The 25th annual Toronto Reel Asian International Film Festival kicks off today and runs until November 19. This year’s festival offers a diverse slate of 19 feature films, short films, conferences, panels and more. All are available digitally, alongside an in-person screening of tonight’s Opening Night Film Islands at the Hot Docs Cinema. This is my first year being accredited for the festival, and what a banner year to be a part of. There are so many great titles from other festivals appearing here, many available to Toronto audiences for the first time. Here are just a few of the films you should be keeping on your radar.
A hot shot young Hollywood agent named Jordan (Jim Cummings) is in the middle of planning his wedding to Caroline (Virginia Newcomb) when he receives an anonymous letter in the mail. He opens the letter and discovers an invitation to a hotel for a sexual encounter. He disregards it immediately, but comes back to it and ends up going through with it. Racked with guilt and curiosity, Jordan begins looking into the why and how he was targeted — and quickly becomes ensnared in something so much bigger than he ever could have imagined.
Years after a school shooting incident, two sets of parents — Jay and Gail (Jason Isaacs and Martha Plimpton), and Richard and Linda (Reed Birney and Ann Dowd) — agree to sit down privately to converse, grieve and find a way to move forward.
Mass was one of the hottest films I missed during this year’s Sundance Film Festival. I finally had my chance to watch the film at last month’s Cinéfest Sudbury Film Festival and was left in a state of shock and awe by the time it ended. It may just be a film mainly comprised of four people talking in one location (very much in line with a play), but it is a riveting and necessary work that may prove to be too intense for some viewers. I had to literally pause the film and take a 10-minute break before diving back in. It really was that visceral and aggravating to watch. That is not to say that the film is bad or disappointing. Rather, it is just so deep and moving, that it bends the line between fiction and reality in ways that will affect you no matter what stage of life you are at.
As Defining Moments opens, it defines itself as “a point in your life when you’re urged to make a pivotal decision, or when you experience something that fundamentally changes you.” It is not particularly deep, but it sets the stage for what is to come in Writer/Director Stephen Wallis’ tale of love and sadness amongst a group of interconnected individuals experiencing those profound Defining Moments in their own lives.
Akemi (musician MASUMI) is a Japanese orphan living in São Paulo, Brazil. She has had extensive fight training since she was a little girl, but has very little idea about her past. When her grandfather is murdered and mysterious stranger Shirô (Jonathan Rhys Meyers) saves her life with an ancient sword, Akemi quickly discovers she is the heiress to half of the Yakuza crime syndicate in Okinawa. And the other half happens to want her dead.
For a film called Yakuza Princess, you might expect a non-stop action thriller with that kind of synopsis. And while there is certainly some action and thrills scattered throughout the film, it is actually more of a slow moving drama about a young woman discovering her past and coming to terms with the destiny in front of her. There is a lot of exposition, even more backstory and a whole lot going on between characters in Okinawa and São Paulo (which houses the largest population of Japanese people outside of Japan). It gets a bit overwhelming at times, and some moments have a languished pacing that can be trying even at the most exciting of times.
Casi (John Boyega) is an idealistic public defender in New York City. He wants to believe in the system, even though he knows it will keep failing him and his clients. On the verge of being disbarred, he takes on the case of Lea (Olivia Cooke), a former client and someone Casi happens to have a crush on. She has gotten mixed up in a scheme to steal an impounded car that is stashed with heroin and has her own motivations for wanting to be involved. As Casi begins seeing signs of impending universal destruction, he decides to get involved too.
Beckett (John David Washington) is an American tourist traveling through Northern Greece. After a tragic car accident, he finds himself on the run from the police and embroiled in the middle of a political conspiracy. With a language barrier and no one to turn to, Beckett must rely on himself and the kindness of strangers in order to survive.
Beckett may sound interesting on paper, but after the initial prologue, it very much devolves into watching Washington run through Northern Greece for nearly 2 hours and not much else. It takes a few turns and drops in a few thrilling moments (along with some gorgeous outdoor vistas and visuals), but it fails to keep your interest and never really feels like a cohesive picture. The conspiracy driving the film is more of a MacGuffin than anything else, and we never really get to know any of the characters or their motivations beyond the surface level. The film moves slowly, yet never stops to deliver any sense of introspection or depth. It just keeps focusing on Washington either getting injured, running or struggling to avoid dying.
I watched Annette a few nights ago, and have been racking my brain trying to find the words to properly describe it. It is a truly unique vision that is equal parts brilliant and bewildering. At the same time, it is profoundly weird and destined to be polarizing. This rock opera (which I guess would be the closest genre description?) will not be for everyone and I expect many will straight up loathe its very existence. The film World Premiered just under a month ago at the Cannes Film Festival as the Opening Night selection and received a 5-minute standing ovation (which bored Adam Driver and Director Leos Carax so much that they started smoking in the middle of it) as well as the Best Director prize.
Annette centres on Henry (Driver), a comedian married and in love with opera singer Ann (Oscar-winner Marion Cotillard). They both have their separate careers and goals, but all of that changes irrevocably after the birth of their daughter Annette.
Knowing this and very little else beyond what I gleamed from shortened Twitter reactions, I prepared to see something crazy. And while it indeed is the certifiably bonkers vision I expected, it is also deeper and more introspective than I ever could have imagined.
Every time I see or hear the name Jean-Claude Van Damme, I chuckle to myself. I did not gravitate to his work nearly as much as I should have growing up in the 90s, but the work of his I did watch (specifically the ludicrous Die Hard riff, Sudden Death) was a whole lot of fun. Although he was a total blast to watch in more recent fare like JCVD and The Expendables 2 — where he hammed it up as the lead villain — he has not been nearly as prevalent or visible in the ensuing years trying his best to remain relevant. The same cannot be said for a few of his 90s competitors, but then the ‘Muscles from Brussels’ was never as wildly popular as some of those guys.
Which is a shame, since he’s an actual fighter and could probably kick the shit out of all of them (or at least look super cool doing the splits during the fight in a way literally no other man on Earth can). And he has one of the best last names for an actor ever.
I mention all of this because The Last Mercenary is not so much a return to form as much as it is a deliberately over-the-top play on those ridiculous 90s action thrillers. Even in saying that, it’s more of a parody of those kinds of movies than an actual proper entry in the genre. Van Damme plays Richard Brumère (aka ‘The Mist’), a legendary secret service operative who vanished into thin air nearly three decades ago. When his son Archi (Samir Decazza) is falsely accused of being an arms dealer and drug trafficker, Brumère comes out of hiding to protect him and help clear his name, all while evading the French authorities who desperately want to take him into custody.
After an extended prologue, we flashback to Elias (Carl Anton Koch) checking himself and his mother Nadja (Peri Baumeister) in for an overnight flight from Frankfurt to New York. She is sick and not with him; instead taking heavy drugs in her hotel room and prepping for an experimental treatment in the US. Shortly after getting in the air, terrorists seize control of the plane and start making demands and taking hostages. Nadja gets caught in some crossfire and is believed dead — that is, until she reveals herself to be a vampire hellbent on protecting her son from harm.
Yes, you read that right. Nadja is a vampire and she is stuck on a transatlantic flight filled with mostly innocent passengers turned hostages and a batch of deadly terrorists, including the enigmatic Eightball (Alexander Scheer), who seems to have it out for her. What could possibly go wrong?