Eric Lavallée

Such as Josh Safdie's previous effort The Pleasure of Getting Robbed, Go Get Some Rosemary is easy to get into and hard to follow. It may be easy to brush off the film for its lack of aestheticism, but it's easy to get into because of the magnetic pull of the intriguing lead character (brought to life by director, projectionist and apparently now, actor Ronnie Bronstein) and the microscopic details that is the strong suit and the Safdie Bros. calling card. Very much told from the point of view of the father, overwhelmed by life, he has used everyone of his last favors and get out of jail free cards to the point that his judgment is impaired. Structurally, the story is fueled by one crisis after another, but it is not as if the narrative takes cheap shots at the main character (like a typical comedy would do), it does however make a point out of saying how crummy it can be for kids sometimes when parents don't have the care-taking faculties somehow engrained. The film roles in the Director's Fortnight one year to the week that they preemed theiir feature length and short films respectively. What happened in a year was that a French producer came on board, Josh asked a former Sonic Youth member to lend his kids.

I'm looking forward to my three screenings today, beginning with an 8:30 start to Jacques Audiard's two plus hour film, followed by certified mumblecore card-carrying members in the Safdie brothers and their newest picture in the Quinzaine, and I'll make a trip to the Bazin theater for a day after screening to the next piece from Camera d'or winning director of 12:08 East of Bucharest and a tale about corruption in his homeland of Romania.

With the only true bright spot of the film pertaining to Imelda Staunton's perf (particularly her accent), Taking Woodstock feels as artificial as the anniversary edition of Woodstock did just a couple of years back. You can't recreate the magic no matter what entry point POV you use.

It's not because of Danny Pang's Bangkok Dangerous that I've included GK Films among those production companies worth keeping an eye on, but for their future slate of releases – C.R.A.Z.Y's Jean-Marc Vallee's The Young Victoria which received good reviews from Berlin Market and they have The Rum Diary, Edge of Darkness with Mel G and London Boulevard in various stages of production.

Controlled, distilled and visually alluring, this is a return to form for Jane Campion who eloquently confections a 19th century tale without the trinkets and nor the distractions