Press +1 Announces Move to THE CANADIAN FILM REVIEW
Toronto, September 1st, 2013 -
In a move that exemplifies commitment to Canadian film, Press +1 Magazine announced that they will be dedicating their online presence to Canadian screen-based productions.
Moving forward in a show of solidarity with The Canadian Screen Awards, The Canadian Film Review will be continuing the online presence established by Press +1 magazine by focusing solely on Canadian Film, Television and Web Series.
Publisher and Editor-in-Chief, Kindah Mardam Bey, says “As much as I have loved showcasing the enormous talent across Canada and across multiple platforms of arts and entertainment, it has become clear to me that unlike any other aspect of Canadian entertainment, our films need dedicated advocates to stand up and commit themselves solely to the Canadian screen based industry, which is exactly what I am doing with the Canadian Film Review.”
What began as a web series showcasing new Canadian Film in 2011, THE CANADIAN FILM REVIEW shone the spotlight on a variety of Canadian film productions such as GOON, TAKE THIS WALTZ and EDWIN BOYD: CITIZEN GANGSTER. To build upon the success of the first season, the “little-show-that-could” made the move to Television audiences in Toronto and area on Rogers TV Cable 10/63 in Toronto/Scarborough on November 6, 2012. The Canadian Film Review television show continued to advocate for Canadian film with industry spotlights featuring media moguls such as ROBERT LANTOS (Serendipity Point Films), interviews with Canadian screen celebrities like JAY BARUCHEL (Goon), JOSHUA JACKSON (One Week, Inescapable) and KRISTIN KREUK (Irvine Welsh’s ECSTASY) and showcase news on emerging talents like TATIANA MASLANY (Picture Day, Cas & Dylan), SARAH GADON (Cosmopolis, A Dangerous Method) and JASON BUXTON (Blackbird). The second season was a resounding success drawing viewers both online and to watch the TV show.
Kindah Mardam Bey sees new challenges for Canadian films, “The old mindset that Canadian films are lacking in some way when compared to other films in other industries is a myth at this point. Being one of the rare people who watch almost every Canadian theatrical release in a year, my informed opinion can easily state that Canadian films are vibrant, challenging, courageous, funny, scary and often poetic that audiences embrace when they see them. As a publisher, web-show Producer and TV show Producer of the Canadian Film Review, I can also say that Canadian audiences are eager to be informed and engaged about their homegrown films.”
Press+1 Magazine has also shown their enthusiasm towards the small screen this year through recaps and articles on ten different Canadian television series with such varied audience appeal as Arctic Air, Mr. D, Orphan Black and Lost Girl.
Press+1 broke new ground with coverage of Web Series, a format fast becoming the future of entertainment and garnering attention through quality writing along with original concepts and content. Working closely with the Bell Media Fund and the Independent Production Fund to showcase series such as Guidestones and the stand-alone hit tween series Ruby Skye, P.I. now headed to CBC this fall, Kindah Mardam Bey’s publications are the frontrunner for covering Canadian Web Series.
The Canadian Film Review will have a brand new online address
Launched in 2007, PRESS+1 now has over 50 journalists from coast to coast submitting daily coverage. It is Canada’s largest independent online entertainment magazine. Publications such as The Globe & Mail, Huffington Post, Calgary Herald and British newspaper The Guardian have recently used PRESS+1 in coverage and as an expert reference based on its original content. www.pressplus1.com
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|REVIEWS - Film Reviews|
|Written by Erin Sneath|
|Friday, 15 February 2013 18:36|
"In any fiction format, the weaker the obstacles, the weaker the character, which is unfortunate because the entire cast is fantastic."
Principle Cast: Maggie Smith, Tom Courtenay, Billy Connolly, Pauline Collins
Release Date: January 1, 2013
Director: Dustin Hoffman
Distributer: BBC Films
Dustin Hoffman's directorial debut, Quartet, is the film adaptation of a stage play by Ronald Harwood. It centres around a group of four opera singers at Beecham House an in-fiction retirement home for musicians. Actually, it is difficult to call most of the residence retired, other than professionally, since they seem to spend the majority of their time making and teaching music. Maggie Smith plays Jean Horton, the newest resident of the home and a soprano who has actually stopped singing altogether since her voice started ageing. Billy Connolly and Pauline Collins play Wilf and Cissy, friends of hers from their days performing together in operas. Tom Courtenay plays Reg Paget, an ex-love of Jean's, who tries his best to avoid her after years of separation.
The residents organize and perform a gala concert together as a fundraiser to keep their beloved home from closing. The premise is perhaps a callback to all those old movie musicals about teens and young adults putting on shows to save their school or rec centre. The four friends have been asked to perform the famous quartet from Rigoletto, a piece that earned them stardom together when they were younger. Jean doesn't want to sing. Most of the drama revolves around the other three trying to convince her, while she tries to convince Reg to forgive her for breaking his heart.
The scenes are beautifully acted and the dialogue is pretty good. Despite the emotional and personal the conflicts get in this story, it becomes obvious too early that the stubborn characters really want to be convinced and give in, and that the characters will soon get along once everyone has explained why they feel how they feel. In effect, there is very little in the way of real tension. The story becomes less about people trying to reconcile their dreams of musical and relationship perfection with the realities of ageing, and more about how the elderly can defy our expectations by maintaining their talents and by continuing to chase love.
The music within the film is as integral as the dialogue. One gets the impression that the original play must have been, perhaps not a musical but part concert in its own right, like the Canadian comedy play Two Pianos Four Hands. Most of the actors, even the minor roles and extras, were (and still are) successful musicians. During the credits, each cast member is shown beside a picture of them working when they were younger. In almost every scene, someone is practising music somewhere, whether in one of the multiple music rooms, their own suites, or outside in the gardens. The music becomes as much a way for them to communicate as speech.
Beecham House seems the ideal place to retire, if it existed. The residents' ailments never seem to inconvenience them for long. It almost makes one wonder why some of them live there at all and not in their own houses. Connolly's Wilf suffered from a stroke long before the story began but it only served to remove his ability to censor himself. Since Wilf is a positive and friendly man, the stroke makes him an incorrigible flirt. Cissy can overcome her occasional bouts of senility by going through her purse and examining her possessions. Not that any of those outcomes are unrealistic, but none of the characters seem to have much to worry about. In any fiction format, the weaker the obstacles, the weaker the character, which is unfortunate because the entire cast is fantastic.
Despite its flaws, Quartet is entertaining, worth eventually renting and watching with dinner and some nice wine. Besides being past their so-called prime, the characters' lives, loves, and enthusiasm for music proves the old theatre adage “the show must go on.”