Between April Fool’s Day, Passover, and Earth Day April tends to be a low-key sort of month (reeeal low-key if you celebrate 420), but the folks at Twentieth Century Fox Consumer Products have created something new and silly for us ’80s nostalgic geeks to get excited about: ALIEN DAY. Based on the obscure reference of LV-426, the planet featured in the Alien films, April 26th has been proclaimed (by the people selling us things) as a day to celebrate the iconic franchise and, you know, go shopping.

First, Alien & Aliens will return to theaters on April 26th across the country. In over 20 cities, including Austin, New York, Los Angeles and Dallas, participating Alamo locations as well as partner venues will showcase a double-feature presentation of Alien and Aliens. The second film celebrates its 30-year anniversary this year. In addition to getting to relive the movies on the wide screen, there are all kinds of swag coming out, including a new Alien digital pinball table available via iTunes, Google Play, PlayStation Network, XBOX Live, and Steam. A new release of the Batman vs Alien comic from DC Entertainment and Dark Horse comics will be out, new trading cards and collectibles, and even new Funko dolls of the Queen alien and Ripley (note to self: buy immediately).

By far the silliest of the products coming out are Reebok Alien Stomper Sneakers, as worn by Ripley in the films (available April 26 via Reebok.com). I do not apologize in advance for laughing at anyone I see wearing these (while secretly wishing I had the cajones, sigh).

Check out the ALIEN DAY website for more info and to sign up for more information and ways to get involved, including a 24-hour trivia challenge via Twitter through @AlienAnthology.

And don’t forget, the next installment of Ridley Scott’s Alien franchise, Alien: Covenant starring Michael Fassbender, comes out in August of 2017. Stock up on those sneakers!

As the Award Season is heating up, we’re beginning to see which films are clear favorites among critics and the industry. Certainly one of the frontrunners this year is Todd Haynes‘ Carol, which hauled in the most nominations this year for the Golden Globes, with a total of five. But Carol leading the noms isn’t exactly a surprise, the film has accumulated a ton of praise ever since its premiere at the Cannes Film Festival. What is shocking is the four nominations for Alejandro González Iñárritu‘s The Revenant, which received underwhelming reactions from critics so far. Though Iñárritu is no stranger to the Golden Globes, last year he led the race with seven nominations for Birdman. Other strong contenders this year are Danny Boyle‘s biopic Steve Jobs and Tom McCarthy‘s newsroom drama Spotlight.

2016 Golden Globe Nominations

FILM

Best Motion Picture, Drama
Carol
Mad Max: Fury Road
The Revenant
Room
Spotlight

Best Motion Picture, Comedy
The Big Short
Joy
The Martian
Spy
Trainwreck

Best Director – Motion Picture
Todd Haynes, Carol
Alejandro González Iñárritu, The Revenant
Tom McCarthy, Spotlight
George Miller, Mad Max
Ridley Scott, The Martian

Best Actress in a Motion Picture, Drama
Cate Blanchett, Carol
Brie Larson, Room
Rooney Mara, Carol
Saoirse Ronan, Brooklyn
Alicia Vikander, The Danish Girl

Best Actress in a Motion Picture, Comedy
Jennifer Lawrence, Joy
Melissa McCarthy, Spy

Amy Schumer, Trainwreck


Maggie Smith, Lady in the Van

Lily Tomlin, Grandma

Best Supporting Actress in a Motion Picture
Jane Fonda, Youth
Jennifer Jason Leigh, The Hateful Eight
Helen Mirren, Trumbo
Alicia Vikander, Ex Machina
Kate Winslet, Steve Jobs

Best Actor in a Motion Picture, Drama
Bryan Cranston, Trumbo

Leonardo DiCaprio, The Revenant

Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Will Smith, Concussion

Best Actor in a Motion Picture, Musical or Comedy
Christian Bale, The Big Short
Steve Carell, The Big Short
Matt Damon, The Martian
Al Pacino, Danny Collins
Mark Ruffalo, Infinitely Polar Bear

Best Supporting Actor in a Motion Picture
Paul Dano, Love & Mercy
Idris Elba, Beasts of No Nation
Mark Rylance, Bridge of Spies
Michael Shannon, 99 Homes
Sylvester Stallone, Creed

Best Screenplay – Motion Picture
Emma Donoghue, Room
Tom McCarthy, Josh Singer, Spotlight
Charles Randolph, Adam McKay, The Big Short
Aaron Sorkin, Steve Jobs
Quentin Tarantino, The Hateful Eight

Best Animated Feature Film
Anomalisa

The Good Dinosaur

Inside Out

The Peanuts Movie
Shaun the Sheep Movie

Best Original Song
"Love Me Like You Do" 50 Shades of Grey
"One Kind of Love" Love and Mercy
"See You Again" Furious 7
"Simple Song No. 3" Youth
"Writing's on the Wall" Spectre

Best Original Score
Carter Burwell, Carol
Alexandre Desplat, The Danish Girl
Ennio Morricone, The Hateful Eight
Daniel Pemberton, Steve Jobs
Ryuichi Sakamoto Alva Noto, The Revenant

Best Motion Picture, Foreign Language
The Brand New Testament
The Club
The Fencer
Mustang
Son of Saul

TELEVISION

Best TV Series, Drama

Empire
Game of Thrones
Mr. Robot
Narcos
Outlander

Best TV Series, Comedy
Casual
Mozart in the Jungle
Orange Is the New Black
Silicon Valley
Transparent
Veep

Best TV Movie or Limited-Series
American Crime
American Horror Story: Hotel
Fargo
Flesh and Bone
Wolf Hall

Best Actor in a TV Series, Drama
Jon Hamm, Mad Men
Rami Malek, Mr. Robot
Wagner Moura, Narcos
Bob Odenkirk, Better Call Saul
Liev Schreiber, Ray Donovan

Best Actress in a TV Series, Drama
Caitriona Balfe, Outlander
Viola Davis, How to Get Away With Murder
Eva Green, Penny Dreadful
Taraji P. Henson, Empire
Robin Wright, House of Cards

Best Actor in a TV Series, Comedy
Aziz Ansari, Master of None
Gael Garcia Bernal, Mozart in the Jungle
Rob Lowe, The Grinder
Patrick Stewart, Blunt Talk
Jeffrey Tambor, Transparent

Best Actress in a TV Series, Comedy
Rachel Bloom, Crazy Ex Girlfriend
Jamie Lee Curtis, Scream Queens
Julia Louis Dreyfus, Veep
Gina Rodriguez, Jane the Virgin
Lilly Tomlin, Grace & Frankie

Best Supporting Actress in a Series, Limited-Series, or TV Movie
Uzo Aduba, Orange is the New Black
Joanne Froggatt, Downton Abbey
Regina King, American Crime
Judith Light, Transparent
Maura Tierney, The Affair

Best Supporting Actor in a Series, Limited-Series or TV Movie
Alan Cumming, The Good Wife
Damian Lewis, Wolf Hall
Ben Mendelsohn, Bloodline
Tobias Menzies, Outlander
Christian Slater, Mr. Robot

Best Actor in a Limited-Series or TV Movie
Idris Elba, Luther
Oscar Isaac, Show Me a Hero
David Oyelowo, Nightingale
Mark Rylance, Wolf Hall
Patrick Wilson, Fargo

Best Actress in a Limited-Series or TV Movie
Kirsten Dunst, Fargo
Lady Gaga, American Horror Story: Hotel
Sarah Hay, Flesh & Bone
Felicity Huffman, American Crime
Queen Latifah, Bessie

Imagine if Ridley Scott’s $100 million dollar budget space epic The Martian, which features astronaut Mark Watney (Matt Damon) sciencing the shit out of Mars, was actually a low-budget “selfie space opera” with Matt Damon sending Snapchats back to NASA instead. That’s exactly what Way Too Indie contributor Nelson Carvajal does in his latest video essay, appropriately titled, The Martian Snapchat. In this video, Nelson condenses the (some say overlong) 141 minutes of The Martian into a minute-long Snapchat “My Story” entry from Mr. Damon. It’s worth checking out if you’re a fan of Matt Damon, The Martian, or just really into the whole Snapchat thing.

What we see on-screen, for the most part, in Ridley Scott‘s The Martian (based on Andy Weir’s popular sci-fi novel) is Matt Damon playing an astronaut, stranded on Mars, who must be resourceful on a resource-less planet in order to return to earth. From that simple premise spawns more entertainment than we’ve seen from Scott in years as we follow the Martian misadventures of Damon’s Mark Watney as he “sciences the shit” out of his dire situation with the (remote) help of his earth-bound astronautic team and the bright minds at NASA.

The movie’s trailers would have you expecting a white-knuckle, isolation-horror story along the lines of Gravity. I was pleasantly surprised, however (as someone who hasn’t read the book), to find a movie that’s optimistic, warm, very funny, and very much un-scary. This is much lighter material than the marketing would have you believe, and that’s a good thing.

The tone is set from the beginning with Mark and his team surveying the martian surface for, uh, science reasons. Mark rattles off smartass quips rapid-fire, and judging from his crew-mates’ joking, amused reactions, it’s clear they’re a tight-knit group. Melissa Lewis (Jessica Chastain) leads the team, who refer to each other on a last-name basis. Martinez (Michael Peña), Johanssen (Kate Mara), Beck (Sebastian Stan), and Vogel (Aksel Hennie) find outer-space comfort in clowning on their good buddy Watney. Suddenly, a violent rock storm barrels through the work site and a piece of equipment slams into Mark, hurtling him into the darkness. Believing their friend dead, the team leaves the planet surface before the storm tears their ship to pieces.

Despite being left to his own devices, Mark finds a way to keep yapping: returning to the Mars base, he starts keeping a video log for whoever or whatever. It mostly keeps him sane as he MacGuyvers his way through the litany of problems that comes with being stranded on an inhospitable planet. The most pressing issue initially is Mark’s limited food supply; should he eventually find a way to contact earth or his crewmates, his current stock of NASA microwaveable meals wouldn’t keep him alive long enough for a rescue team to reach him. Thankfully, Mark’s a botanist, and he figures out a way to make his own water and grow an indoor garden, which bears enough potatoes to keep him going for the foreseeable future.

Much like in Robinson Crusoe and Robert Zemeckis’ Castaway, it’s a delight to watch our hero use his brainpower and willpower to gradually build a little life for himself in a hopeless place. It also doesn’t hurt that Damon finds his groove with the smart and savvy material, adapted by Drew Goddard from the book. Some of the jokes are pretty corny, but Goddard’s always had a knack for making even the cornball-iest comedy sing. Mark’s bright-side attitude is charming: when he runs out of ketchup for his potatoes, he dips them in crushed-up Adderall and jokes bout it; when it dawns on him that, because he’s grown potatoes on Martian soil, he’s technically colonized the planet, he sticks his chin up in the air like a proud child. The movie’s nearly two-and-a-half hours long, but Damon’s so entertaining that it’s a swift, streamlined watch.

The story hops back to earth regularly, where a crowded cast of mostly insignificant NASA officials debate how to tell the grieving public that Mark Watney is not deceased, as they originally reported, as well as figure out a way to bring him back home before his food runs out or a random equipment malfunction kills him. Jeff Daniels and Chiwetel Ejiofor have the most prominent roles as the two highest ranking NASA brains, with the rest of the home planet cast filled out by the likes of Donald Glover, Sean Bean, Mackenzie Davis, Benedict Wong, and Kristen Wiig, who’s in such a nothing role it’s sad. Chastain and the rest of the crew rejoin the story later, after NASA decides how to break the news to them that their friend is still alive.

The visual effects are as spectacular as they need to be, but the movie isn’t enamored with them like too many sci-fi dramas are. Mars looks totally convincing and serene, but the focus is always on what and how Mark’s doing. In essence, Weir’s story is about the wonder and power of science and how the human spirit can unlock its true beauty. None of the action scenes rival anything you’ll see in Interstellar or Gravity, but the that’s not what this movie’s about, after all, which is refreshing. The Martian won’t please those expecting a dark, terrorizing thrill ride where the heroes are in constant peril, but it’ll make the rest of us laugh and cheer, which is something sci-fi blockbusters don’t do enough these days.

The first round of titles for the 40th Toronto International Film Festival were announced this morning by Piers Handling, CEO and Director of TIFF and artistic director Cameron Bailey. 15 Galas and 34 Special Presentations were announced and, as usual, represent a diverse range of directors and countries.

Among the standouts are the opening night film starring Jake Gyllenhaal and Naomi Watts, Jean-Marc Vallée’s Demolition, a film about a man struggling with his wife’s tragic death through an unlikely communication with the customer service department of a vending machine company. Other titles to get excited for: Ridley Scott’s hotly anticipated The Martian, a new comedy from Julie Delpy, Peter Sollett’s Freeheld, and Cary Fukunaga’s much buzzed about Beasts of No Nation, and a new documentary from Michael Moore. Tom Hooper’s The Danish Girl starring Eddie Redmayne is sure to garner great interest as well.

Previous festival favorites, such as Paolo Sorrentino’s Youth and John Crowley’s Brooklyn, will also make their North American and Canadian premieres, as well as Yorgos Lanthimos’ The Lobster and Sebastian Schipper’s Victoria.

One thing’s for sure, TIFF continues to lead the Fall festival pack, and although Telluride’s lineup won’t be revealed until Labor Day weekend, TIFF continues to be the launching platform for awards season, and this year looks as promising as any.

The 40th Toronto International Film Festival runs from September 10 to 20, 2015.

GALAS

Beeba Boys
Deepa Mehta, Canada, World Premiere
An adrenaline-charged violent Indo-Canadian gang war mixes guns, bhangra beats, bespoke suits, cocaine, and betrayal. Gang boss Jeet Johar and his loyal, young crew are audaciously taking over the Vancouver drug and arms scene from an old-style crime syndicate. Hearts are broken and family bonds shattered when the Beeba Boys (known as the “nice boys”) do anything “to be seen and to be feared” — in a white world.

Demolition
Jean-Marc Vallée, USA, World Premiere (Opening Night Film)
In Demolition, a successful investment banker, Davis (Jake Gyllenhaal), struggles after losing his wife in a tragic car crash. Despite pressure from his father-in-law (Chris Cooper) to pull it together, Davis continues to unravel. What starts as a complaint letter to a vending machine company turns into a series of letters revealing startling personal admissions. Davis’ letters catch the attention of customer service rep Karen (Naomi Watts) and, amidst emotional and financial burdens of her own, the two strangers form an unlikely connection. With the help of Karen and her son (Judah Lewis), Davis starts to rebuild, beginning with the demolition of the life he once knew.

The Dressmaker
Jocelyn Moorhouse, Australia, World Premiere
Based on the best-selling novel by Rosalie Ham, The Dressmaker is a bittersweet, comedy-drama set in early 1950s Australia. After many years working as a dressmaker in exclusive Parisian fashion houses, Tilly Dunnage, a beautiful and talented misfit, returns home to the tiny middle-of-nowhere town of Dungatar to right the wrongs of the past. Not only does she reconcile with her ailing, eccentric mother Molly, and unexpectedly falls in love with the pure-hearted Teddy, but armed with her sewing machine and incredible sense of style, Tilly sets out to right the wrongs of the past and transforms the women of the town but encounters unexpected romance along the way. Starring Kate Winslet, Liam Hemsworth, Judy Davis and Hugo Weaving.

Eye in the Sky
Gavin Hood, United Kingdom, World Premiere
London-based military intelligence officer Colonel Katherine Powell (Helen Mirren) is remotely commanding a top secret drone operation to capture a group of dangerous terrorists at their safe-house in Nairobi, Kenya. The mission suddenly escalates from a capture to a kill operation, when Powell realizes that the terrorists are about to embark on a deadly suicide mission. American drone pilot Steve Watts (Aaron Paul) is poised to destroy the safe-house when a nine-year-old-girl enters the kill zone just outside the walls of the house. With unforeseen collateral damage now entering the equation, the impossible decision of when to strike gets passed up the kill chain of politicians and lawyers as the seconds tick down. Also stars Alan Rickman, Barkhad Abdi and Iain Glen.

Forsaken
Jon Cassar, Canada, World Premiere
Tormented by a dark secret, an aging gunfighter abandons a life of killing and returns home, only to discover his mother has died. He’s forced to confront his estranged father and the life he left behind. Starring Donald Sutherland, Kiefer Sutherland and Demi Moore.

Freeheld
Peter Sollett, USA, World Premiere
Based on the Oscar-winning documentary and adapted by the writer of Philadelphia, Freeheld is the true love story of Laurel Hester and Stacie Andree and their fight for justice. A decorated New Jersey police detective, Laurel is diagnosed with cancer and wants to leave her hard-earned pension to her domestic partner, Stacie. However the county officials — the Freeholders — conspire to prevent Laurel from doing so. Hard-nosed detective Dane Wells and activist Steven Goldstein come together in Laurel and Stacie’s defense, rallying police officers and ordinary citizens to support their struggle for equality. Starring Julianne Moore, Ellen Page, Michael Shannon and Steve Carell.

Hyena Road (Hyena Road: Le Chemin du Combat)
Paul Gross, Canada, World Premiere
A sniper who has never allowed himself to think of his targets as humans becomes implicated in the life of one such target. An intelligence officer who has never contemplated killing becomes the engine of a plot to kill. And a legendary Mujahideen warrior who had put war behind him is now the centre of the battle zone. Three men, three worlds, three conflicts — all stand at the intersection of modern warfare, a murky world of fluid morality in which all is not as it seems.

LEGEND
Brian Helgeland, United Kingdom, International Premiere
The true story of the rise and fall of London’s most notorious gangsters, brothers Reggie and Ron Kray, both portrayed by Tom Hardy in an amazing double performance. LEGEND is a classic crime thriller that takes audiences into the secret history of the 1960s and the extraordinary events that secured the infamy of the Kray twins.

Lolo
Julie Delpy, France, North American Premiere
While on holiday in the south of France, Parisian sophisticate Violette falls in love with carefree geek Jean-René. As their relationship blossoms, Jean-René heads to Paris to spend more time with Violette but finds himself up against her possessive teenage son Lolo who is determined to sabotage their relationship by any means necessary. A razor-sharp comedy from Julie Delpy.

The Man Who Knew Infinity
Matthew Brown, United Kingdom, World Premiere
A true story of friendship that forever changed mathematics. In 1913, Ramanujan, a self-taught mathematics genius from India, travelled to Trinity College, Cambridge, where he forged a bond with his mentor, the eccentric professor GH Hardy, and fought to show the world the magic of his mind. Starring Dev Patel and Academy Award winner Jeremy Irons.

The Martian
Ridley Scott, USA, World Premiere
During a manned mission to Mars, astronaut Mark Watney is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Millions of miles away, NASA and a team of international scientists work tirelessly to bring “the Martian” home, while his crewmates concurrently plot a daring, if not impossible rescue mission. Based on a best-selling novel, and helmed by master director Ridley Scott, The Martian features a star-studded cast that includes Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Kate Mara, Chiwetel Ejiofor, and Donald
Glover.

The Program
Stephen Frears, United Kingdom, World Premiere
From Academy Award-nominated director Stephen Frears (The Queen, Philomena) and producers Working Title (The Theory of Everything), comes the true story of the meteoric rise and fall of one of the most celebrated and controversial men in recent history, Lance Armstrong. Starring Ben Foster, Dustin Hoffman, Chris O’Dowd and Guillaume Canet.

Remember
Atom Egoyan, Canada, North American Premiere
Remember is the contemporary story of Zev, who discovers that the Nazi guard who murdered his family some 70 years ago is living in America under an assumed identity. Despite the obvious challenges, Zev sets out on a mission to deliver long-delayed justice with his own trembling hand. What follows is a remarkable cross-continent road-trip with surprising consequences. Starring Academy Award winners Christopher Plummer and Martin Landau.

Septembers of Shiraz
Wayne Blair, USA, World Premiere
A thriller based on the New York Times bestseller, this is the true story of a secular Jewish family caught in the 1979 Iranian revolution and their heroic journey to overcome and ultimately escape from the deadly tyranny that swept their country and threatened to extinguish their lives at every turn. Starring Salma Hayek and Adrien Brody.

Stonewall
Roland Emmerich, USA, World Premiere
This fictional drama inspired by true events follows a young man caught up during the 1969 Stonewall Riots. Danny Winters (Jeremy Irvine) finds himself alone in Greenwich Village, homeless and destitute, until he befriends a group of street kids who introduce him to the local watering hole, The Stonewall Inn — however, this shady, mafia-run club is far from a safe haven. As Danny and his friends experience discrimination, endure atrocities and are repeatedly harassed by the police, the entire community of young gays, lesbians and drag queens who populate Stonewall erupts in a storm of anger. With the toss of a single brick, a riot ensues and a crusade for equality is born. Starring Jeremy Irvine, Jonathan Rhys Meyers, Ron Perlman and Joey King.

SPECIAL PRESENTATIONS

Anomalisa
Charlie Kaufman and Duke Johnson, USA, Canadian Premiere
A man struggles with his inability to connect with other people. Starring Jennifer Jason Leigh, Tom Noonan and David Thewlis.

Beasts of No Nation
Cary Fukunaga, USA/Ghana, Canadian Premiere
Based on the highly acclaimed novel, director Cary Fukunaga’s Beasts of No Nation brings to life the gripping tale of Agu (newcomer Abraham Attah), a child soldier torn from his family to fight in the civil war of an African country. Idris Elba dominates the screen in the role of Commandant, a warlord who takes in Agu and instructs him in the ways of war.

Black Mass
Scott Cooper, USA, Canadian Premiere
In 1970s South Boston, FBI Agent John Connolly persuades Irish-American gangster Jimmy Bulger to act as an informant for the FBI in order to eliminate their common enemy: the Italian mob. The drama tells the story of this unholy alliance, which spiraled out of control, allowing Whitey to evade law enforcement while becoming one of the most ruthless and dangerous gangsters in Boston history. Starring Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Rory Cochrane, Jesse Plemons, Kevin Bacon, Dakota Johnson, Julianne Nicholson, Corey Stoll and Peter Sarsgaard.

Brooklyn
John Crowley, United Kingdom/Ireland/Canada, Canadian Premiere
Set on opposite sides of the Atlantic, this drama tells the profoundly moving story of Eilis Lacey, a young Irish immigrant navigating her way through 1950s Brooklyn. Lured by the promise of America, Eilis departs Ireland and the comfort of her mother’s home for the shores of New York City. The initial shackles of homesickness quickly diminish as a fresh romance sweeps Eilis into the intoxicating charm of love. But soon, her new vivacity is disrupted by her past, and Eilis must choose between two countries and the lives that exist within. Starring Saoirse Ronan, Domhnall Gleeson, Emory Cohen, Jim Broadbent and Julie Walters.

The Club
Pablo Larraín, Chile, North American Premiere
Four men live in a secluded house in a seaside town. Sent to purge sins of the past, they live under a strict regime and the watchful eye of a caretaker. Their fragile stability is disrupted by the arrival of a fifth man who brings with him their darkest secrets.

Colonia
Florian Gallenberger, Germany/Luxembourg/France, World Premiere
Colonia tells the story of Lena and Daniel, a young couple who become entangled in the Chilean military coup of 1973. Daniel is abducted by Pinochet’s secret police and Lena tracks him to a sealed off area in the south of the country called Colonia Dignidad. The Colonia presents itself as a charitable mission run by lay preacher Paul Schäfer but, in fact, is a place nobody ever escapes from. Lena decides to join the cult in order to find Daniel. Starring Emma Watson, Daniel Brühl and Michael Nyqvist.

The Danish Girl
Tom Hooper, United Kingdom, North American Premiere
The Danish Girl is the remarkable love story inspired by the lives of artists Lili Elbe and Gerda Wegener (portrayed by Academy Award winner Eddie Redmayne and Alicia Vikander), directed by Academy Award winner Tom Hooper (The King’s Speech, Les Misérables). Lili and Gerda’s marriage and work evolve as they navigate Lili’s groundbreaking journey as a transgender pioneer.

The Daughter
Simon Stone, Australia, North American Premiere
A man returns to his hometown and unearths a long-buried family secret. As he tries to right the wrongs of the past, his actions threaten to shatter the lives of those he left behind years before. Starring Geoffrey Rush, Paul Schneider, Miranda Otto and Sam Neill.

Desierto
Jonás Cuarón, Mexico, World Premiere
Moises is traveling by foot with a group of undocumented workers across a desolate strip of the border between Mexico and the United States, seeking a new life in the north. They are discovered by a lone American vigilante, Sam, and a frantic chase begins. Set against the stunningly brutal landscape, Moises and Sam engage in a lethal match of wits, each desperate to survive and escape the desert that threatens to consume them. Starring Gael García Bernal and Jeffrey Dean Morgan.

Dheepan
Jacques Audiard, France, North American Premiere
To escape the civil war in Sri Lanka, a former Tamil Tiger soldier, a young woman and a little girl pose as a family. These strangers try to build a life together in a Parisian suburb.

Families (Belles Familles)
Jean-Paul Rappeneau, France, World Premiere
When Shanghai-based businessman Jérome Varenne learns that his childhood home in the village of Ambray is at the centre of a local conflict, he heads there to straighten things out and finds himself at the centre of familial and romantic complications. Starring Mathieu Amalric.

The Family Fang
Jason Bateman, USA, World Premiere
Annie and Baxter Fang have spent most of their adult lives trying to distance themselves from their famous artist parents. But when both siblings find themselves stalled in life, they return home for the first time in a decade where they become entangled in a dark mystery surrounding their parents’ disappearance. Jason Bateman directs and stars, along with co-stars Nicole Kidman and
Christopher Walken, in this film based on the New York Times bestseller.

Guilty (Talvar)
Meghna Gulzar, India, World Premiere
Based on true events that set off a media frenzy all over the world, Guilty follows the 2008 Noida Double Murder Case of an investigation into the deaths of 14-year-old Aarushi Talwar and 45-year-old Hemraj Banjade, a domestic employed by Aarushi’s family, in Noida, India. The controversial case lives on in the mind of the public, despite a guilty verdict that sentenced the parents of
the murdered girl to life in prison. Starring Irrfan Khan.

I Smile Back
Adam Salky, USA, Canadian Premiere
Adapted from the acclaimed novel by Amy Koppelman, I Smile Back explores the life of Laney (Sarah Silverman), a devoted wife and mother who seems to have it all — a perfect husband, pristine house and shiny SUV. However, beneath the façade lies depression and disillusionment that catapult her into a secret world of reckless compulsion. Only very real danger will force her to face the painful root of her destructiveness and its effect on those she loves.

The Idol (Ya Tayr El Tayer)
Hany Abu-Assad, United Kingdom/Palestine/Qatar, World Premiere
A young boy in Gaza, Mohammad Assaf, dreams of one day singing in the Cairo Opera House with his sister and best friend, Nour. One day, Nour collapses and is rushed to the hospital where it is discovered that she needs a kidney transplant. Nour leaves Mohammad with a dying wish that someday, he will become a famous singer in Cairo. Escaping from Gaza to Egypt against
unbelievable odds, Mohammad makes the journey of a lifetime. From two-time Academy Award nominee Hany Abu-Assad comes this inspirational drama inspired by the incredibly true story of Mohammed Assaf, winner of Arab Idol 2013.

The Lady in the Van
Nicholas Hytner, USA/United Kingdom, World Premiere
Based on the true story of Miss Shepherd, a woman of uncertain origins who “temporarily” parked her van in writer Alan Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favour becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen. Starring Maggie Smith, Dominic Cooper and James Corden.

Len and Company
Tim Godsall, USA, North American Premiere
A successful music producer (Rhys Ifans) quits the industry and exiles himself in upstate New York, but the solitude he seeks is shattered when both his estranged son (Jack Kilmer) and the pop-star (Juno Temple) he’s created come looking for answers.

The Lobster
Yorgos Lanthimos, Ireland/United Kingdom/Greece/France/Netherlands, North American Premiere
In a dystopian near future, single people are obliged to find a matching mate in 45 days or are transformed into animals and released into the woods. Starring Colin Farrell, Academy Award winner Rachel Weisz, John C. Reilly, Léa Seydoux and Ben Whishaw.

Louder than Bombs
Joachim Trier, Norway/France/Denmark, North American Premiere
An upcoming exhibition celebrating photographer Isabelle Reed three years after her untimely death brings her eldest son Jonah back to the family house, forcing him to spend more time with his father Gene and withdrawn younger brother Conrad than he has in years. With the three men under the same roof, Gene tries desperately to connect with his two sons, but they struggle to reconcile their feelings about the woman they remember so differently. Starring Isabelle Huppert, Gabriel Byrne and Jesse Eisenberg.

Maggie’s Plan
Rebecca Miller, USA, World Premiere
Maggie’s plan to have a baby on her own is derailed when she falls in love with John, a married man, destroying his volatile marriage to the brilliant Georgette. But one daughter and three years later, Maggie is out of love and in a quandary: what do you do when you suspect your man and his ex-wife are actually perfect for each other? Starring Julianne Moore, Greta Gerwig, Ethan Hawke, Bill Hader and Maya Rudolph.

Mountains May Depart (Shan He Gu Ren)
Jia Zhang-ke, China/France/Japan, North American Premiere
The new film from master filmmaker Jia Zhang-ke (A Touch of Sin) jumps from the recent past to the speculative near-future as it examines how China’s economic boom has affected the bonds of family, tradition, and love.

Office
Johnnie To, China/Hong Kong, International Premiere
Billion-dollar company Jones & Sunn is going public. Chairman Ho Chung-ping has promised CEO Chang, who has been his mistress for more than 20 years, to become a major shareholder of the company. As the IPO team enters the company to audit its accounts, a series of inside stories start to be revealed. Starring Chow Yun Fat, Sylvia Chang, Tang Wei and Wang Ziyi.

Parched
Leena Yadav, India/USA, World Premiere
Three ordinary women dare to break free from the century old patriarchal ways of their village in the desert heartland of rural India. Starring Tannishtha Chaterjee, Radhika Apte and Surveen Chawla, this unforgettable tale of friendship and triumph is called Parched.

Room
Lenny Abrahamson, Ireland/Canada, Canadian Premiere
Told through the eyes of five-year-old-Jack, Room is a thrilling and emotional tale that celebrates the resilience and power of the human spirit. To Jack, the Room is the world… it’s where he was born, where he and his Ma eat and sleep and play and learn. But while it’s home to Jack, to Ma it’s a prison. Through her fierce love for her son, Ma has managed to create a childhood for him in their 10-by-10-foot space. But as Jack’s curiosity is building alongside Ma’s own desperation — she knows that Room cannot contain either indefinitely. Starring Brie Larson, Jacob Tremblay, Joan Allen, Sean Bridgers and William H. Macy.

Sicario
Denis Villeneuve, USA, North American Premiere
In the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent (Emily Blunt) is enlisted by an elite government task force official (Josh Brolin) to aid in the escalating war against drugs. Led by an enigmatic consultant with a questionable past (Benicio Del Toro), the team sets out on a clandestine journey that forces Kate to question everything that she
believes.

Son of Saul (Saul Fia)
László Nemes, Hungary, Canadian Premiere
October 1944, Auschwitz-Birkenau. Saul Ausländer is a Hungarian member of the Sonderkommando, the group of Jewish prisoners isolated from the camp and forced to assist the Nazis in the machinery of large-scale extermination. While working in one of the crematoriums, Saul discovers the body of a boy he takes for his son. As the Sonderkommando plans a rebellion, Saul decides to carry out an impossible task: save the child’s body from the flames, find a rabbi to recite the mourner’s Kaddish and offer the boy a proper burial.

Spotlight
Tom McCarthy, USA, International Premiere
Spotlight tells the true story of the Pulitzer Prize-winning Boston Globe investigation that would rock the city and cause a crisis in one of the world’s oldest and most trusted institutions. When the newspaper’s tenacious “Spotlight” team of reporters delves into allegations of abuse in the Catholic Church, their year-long investigation uncovers a decades-long cover-up at the highest levels of
Boston’s religious, legal, and government establishment, touching off a wave of revelations around the world. Starring Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, Stanley Tucci, Brian d’Arcy James and Billy Crudup.

Summertime (La Belle Saison)
Catherine Corsini, France, North American Premiere
Delphine, the daughter of farmers, moves to Paris in 1971 to break free from the shackles of her family and to gain her financial independence. Carole is a Parisian, living with Manuel, actively involved in the stirrings of the feminist movement. The meeting of the two women changes their lives forever. Starring Cécile De France, Izia Higelin, Noémie Lvovsky and Kévin Azaïs.

Sunset Song
Terence Davies, United Kingdom/Luxembourg, World Premiere
Terence Davies’ epic of hope, tragedy and love at the dawning of the Great War follows a young woman’s tale of endurance against the hardships of rural Scottish life. Based on the novel by Lewis Grassic Gibbon and told with gritty poetic realism by Britain’s greatest living auteur, Sunset Song stars Peter Mullan and Agyness Deyn.

Trumbo
Jay Roach, USA, World Premiere
The successful career of 1940s screenwriter Dalton Trumbo (Bryan Cranston) comes to a crushing end when he and other Hollywood figures are blacklisted for their political beliefs. Trumbo tells the story of his fight against the U.S. government and studio bosses in a war over words and freedom, which entangled everyone in Hollywood from Hedda Hopper (Helen Mirren) and John Wayne to Kirk Douglas and Otto Preminger.

Un plus une
Claude Lelouch, France, World Premiere
Charming, successful, Antoine (Jean Dujardin) could be the hero of one of those films he composes the music for. When he leaves for a job in India, he meets Anna (Elsa Zylberstein), a woman who isn’t like him at all, but who attracts him more than anything. Together, they are going to experience an incredible journey.

Victoria
Sebastian Schipper, Germany, Canadian Premiere
On a night out in Berlin, Victoria meets four young local guys. After joining their group, she becomes their driver when they rob a bank. Finally, as dawn breaks, everyone meets their destiny.

Where to Invade Next
Michael Moore, USA, World Premiere
Oscar-winning director Michael Moore returns with what may be his most provocative and hilarious movie yet. Moore tells the Pentagon to “stand down”— he will do the invading for America from now on. Discretely shot in several countries and under the radar of the global media, Moore has made a searing cinematic work that is both up-to-the-minute and timeless.

Youth
Paolo Sorrentino, Italy/France/United Kingdom/Switzerland, North American Premiere
Youth explores the lifelong bond between two friends vacationing in a luxury Swiss Alps lodge as they ponder retirement. While Fred (Michael Caine) has no plans to resume his musical career despite the urging of his daughter Lena (Rachel Weisz), Mick (Harvey Keitel) is intent on finishing the screenplay for what may be his last film for his muse Brenda (Jane Fonda). And where will inspiration lead their younger friend Jimmy (Paul Dano), an actor grasping to make sense of his next performance? From Italy’s Oscar-winning foreign language film writer and director Paolo Sorrentino, Youth asks if our most important and life-changing experiences can come at any time — even late — in life.

The myth—or rather, the idea—of Robin Hood has resonated across the world since stories of him first emerged in the mid-17th century. His schtick is sublime in its simplicity: he robs from the rich, gives to the poor and has a lot of fun doing it. He’s a rabble-rouser, a deadly archer, a protector of justice and a smooth-talking ladies’ man. An all-around good dude.  His brand of clean-cut heroism has gone out of fashion in recent times, however; these days, stand-up heroes like Robin Hood are treated like a joke. It’s a crying shame.

1938’s terrific, jaunty The Adventures of Robin Hood, starring an improbably chipper Errol Flynn, is playing on July 4th as a part of TIFF’s “Dreaming in Technicolor” film showcase. It’s a treasure that all should see, though it’s the kind of lighthearted hero’s tale mainstream audiences have sadly lost an appetite for.

We’ve grown too cynical and in love with mayhem and revisionism to take seriously a man in green tights swinging on vines and letting out a big “A-HA!” as he pushes his fists into his hips and puffs out his chest. Romantic swashbuckling is difficult, I’m afraid, for the average 2015 moviegoer to take un-ironically. Ridley Scott‘s 2010 Robin Hood ran in the opposite direction of the Flynn version, painting a dreary picture of 13th-century England for Russel Crowe‘s “Robin Longstride” to brood around in because, these days, gloom is all the rage.

Our generation’s Robin Hood, arguably, is the Dark Knight himself. Batman is the perfect example of the kind of hero people crave today: psychologically damaged, shrouded in darkness, defined by tragedy and loss. No superhero, not even the bright and shiny Marvel ones, can contend with his superpower-less, black-on-black hipness. His look has evolved over the years, getting scarier and scarier with each reboot of the movie franchise, to the point where the latest version of the Bat, played by Ben Affleck in the upcoming Batman v Superman: Dawn of Justice, straight-up looks like evil incarnate. We’ve come a long way from Robin of Loxley and his funny little hat.

In The Adventures of Robin Hood, directed by Michael Curtiz (and, to a lesser extent, William Keighley), we see Flynn’s Robin stride into the malevolent Prince John’s massive banquet hall, plopping down a (very illegally) poached royal deer in front of the interim king. Surrounded by an army of armed men, Robin accuses John of treason and vows to avenge the missing King Richard and fight for the poor. What courage! What honor! For centuries, this was the epitome of heroism.

Batman treats evil-doers a bit differently, to put it mildly. He’s an intimidator who lurks in the shadows and strikes fear in his enemies from behind a mask, a symbol that hides his true identity (as a billionaire, another subversion of the Robin Hood myth). He’ll do anything to gain an advantage (short of killing, of course). In a classic comic book version of the Batman/Superman confrontation (found in Jeph Loeb’s Hush), Bruce Wayne defines his true nature. “If Clark wanted to,” he says internally as Superman pulls his punches, “he could squish me into the cement.” He suddenly smashes Superman in the face with a ring made of kryptonite. But Superman’s got an even bigger weakness than the glowing green stone, as Bruce explains. “Deep down, Clark’s essentially a good person. And deep down, I am not.”

Where’d all the good guys go? A remnant of Robin Hood’s youthful spirit does exist prominently in Batman lore. His famous sidekick, Robin, was clearly inspired by Robin Hood. In fact, “The Boy Wonder” was a direct homage to Errol Flynn. Robin is the last glimmer of innocence in Bruce Wayne’s world, a playful young ally designed to bring a bit of levity to the Batman comic book series.

The character’s gruesome death is a darkly poetic sign of the times, now more than ever.

Jason Todd, the second to take up the “Robin” identity, is brutally beaten with a crowbar in front of his own mother (who’s just sold him out), his medieval yellow cape and green boots soaking in a puddle of his own blood. Mother and son are restrained, a ticking time bomb plunked beside them. Jason throws himself onto the bomb to shield his mom, despite her betrayal, in a final act of heroism. With Robin’s bright light snuffed out, only darkness remains for the mourning “caped crusader.” Written by Jim Starlin, the story was called “A Death in the Family.”

It’s an apt parable for what’s happened, culturally, to exuberant, grinning movie heroes like Flynn’s Robin Hood. Jason Todd was murdered by The Joker, a demented cackler with a sick sense of humor who applauds and giggles at the sight of brutality and pain. Sound like anyone you know? If Robin represents Robin Hood’s chivalric valor, the Joker symbolizes modern audience’s regurgitation of such classical ideals. He’s more interested in Batman; they’re a reflection of one another, both messed-up social outliers with a penchant for violence. “I don’t wanna kill you,” Joker tells Batman in Christopher Nolan‘s The Dark Knight. “What would I do without you?”

As moviegoers, we owe it to ourselves to not let pure, lighthearted heroics fall into extinction at the cinema. The reason Zack Snyder‘s The Man of Steel sucked was that it wasn’t any goddamn fun. It was a de-saturated, over-produced drag obsessed with mining darkness out of a character who should inspire wonder and make kids cheer. Batman v Superman looks to offer more of the same, depressing superhero action.

Get excited about The Adventures of Robin Hood instead. It’s everything The Man of Steel isn’t: fun, full of laughter, bursting with life (in Glorious Technicolor) and punctuated by thrilling, plain-spoken action sequences. If we would just let go of our snarky aversion to unclouded optimism every once in a while, perhaps Robin could live once again.

It’s not uncommon for film directors to be referred to as “architects.” In many instances, these crafters have to build whole worlds and universes. Illustrator Federico Babina decided to take this turn of phrase and go someplace literal with it, fashioning visual imagery of what our favorite directors might look like if their particular styles were put into the form of houses. It’s fascinating to say the least.

Babina calls this series of illustrations “Archidirector” saying “Directors are like the architects of cinema. They are those that build stories that like buildings envelop the viewer and carry it in a different world. Each with their own style, language, and aesthetics think, plan design and build places and stories that host us for the duration of the movie.”

His collection includes 27 illustrations, ranging from Hitchcock to Fellini, Von Trier to Jarmusch. Check out the entire collection at Design Boom and buy the prints at Babina’s Society 6 shop.

Excuse me while I lose my mind. Ryan Gosling is in final negotiations to star in the new Blade Runner sequel, directed by Denis Villeneuve (Prisoners).

Harrison Ford is also attached to reprise the role of Rick Deckard, who we first met in Ridley Scott‘s 1982 sci-fi classic. It’s not known who will be the film’s lead (it could be Ford’s Deckard continuing to drive the story forward, or Gosling’s character could take the reins), but either way, the casting of Gosling is pretty damn exciting.

Blade Runner was a sci-fi thriller that took place in a dystopian 2019 Los Angeles, and the sequel will be set several years after. Scott’s original has been hailed as one of the best, if not the best, sci-fi movies of all time, and that we’re getting a sequel over 30 years later is surreal, to say the least. Right now we don’t know very much about the project, but Gosling’s involvement is a good sign.

Over the past 30 years Blade Runner has done nothing but grow into its current mythological size following its release in 1982. And while the fan base has been constant, the notorious tinkerer that is Ridley Scott has not left it alone, releasing several director’s cuts (each apparently being more director’s cut-y, and a little less or a little more vague–depending on the cut), and talked endlessly about a sequel; even going so far as to postulate about the logic behind Rick Deckard’s (Harrison Ford, who is already on board to return) inevitable aging.

For years Scott’s talk has been just that: talk. But the sequel is finally coming together. To make it a bit more official Denis Villeneuve has now signed on to direct (a role many thought Scott would reprise). And, admittedly, Villeneuve is quite possibly the most surprising and satisfying choices possible for the gig. (Who are we kidding? We gave the press release a round of applause!)

Villeneuve came out swinging for American audiences with his Best Foreign Picture Oscar, Incendies. But it was his 2013 one, two punch of Enemy and Prisoners that solidified his presence in our hearts. And it’s Enemy, the Jake Gyllenhaal (x2) starring film about a man who meets his perfect doppelgänger and watches his life come apart as a result, that so clearly proves Villeneuve is the right man for the job–assuming, of course, that the sequel is permitted to remain the dark and existential film that it must be to follow up Blade Runner and fit in Villeneuve’s oeuvre.

So, while there are a lot of unanswered questions (what will happen to Villeneuve’s other awesome projects he’s got in the pipeline? who will join Ford in the cast?), and filming won’t begin for a full year, this is definitely news to get excited about! Put this one on 2017’s must see list.

The story of Moses liberating his people from the oppressive Ramses and leading them out of Egypt to freedom is arguably one of the most famous, familiar stories of all time. It’s been told who-knows-how-many times in every medium there is, with movies being no exception (there have been at least a dozen screen adaptations). What is the purpose, then, of Ridley Scott bringing the burning bush, the plagues, and the parting of the Red Sea back to the big screen in Exodus: Gods and Kings? Does he bring anything new to the table?

Exodus‘ biggest selling point, without question, is the deluge of digital effects you’d naturally expect from a big-budget biblical epic in 2014. Never have the Plagues of Egypt looked so dazzling: millions of frogs hop and tumble over each other in the moonlight; swarms of locusts and flies are nightmarish and gross; rivers of blood look really, really…um, red. Honestly, the visuals are staggering, and the bravura plague scenes are totally convincing (especially the frogs–yuck). But it doesn’t really matter because the rest of the movie, the vessel that ferries all the CGI extravagance, is so hole-y (see what I did there?) that it sinks before the visuals can make a real impression. Scott’s retelling of the classic story simply doesn’t work, and unfortunately for the talented effects teams, it’s the difference between the film being spectacular-looking, and the film being merely expensive-looking.

The problems begin with the film’s most egregious failure, the borderline offensive casting of white people with bad spray tans as Egyptians. (I say borderline because I’ve been so numbed to these kinds of injustices by Hollywood that all I can do now is chuckle as a single tear runs down my cheek.) Christian Bale plays Moses, who was raised as a brother to the petulant, preening Ramses (Joel Edgerton), Egypt’s oppressive Pharaoh. They speak to each other in vaguely British accents because…why the hell not? Ramses’ father is played by John Turturro, and his mother is played by Sigourney Weaver. Sigourney Weaver. Sigourney freaking Weaver. And she speaks with an American accent. Wonderful.

To be fair, the blow is softened because the actors do a solid job with what they’re given here. Bale and Edgerton have a dynamic rapport, volleying chest-puffing machismo and brotherly empathy with equal intensity and fire. Bale’s Moses is, by and large, the same shepherding, wise, long-haired Jew Charlton Heston’s was, though Heston’s brio is replaced by Bale’s signature brooding and weariness. It’s one of Bale’s more rigid performances, and he perhaps shows too much restraint. Scott claims that if he had cast an actor named “Mohammed so-and-so” (his words, not mine) in the lead role, the film would have never been financed. Sad thing is, I believe him. If he was forced to plug white men into the lead roles, Bale and Edgerton were good choices. Still, it doesn’t make the white-centric casting any less wrong.

All that aside, the fundamental issue with the script is that it feels emotionally disengaged. When Moses is exiled by Ramses and finds the love of his life (María Valverde) in a small peasant village, we hardly see the couple interact. They meet and, in a blink, they’re married with child. More screen time between Bale and Valverde would have been welcome (they’re sweet together) but…dammit! We’ve got a sea to part! No time for silly things like love and tenderness! Move along, move along. That’s the thing: every time the film begins to reveal a bit of humanity in its characters, we get ripped away by the plot’s current.

The way Scott portrays Moses’ conversations with God is unique, and one of the more compelling things Exodus has going for it. God is embodied by a mischievous British preteen (Isaac Andrews) who antagonizes Moses with cryptic messages, insults, and nasty snarls. These exchanges are shot in a queasy, fever-dream haze and benefit from Scott’s acuity for existential sci-fi. To portray God as an irritable child is fascinating to me, but it’ll probably ruffle the feathers of folks dedicated to 1-for-1 bible literalness. It’s a bold move, and a good one artistically.

The Red Sea isn’t cleaved in the same way it always has been in every previous Moses movie; here, the water is displaced in a more spherical shape, like God sticks his giant thumb down into the seabed and then removes it, causing the water to rush back to the center. Other than mild deviations from scripture like this, Exodus is mostly concerned with going through the biblical motions and battering us with extravagant set pieces that, while impressive looking, aren’t supported by enough character work to be stirring. Scott probably fancies his film an insightful, radical play on the classic liberation tale, but it winds up feeling pretty unnecessary and trite, though you’ll still be wowed by the light show.

Christian Bale‘s Moses calls down a world of hurt for Joel Edgerton‘s Rhamses in the freshly released trailer for Ridley Scott‘s new biblical epic Exodus: Gods and Kings.With plenty of graphic effect, the plagues have never looked so threatening and we’re treated to previews of hail, blood red rivers, and even the parting of the Red Sea itself.

The trailer focuses on Moses and Rhamses, but we got a glimpse of Sigourney Weaver as Tuya, Rhamses mother, with plenty of Egyptian eyeliner. The film also stars Aaron Paul, Ben Kingsley, John Turturro, and Indira Varma.

We’re excited to see Scott back in his comfortable domain of historical drama, sword-and-sandal being one he’s especially good at. As long as the film stays on the Gladiator end of the spectrum and less of the Kingdom of Heaven side, we anticipate a thoroughly enjoyable and larger than life experience.

The film comes out December 12th of this year.

Prometheus is an ambitious, entertaining film from Ridley Scott that ultimately falls flat due to an overextended plot that becomes convoluted in the second half of the film. The film is set in the same universe as Alien (1979), which Scott also directed, and contains many similarities (female lead, untrustworthy androids) but is more of a stand-alone film than a direct prequel. With expectations sky-high due to an intense trailer and Ridley Scott’s track record with science-fiction, Prometheus aimed to reach those expectations with a philosophical story that has potential, but is marred by an incomplete story, and uneven pacing.

Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) are archeologists that have recently concluded that a variety of different cave drawing portraying humans worshipping God-like figures pointing to the stars is a map to the home planet of some sort of alien race. Enter the dubious corporation of Weyland Enterprises to fund the voyage to the mysterious planet under questionable premises.

Meredith Vickers (Charlize Theron) is the corporate stooge who questions the point of the mission. It’s hard to describe too much more of the plot without giving anything away, but there are several plot twists (some interesting, some not) and, believe it or not, there are in fact aliens on this planet.

The main problem with Prometheus is that it tried to do too much on too many levels. It tries to tow the line of an entertaining thriller while still being taken seriously as an exploration of the deeper questions of life. Many pivotal scenes feel rushed and several plot points are unresolved in order to bring the film running time in at a marketable two hours.

Characters drift in and out, and there is no real connection. Michael Fassbender gives an excellent, interesting portrayal of David the android, but most of the other actors didn’t really get a chance to flesh out their characters. The existential parts of the plot, while interesting, seem forced and unsatisfying, it just never reaches that point where the film really drives home an interesting, original concept.

Prometheus is a good film, and definitely worth a watch if you are any sort of a science fiction fan. It does not meet the lofty expectations but still brings enough of the table to leave the viewer thinking about the film afterwards. I am really hoping there is an extended Directors Cut that possibly develops out the plot and characters a little more completely, but until that happens, this film gets a mediocre review.

Disclaimer: I am a huge Ridley Scott fan, and my expectations were through the roof for this film.

David Lynch fans rejoice, soon there will be nearly an hour of deleted scenes from Blue Velvet. Deleted scenes from the cult classic 1986 noir Blue Velvet were found on the blu-ray edition of the film but have recently made their way to YouTube. [Dangerous Minds]

Penelope Cruz has been confirmed for upcoming Ridley Scott and Pedro Almodovar films. Her extensive previous work with director Pedro Almodovar makes the news less surprising but still welcoming. The name of the film will be called Standby Lovers. She will join the cast of Ridley Scott’s The Counselor which is comprised of huge names including Michael Fassbender, Brad Pitt, Cameron Diaz, and Javier Bardem. [The Playlist]

Images from Michel Gondry’s upcoming French production Mood Indigo surfaced this week. Audrey Tatou (Amelie) will be the lead in the adaptation of Boris Vian’s 1947 novel Froth On The Daydream. The stills definitely appear to have Gondry’s creative touch to them. [Twitch]

Philip Seymour Hoffman goes agentless after leaving Paradigm after 18 years with the agency. Aside from appearing Paul Thomas Anderson’s The Master he just finished a role which director Mike Nichols has said may be the most taxing stage role on an actor. [Deadline]

Rumors have been circling that Emma Watson and Ray Winstone could star in Darren Aronofsky’s Biblical epic Noah. According to Deadline Ray Winstone may get a villain role in the film to go opposite of Russell Crowe. Emma Watson is apparently in talks to play Ila, a young woman who befriends Noah’s son, Shem. [Deadline]

The special animated companion to Moonrise Kingdom is now available to watch online for free. This Wes Anderson animated short does not contain any spoilers to Moonrise Kingdom therefore do not be hesitant to watch it if you have not seen the film yet. [EW]

The female cast from Your Sisters Sister sat down for an interview with Coming Soon to talk about the process of developing characters and how much of the film was improvised. One of the most amazing facts is that the entire crew for the film was only 16 people (and the film was shot in just 12 days). The whole interview is worth reading and if you haven’t read our review of Your Sisters Sister check it out now. [Coming Soon]

A feature debut from Jordan Scott (daughter of Ridley) who wrote and directed Cracks – a story that starts off innocent but eventually unravels to show a dark psychological side. Some say it’s a girl version of Lord of the Flies, which I agree that there are a lot of similarities between the two, but the underlying theme in this is lust and desire.

Cracks is set in the year 1934 at St. Mathilda’s School in Stanley Island, England. The all-girls boarding school is oppressive and strict which is probably why most of the students look up to the diving instructor Miss G (Eva Green), because she is the opposite. Miss G is a passionate and rule-breaking teacher that is adored by all the students for her lack of traditionalism, but none more than Di (Juno Temple).

Miss G is also a very confident woman and knows the girls look up to her for advice, which she is willing to give. She says that “the most important thing in life is desire” – “nothing is impossible, all you need is to desire it”. You get the sense that Di has desire for Miss G.

The girls receive news that a new girl from Spain will be joining their class. Fiamma (María Valverde), the newcomer, is not exactly welcomed with open arms. This is not surprising considering the typical school atmosphere filled with cliques. Since Di acts as the captain of the group, she sets her straight on the rules, even when Fiamma questions some of the strict ones.

Blatantly obvious is Di’s dislike for Fiamma from the very start and it does not end there. Miss G has all the girls practice high diving into the lake. Di is deemed to have set the bar for the group until Fiamma dives that is. Even though it is winter in Spain and new to the group, her dive is the best out of all of them. Further impressing Miss G and subsequently creating more hostility from Di.

Even more than being impressed with Fiamma, Miss G seems to be very much intrigued by her. She is jealous that Fiamma has been all over the world, citing that traveling is one of her favorite things to do. Perhaps expanding upon her intrigue she goes through Fiamma’s records only to find out that she has been in trouble because of her behavior and is of great concern. Needless to say, Miss G is a little taken-aback, not to mention us as the viewer.

Although Miss G seems startled about learning that about her student, she seems even more attracted to Fiamma, in more than one way. She approaches her and awkwardly and in a bizarre fashion states the two of them could be best friends but with a slight hint of implying something more. Miss G even goes out of her way to buy her special lunches from town just for her and not the other students, clearly favoring Fiamma. It is hard now not to start questioning if Miss G or Fiamma is the one that is slightly off.

The ending literally had me saying wow. I do not like giving away spoilers to films like this because it is what makes Cracks so enjoyable. Therefore, it is hard not to give away the specifics but the ending for me was amazing and haunting. Being as generic as I can, we are led to believe a letter at the end was written by one character but shows it was really a different one, my theory is perhaps they were both the same character. It probably is not the case but that’s how I interpreted it and thought it was a genius last twist.

The cinematography is outstanding. In shots outside, especially the lake, are crisp and beautiful. Even at night, the lake is wonderfully lit and everything is visible. The film is shot with lower saturation, so the colors are muted a little more which gives it sort of a vintage feel that is spot on.

Hard to believe is the fact that Cracks is Jordan Scott’s first feature as a director, as it is remarkably well shot. Cracks had sort of a classical or Shakespearean type of story with lust, jealously, sexuality, betrayal and tragedy. The story may be too lackluster for some but the way it slowly cracks, pun intended, from an ordinary and innocent one to a psychological and disturbing one was great.