The Toronto Worldwide Movie Competition has at all times been often called a lot for its amount as its high quality. Tons of of films from around the globe display screen right here each September, crammed tight like sardines into an 11-day schedule, some yanked from the main fests that fall earlier than it on the calendar. However in 2017, TIFF appears to have taken a cue from certainly one of its particular shows, Alexander Payne’s incredible-shrinking-man comedy Downsizing. Which is to say that, in additional methods than one, North America’s largest movie competition bought smaller this yr. There are fewer motion pictures (320, down from 400 final yr), fewer venues to see these motion pictures at (neither the Isabel Bader Theatre nor the Scorching Docs Ted Rogers Cinema host the competition anymore), and fewer packages (yours actually mourns the demise of Vanguard, which launched such current A.V. Membership favorites as The Duke Of Burgundy, The Blackcoat’s Daughter, and Colossal). The general purpose appears to be a extra manageable competition expertise for all. Name it addition by subtraction.
In fact, for critics and journalists, masking TIFF comprehensively remains to be a pipe dream. The organizers might minimize the lineup in half and it will nonetheless be unimaginable to see every part. The A.V. Membership actually gained’t be masking all of it, however we’ll try, as at all times, to supply reactions to the flicks that matter, from the large award-season hopefuls to the art-house gems that put the worldwide into this worldwide competition. For the fourth yr in a row, I’ve decamped with Ignatiy Vishnevetsky to Canada, the place we’ve taken up momentary residence in a comfy Airbnb conveniently situated simply down the road from the Scotiabank Theatre, the place many of the press and trade screenings are held. Our normal routine hasn’t modified a lot, however our plan of assault has: As a substitute of the every day roundups we’re written in earlier years, we’ll be knocking out shorter however extra frequent dispatches, with fast ideas on particular person movies we’ve simply watched and the occasional pairing of titles. They’ll run periodically from now till subsequent Thursday.
One factor that apparently hasn’t modified at TIFF is the competition’s unusual dedication to programming a complete mediocrity as its opening-night choice. Within the grand custom of Demolition, The Magnificent Seven, and The Choose comes Borg/McEnroe (Grade: C), an overwrought sports activities drama concerning the apparently well-known 1980 Wimbledon match between two execs with very completely different public personalities. On one aspect of the online is Björn Borg (Sverrir Gudnason), Swedish world No. 1 celebrity, regarded not simply as top-of-the-line gamers on the earth but in addition a “gentleman” of the game, resulting from his unflappability on and off the court docket. On the opposite aspect is his fiercest competitors, brash New Yorker John McEnroe (Shia LaBeouf), extensively detested for his behavior of continually shedding his mood and cursing at spectators throughout matches. In each type of play and temperament, they have been close to opposites, which solely fueled the media frenzy round their impending showdown.
That is truly certainly one of two movies taking part in at TIFF this yr a few real-life tennis rivalry; Battle Of The Sexes, which screens in a couple of days, tackles the titular grudge match between champ Billie Jean King and retired participant Bobby Riggs, who organized the entire occasion as his means of proving to the world that ladies didn’t belong within the sport. Borg/McEnroe doesn’t possess that form of dramatic hook—there’s nothing ideologically at stake, until one fervently believes that potty-mouths don’t have any place in tennis—so the movie is compelled to focus extra on the gamers themselves. Screenwriter Ronnie Sandahl’s working idea is (get this) that the 2 have been extra alike than completely different: Laborious origin-story flashbacks to Borg’s youth as a hotheaded prodigy point out that his well-known composure was one thing he rigorously cultivated over time (“By no means present one other emotion once more,” his coach, performed by Stellan Skarsgård, considerably unbelievably tells him), whereas scenes behind closed doorways display how McEnroe’s brief fuse was extra technique than impulse. However this two-sides-of-the-same-coin dichotomy is about as deep because the psychology runs.
Assumedly conscious that he’s making a film about one of many much less inherently cinematic of sporting occasions, director Janus Metz compensates with a number of bombastic, jittery type, amplifying the crunch of flashbulbs to a deafening roar, restlessly skittering his digital camera round, typically taking notes from Ron Howard’s Rush playbook. However there’s not a number of suspense about the place the film may go, even for the uninitiated, as a result of the out-of-order opening scene blatantly establishes that Wimbledon will come down to those two contenders (lest one worry they must pay any consideration to any of the matches main as much as the finals). This flash-forward opening additionally labors onerous to melodramatically inflate the significance of each the sport and this particular person rivalry; for as a lot as Borg/McEnroe makes tennis gamers appear to be neurotic, joyless psychos, it additionally comes near depicting them as demigods on the court docket. It’s a sports activities film for masochistic, vainglorious athletes. For the remainder of us, the movie’s minor pleasures lie virtually solely in LaBeouf’s willingness to lean into his personal dangerous popularity. Like Lars Von Trier and Andrea Arnold earlier than him, Metz harnesses Shia’s assholery as a substitute of attempting to disguise it.