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Post-Toronto days.

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"Two medical emergencies the very first screening!"The Toronto wrap-ups are rolling in — a few selections:

Roger Ebert:

Although the Toronto Film Festival lacks an official competition, lots of awards are handed out on closing day. As they were announced Saturday, I felt like I was standing on the pier waving sadly as the ship sailed. Although I saw 43 of this year’s films, either here or at Telluride, Cannes or Sundance, I managed for the first time to get through the entire festival without having seen a single film that won a prize.

David Poland (who also picks his top twenty from the festival here):

I saw four unmitigated disasters this year at TIFF. (I didn’t catch "Tideland," so I remain hopeful.)

All four of the car wrecks were high profile. Part of that is because everything ugly is uglier under a microscope, and part of it is that I’m not real interested in shredding small, helpless indie films whose birth already left enough marks for the filmmakers. Still, the most disastrous directing debut of the festival was that of Stephen J. Mavilla, whose pre-show "no cameras/no cell phones" piece for Motorola was universally despised, marking the fastest rise and fall of a career in movie history, not just TIFF’s history. You shouldn’t have put your name all over that thing, Steve. So change your name or start writing documentary grant applications.

If you’re wondering, his disasters picks are: "Mrs. Harris," with Ben Kingsley and Annette Bening; "Elizabethtown" (nothing but bad buzz about that one — heh, Cameron Crowe!); "Edison" (Justin Timberlake‘s acting debut); and "Revolver" (Raising the question: when would you call time of death on Guy Ritchie‘s career? Now, or around "Swept Away"? Or when he married Madonna? You burned bright, Mr. Ritchie.). Also, you can watch Mavilla’s piece here.

(Also, baaaad buzz for "Tideland" (sniff!). At a screening the other day we heard someone refer to it as "career suicide for Gilliam.")

Sharon Waxman on the new film investors:

[Several of the big studio acquisitions] are "independent" in the most basic sense: paid for by these individuals and a few other investors who believed in the material. And if Hollywood has expressed skepticism about the affluent neophytes who have entered the business in the past few years – mainly Internet, retail and trust-fund tycoons – this, their first real crop of movies entering the marketplace, may indicate that they have a future in the industry.

Patrick Goldstein on SPC’s old-school biz style:

In an era when most studio films vanish from multiplexes in a matter of weeks, Sony Classics will patiently work a film for months to find a broader audience. "Triplets of Belleville," which was released in November 2003, was still in theaters on July 4, 2004. "That’s our mantra," says Barker. "The longer you keep a film in the theaters, the more value it’ll have down the line."

Eli Roth (who directed "Cabin Fever"), writing to Empire about screening his latest gory horror (gorror?) flick "Hostel" at the festival:

At the first screening…we had not one, but TWO medical emergencies. One guy left
in the middle because he was so distraught and dizzy, and he passed out
and fell down the escalator outside the theater! Paramedics were called
and, luckily, the guy was fine, although if he had died it would have
been a better story.

About 15 minutes later, a woman flees the theater thinking that the film’s
giving her a heart attack! She’s having chest pains – so the festival
people called the paramedics again!!! Turns out she was fine, too. Oh
well, serves ’em right for leaving in the middle!

Tim Robey of the Telegraph on falling for an unexpected film:

[T]here’s no way of summarising [Curtis Hanson‘s] "In Her Shoes" without making it sound like bog-standard chick-flick mush, but it really isn’t.

Hanson has always been a skilled actor’s director…and this movie really is the reinvention of Cameron Diaz. She isn’t afraid to make Maggie a total hair-flicking pain even past the point when the film strictly needs her to be, but we always know there’s something in the character worth redeeming. [Shirley] MacLaine, who has done little but chew scenery for the past decade, reins it all back in to give us a lovely, contained supporting turn.

But even so, it’s [Toni] Collette‘s film, all the way. Rose is more sympathetic than a dozen Bridget Joneses, and this sublime actress – so good at romantic frustration, welling emotion, and outbursts of giggly euphoria – is the reason why.

We dunno about you, but we’re feeling positively positive about film again, possibly because we saw "L’Enfant" this morning, but mostly because of all the good words reaching us from TIFF. ’bout damn time.

+ Toronto #8: The winners (
+ TORONTO WRAP UP (The Hot Button)
+ TORONTO WRAP UP. PART 2 (The Hot Button)
+ And the Film Deal Goes to . . . an Outsider (NY Times)
+ Savvy kings of the art house (LA Times)
+ Hostel Causes Hospitalisation (Empire)
+ Toronto Film Festival: when feelgood is actually very good (Telegraph)

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The Best Of The Last

Portlandia Goes Out With A Bang

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The end is near. In mere days Portlandia wraps up its final season, and oh what a season it’s been. Lucky for you, you can watch the entire season right now right here and on the IFC app, including this free episode courtesy of Subaru.

But now, let’s take a moment to look back at some of the new classics Fred and Carrie have so thoughtfully bestowed upon us. (We’ll be looking back through tear-blurred eyes, but you do you.)

Couples Dinner

It’s not that being single sucks, it’s that you suck if you’re single.

Cancel it!

A sketch for anyone who has cancelled more appointments than they’ve kept. Which is everyone.

Forgotten America

This one’s a “Serial” killer…everything both right and wrong about true crime podcasts.

Wedding Planners

The only bad wedding is a boring wedding.

Disaster Hut

It’s only the end of the world if your doomsday kit doesn’t include rosé.

Catch up on Portlandia’s final episodes on demand and at

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Your Portlandia Personality Test

The New Portlandia Webseries Is Going Your Way

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Carrie and Fred understand that although we have so much in common, we’re each so beautifully unique and different. To help us navigate those differences, Portlandia has found an easy and honest way to embrace our special selves in the form of a progressive new traffic system: a specific lane for every kind of driver. It’s all in honor of the show’s 8th and final season, and it’s all presented by Subaru.

Ready to find out who you really are? Match your personality to a lane and hop on the expressway to self-understanding.

Lane 10: Trucks Piled With Junk

Your junk is falling out of your trunk. Shake a tail light, people — this lane is for you.

Lane 33: Twins

You’re like a Gemini, but waaaay more pedestrian. Maybe you and a friend just wear the same outfits a lot. Who cares, it’s just twinning enough to make you feel special.

Lane 27: Broken Windows

Bad luck follows you around and everyone knows it. Your proverbial seat is always damp from proverbial rain. Is this the universe telling you to swallow your pride? Yes.

Lane 69: Filthy Cars

You’re all about convenience. Getting your car washed while you drive is a no-brainer.

Lane 43: Newly Divorced Singles

It’s been a while since you’ve driven alone, and you don’t know the rules of the road anymore. What’s too fast? What’s too slow? Are you sending the right signals? Don’t worry, the breakdown lane is nearby if you need it.

Still can’t find a lane to match your personality? Check out all the videos here. And see the final season of Portlandia this spring on IFC.

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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

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