Joe Pantoliano, affectionately known as “Joey Pants” to many, wears his roles like few others from his generation. His breakout role was in 1983’s Risky Business, with the indelible role of “Guido the Pimp”, and from there he consistently made films and shows better with his very appearance. He often plays wise-cracking, quick-to anger characters bemused by the idiocy around him, and it’s this acerbic yet intelligent takes that leap off the screen. Midnight Run saw him spend much of the movie on the phone, while Bound and The Matrix solidified his working reputation with the Wachowskis. His take in Bad Boys continues into 2020, while his portrayal of Ralph Cifaretto in The Sopranos provided him with a truly iconic, immortal role that it’s near impossible to see any other actor portray.
His latest film, From the Vine, is the story about a man who leaves his career and his family to head to Italy and find himself, screened at the Whistler International Film Festival. It was there we got a chance to speak with the legendary actor. When he walked into the room he decided I looked somewhat like his therapist, so he lay on the couch, I pulled up a chair, and we began a conversation that felt more like a therapy session than a regular chat about a given project. It’s clear that he’s an actor that deeply thinks about the larger issues of his craft and career, yet he very much comes across as a survivor, one that has run the gauntlet of fame, addiction and the other trappings of this life and can reflect with a degree of wisdom that’s both earned and impossible to fake.
We began our conversation for /Film, of course, with talk of food.
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One doesn’t so much speak to Chelsea Peretti during an interview, rather you just kind of hold on and hope you can keep up. It’s clear the writer/stand-up/actor doesn’t suffer fools lightly, and from the moment we began speaking it felt like a test. We were in Whistler, British Columbia for the Word Premiere of Andrea Dorfman’s film Spinster, which follows Gaby, a woman who is coming to terms with finding happiness outside of having a relationship, and leaning into the notion of not needing to follow the social pressures of both companionship and child bearing. It’s a bittersweet film, and Peretti’s unique comic tone provides the film it’s balance that leans towards understanding and empathy without it ever feeling cloying or forced.
Peretti’s career spans work as a writer for shows like Parks and Recreation, long term collaborations with schoolmate Andy Samberg on Brookyn Nine-Nine playing fan favourite Gina Linetti and a brief cameo in the exceptional Popstar: Never Stop Never Stopping, to years as a stand-up comic and contributor to major publications. The polymath continues to stretch, and like her partner Jordan Peele, she continues to stretch her talents in ways that go well beyond the world of comedy television.
/Film spoke to Peretti and her latest role, about working with Dorfman and her crew in Eastern Canada, and what book this half-Italian, half-Jewish scribe sarcastically wishes she had written.
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For more than two decades, Simon Pegg has firmly established himself as a performer of extraordinary range. Though known by many for his roles in blockbusters like Mission Impossible and Star Trek, as well as his beloved collaborations with Edgar Wright, he’s appeared in a wide range of projects, from early roles in Band of Brothers, voice work on Ice Age: Collision Course and Boxtrolls, to indie films like Run Fatboy Run or Hector and the Search for Happiness.
His latest film, Lost Transmissions, premiered at Tribeca and received its Canadian debut at the Whistler International Film Festival. Written and directed by Katherine O’Brien, it’s the story of Theo Ross (Pegg), a record producer who befriends Hannah (Juno Temple). Theo suffers from schizophrenia, and when he refuses to take his medication at the same time that Hannah removes herself from her own anti-depressant regimen things go majorly awry. The role requires a great deal of commitment from Pegg, riding the edge of a person out of control but still engendering sympathy. It’s a fine, nuanced take, one that may well surprise and impress fans who know him more from his broader takes in the bigger hits.
/Film spoke with Pegg at length about him choosing such a role, and it’s clear he feels a strong affinity for the project. We also spoke about the fan community that he’s both a part of and serving them content, and of course delved into the controversy surrounding the divide between art, commerce, cinema and “theme park rides”.
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For nineteen years, the Whistler Film Festival has been a mountainside home for some of the best award-winning and independent cinema in the world. What started off as a small gathering has evolved in size, shifting from a place where the massive Vancouver film community would annually attend splashy parties and revel in sponsored swag rooms and habitually take over some of the village’s fanciest restaurants to something smaller in scale. With shifting economic realities and a shifting community, the current iteration is far more intimate, with a strong contingent of exceptional filmmakers refocusing the festival on the films themselves. Read More »
Major spoilers for The Mandalorian and Star Wars: The Rise of Skywalker below.
While watching Episode 7 of The Mandalorian, my partner turned to me midway through and asked, “have we seen that before?” The moment in question was when the child (aka “Baby Yoda”) reached out to “Force heal” another character. I had, in fact, seen it before – during a press screening of Star Wars: The Rise of Skywalker just one day earlier. And the two properties’ differing approaches to Force healing exemplify two diverging paths for Lucasfilm’s future. Read More »
(This article is part of our Best of the Decade series.)
Film may have started as a visual medium, but from its earliest days music has been used as a fundamental aspect of its presentation. From tack piano and organs to sweeping orchestral suites, through to modern electronic soundscapes and hipster-approved needle-drops, the soundtracks to our favourite films play an indelible role in our appreciation of these remarkable movies. Some use music as a fundamental narrative point, while others dust it along with the other aspects of filmmaking to sway emotions and draw audiences along with the story.
The only thing more futile than trying to make a consensus list of the best films of the decade is to make a definitive list of the best soundtrack elements, given that taste in music is even more personal and specific than the mass entertainment of movies, yet ‘tis the season for such futile attempts! Instead, think of this as a celebration of ten years of where the music is either brilliantly integral to the pleasures of the film, or where the exploration of musical ideas is key to the topic being covered, or finally where the entire narrative is structured around the performances of recorded songs.
Here’s is /Film’s list of best musical movie moments for the 2010s.
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James Mangold directs Matt Damon and Christian Bale in Ford v Ferrari, a film known at Le Mans ’66 in Europe and other regions where that famous endurance race is more religion than sport. Damon plays Carroll Shelby, an ex-driver who has channeled his competitive edge into building cars. He asks a wild yet talented Brit named Ken Miles (Bale) to help him help the Ford Motor Company stick one to Enzo’s famous red cars that are built in Maranello.
/Film’s Chris Evangelista was mixed on the film, digging it even more than I did, but he’s right that it feels like a missed opportunity, like something beautifully built that never quite sticks to the track despite Damon in particular bringing his A-game to the project. Some of the conversation following the film’s World Premiere at TIFF speaks to why that may be the case, in that maybe some different passions, particularly for the sport being portrayed, may have lifted things up a bit more.
The following has been edited for clarity and consistency.
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Bruce Springsteen has had a hell of a few years as of late. This shouldn’t come as much of a surprise, given that he’s had a hell of a last few decades, becoming one of the most celebrated and cherished entertainers in popular music history. Still, the release of his autobiography, followed by his award winning show on Broadway that helped contextualize and deconstruct some of the prevailing themes of his work has proven to be one of the great late-career moves of the day. Add in his latest project, a sun-drenched Western themed record called Western Stars, and you’ve got a trinity of Boss things to trumpet.
As an album, Springsteen’s latest borrows liberally from Jimmy Webb, the iconic producer who helped solidify a sweeping, cinematic form of country pop that fused lush strings, warm harmonies and songs whose narratives were both evocative and inviting. Just as early Bruce borrowed from another iconic producer, Phil Spector, this fascination with the scope of Webb-style songs has resulted in a different kind of mythmaking for Springsteen, one that draws from a dusty Californian landscape rather than the Spartan roads of North Jersey.
Along with documentarian Thom Zimny (editor of The Wire, director numerous Bruce docs), Springsteen has helped craft this film to document not only a performance of songs but, like with the Broadway gig, to provide editorial and thematic responses to the tune, situating them within grander contexts and establishing their place within his larger body of work. The performances themselves are grand, taking place with Bruce’s barn, a cathedral-like place crammed with a small orchestra and country band. The performances are lifted even further from the album’s recording, played live the sweep is all the more grand, the swing all the more palpable.
Following the film’s world premiere at TIFF, Springsteen sat down for a conversation for the audience. He discussed the project, the recording, how it all came together and some of the cinematic and musical references they both brought to bear for this remarkable film.
The following is an edited version of that conversation, collecting the highlights.
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A Beautiful Day in the Neighborhood is the latest film by Marielle Heller, best known as the director of quirky and engaging stories such as 2018’s award winning Can You Ever Forgive Me. Her latest project is the story of Lloyd Vogel (Matthew Rhys), a jaded and fairly miserable investigative journalist who has become a new father and is tasked with a 400 word piece on heroes. His editor tasks him with chatting with Children’s Television pioneer Fred Rogers, and thus begins the story of fathers, sons and the complexity of their relations.
Tom Hanks plays Rogers, and he perfectly encapsulates the man’s enormous outpouring of empathy to those around him, young and old, but equally his quirky and sometimes highly awkward mannerisms. It’s a gifted performance, certainly the most indelible part in the project, even while most of the story centers of Lloyd’s transformation rather than the central figure of millions of childhood memories.
Heller spoke to the audience following the film’s World Premiere at TIFF (read our review here), discussing some the challenge of convincing her famous friend to join the project, and how a famous doc paved the way.
The following quotes have been edited for concision and clarity.
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From his work on assembling Woodstock 50 years ago through to his latest doc on Bob Dylan, Martin Scorsese has played as much of a role shaping documentary cinema as he has with his fiction projects. His 1978 film The Last Waltz is one of the greatest rock-docs of all time, showcasing the extraordinary final shows of The Band at San Francisco’s Winterland Ballroom in November 1976.
With its mix of live performance, studio takes and quirky and intimate interviews, the film is a definitive document of a particular time in popular music, showcasing a wide range of talents at the height of ’70s excesses, and where a group of individuals chose to call it quits at the top of their game. Joined by the likes of Joni Mitchell, Neil Young, Muddy Waters, Eric Clapton and Bob Dylan, the goal was to not only celebrate this group’s success, but to do so with artists that both influenced and help shaped them as a working outfit.
The Last Waltz show has been revisited for decades, and it remains a show for the ages. It helps define a particular era of music in unparalleled ways, thanks in large part to the documentation of the show both audio-wise and visually as captured by Scorsese and his team. Famously, the doc begins with a simple title card informing the projectionist that “this film should be played loud”, making that single frame one of the most truthful articulations ever set to celluloid.
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