETREAT is that kind of solid thriller that keeps you on your toes and invested in the outcomes. Even though the entire cast is hearing-impaired, it was one of the loudest screenings (deep sound field) of the fest. #TIFF50

Day 11 of #TIFF50 : RETREAT, SILENT FRIEND, GIRL, Queen & Beaver pub

Panahi’s IT WAS JUST AN ACCIDENT was a lot funnier than you might think as things go along and tension increases. But underneath it is anger and frustration and sadness and fright. Such a brilliant mix. #TIFF50

Really quite enjoyed every evil calculated turn in HEDDA. Thought the story, plot elements and character traits all just merged and flowed nicely. #TIFF50

Although a bit all over the place (possibly due to a bit of brain fog on my part), A USEFUL GHOST is often a very quiet, sweet and gently funny ghost story about memory and being forgotten. Until it’s not and the vengeance seeking comes in. Also, be kind to your fridges… #TIFF50

A bit mixed on HAMNET…When it goes “big” it’s a lot to handle…But its quieter lighter moments are pretty wonderful. Its final moments did pull me in… #TIFF50

The music was a little too maudlin (William B would’ve loved that!), but how could I not adore JOHN CANDY: I LIKE ME? SCTV was so formative for me that I could never be unbiased. That “Yellowbelly” sketch still kills me…Nice to see he appeared to be the man I always assumed he was. #TIFF50

Day 10 of #TIFF50 : JOHN CANDY: I LIKE ME, HAMNET, A USEFUL GHOST, HEDDA, IT WAS JUST AN ACCIDENT

The Korean satire GOOD NEWS is a bit all over the place and wears out its welcome at 2 hours and 15 minutes long. Some funny stuff, some solid satirical digs, but a lot of overblown yelling and redundant scenes. #TIFF50

BLUE HERON is simply remarkable. The most original take I’ve yet seen on having a “dialogue” with your past and memories. Truly touching and beautifully crafted in all respects. Just Wow. Best Q&A of the fest as well - really shows how personal the project was for everyone involved. #TIFF50

WAKE UP DEAD MAN is easily the most front-to-back entertaining film I’ve seen at the fest so far. Darker in tone, but no less funny. Everyone is great, but Josh O’Connor is superb beyond even what I expected. #TIFF50

The darker the tone gets in ADULTHOOD, the stronger it shines. Took a little while to get there though. #TIFF50

As delighted with THE CHRISTOPHERS as Ian McKellan seemed to be trying to throw feathers on his painting. His line reading of “It’s absolute shit” was brilliant. Michaela Coel is equally good with her glares, stares and retorts. And her cheekbones deserve their own museum exhibit. #TIFF50

A mom and her 11 year old daughter struggle to come to grips with the looming death of the husband/father in the haltingly paced RENOIR. Their search for connection resolves nicely and there are lovely moments, but you need to be OK with its purposely unorganized structure. #TIFF50

THE LITTLE SISTER’s strengths are in the natural conversations between all its characters and the genuine curiosity of its protagonist in trying to figure herself out. Huge bonus in getting my second surprise occurrence of Park Ji-min in the fest. #TIFF50

It took me awhile to get into the rhythm of THE LAST ONE FOR THE ROAD, but it’s themes of embracing the sweetness of the unexpected present vs living or trying to recreate the past really come together by the end. #TIFF50

DEAD MAN’S WIRE is never not engaging (especially if you know nothing of the real story behind it), but it’s never fully engrossing either. #TIFF50

Day 9 of #TIFF50 : THE CHRISTOPHERS, ADULTHOOD, WAKE UP DEAD MAN, BLUE HERON, GOOD NEWS

Day 8 of #TIFF50 : DEAD MAN’S WIRE, THE LAST ONE FOR THE ROAD, THE LITTLE SISTER, RENOIR

THE UGLY was intriguing for awhile, but once it began to wallow in the misery of its characters in flashback, it started losing my interest. #TIFF50

I loved the 70s aesthetics and pacing of HONEY BUNCH which allowed for some great performances and back & forth dialogue from Grace Glowicki & Ben Petrie. A little long due to some over-explanation in the last section, but it had already won me over.

FOLLIES would be excellent simply for its take on how good relationships need to expand and contract to meet the individuals’ needs (here through the lens of sexuality and polyamory), but truly succeeds through its honest, naturalistic and warm interactions. Catherine Chabot is fantastic. #TIFF50

Just embrace A PRIVATE LIFE’s ridiculous & very silly 90s thriller aspects and it’s a lot of fun. Its worst crime is underusing the fabulous Virginie Efira. #TIFF50

Day 7 of #TIFF50 : A PRIVATE LIFE, FOLLIES, HONEY BUNCH, THE UGLY

With its premise (a pregnant women receives divine orders to kill a list of people), KARMADONNA had no reason to be so dull. #TIFF50

Loved NO OTHER CHOICE. Such odd and interesting choices for directing, editing and story path. Amazing job weaving in analog tech/art versus digital and AI. #TIFF50

The guy next to me at HEN just about jumped out of his seat twice early in the film when our chicken hero was in peril. I say that not to make fun of him, but because you can’t help but care for that plucky thing from the get go. Wonderful stuff. #TIFF50

I’m among the few that appreciate that RBC is reusing their “effortlish” commercial again. Gives more screen time to Riz Ahmed and Aziz Ansari’s love child. #TIFF50