Adoration

Every character is sympathetic, nobody is good or evil, instead showing everyone as a human being, no matter what our cultural differences are. The compelling performances(Bostick in particular) are slightly offset by an overuse of background music, in addition to the slightly non-linear structure taking some time to get used to. Despite the background music occasionally distracting from what's in front of you, Adoration is a compelling film, not just as a character study, but as an experience many will be familiar with.

People like me have come to expect thoughtful pieces of celluloid from filmmakers like Egoyan and he delivers once again, even with the film's minor technical flaws.

Atom Egoyan is a very skilled filmmaker that is exploiting a stereotype of the older white person's racism against a Lebanese son in law. Old white people are easy to pick on, Hollywood routinely allows this because there is little criticism generated from it. Does that mean this is right? I don't think so.

The film implies that a group of people (older white people) are "monsters." Maybe Atom has experienced racism from white people because of his Egyptian father, I get the feeling that he hates me for being white and 54 years old. I give Atom a 10 for the skill in making this film, he gets a 0 for the subject.

There is not much to say about this convoluted story. Its based on a real event. It relies on lots of talk and minimal action. Atom Egoyan had full control in making this film, from writing to direction. The main pluses are the performances of the principal three of the principal actors. The main negative is the questionable use of "technology", particularly of teenage chat rooms, of older people chat rooms, of video cell phones and so on - the focus of these internet & tech based products is to present talking heads by other means. There is also a violin, which is the one major non-tech focus of the story.

There is no doubt that this film has potential. It has the making of a compelling plot, given its built in twists, turns and periodic surprises. Could it have been presented in a more exciting and direct way? Maybe not given budget considerations, which are so obvious.

At an early point, the movie takes on that feeling of seeming to go on and on and on. But, there is an interesting, underlying story. And Egoyan is a skilled and always worthwhile filmmaker. So, one persists watching, with some judicious use of occasional fast forwarding of the DVD (particularly the seemingly endless, ridiculous multi-channel computer talkfests). The film has craft and is a serious endeavour. But in the end, it is boring. And boring is boring.

As with other films by Egoyan, this one starts with a lot of loose ends that are tied together as the film progresses. The writer/director is fond of moving back and forth in time and balancing multiple plot threads. While it is intriguing, there is a pretentious streak running through it that undermines the narrative. There are too many scenes of characters pontificating in chat rooms and too much focus on technological gadgets. His films don't always succeed, but Egoyan should be applauded for taking chances. There are good performances from Speedman, Bostick, and Egoyan's favorite actress (and wife), Khanjian.

"Adoration" is, at its heart, a coming-of-age story. It's about that time of self-discovery when the question "who am I?" becomes an obsession. But what makes this film so startlingly refreshing is that it also has a classic structure rarely seen in contemporary cinema. The viewer is never quite sure whether or not the images on screen are real or imagined. Think of a chess game where each move prompts you to replay the entire game in your head. Such is the experience of watching "Adoration," brilliantly conceived and executed by writer/director/co-producer Atom Egoyan.

Egoyan is a legend in his adopted country of Canada with dozens of awards and nominations to his credit (1997's "The Sweet Hereafter" earned him Oscar noms for writing and directing). The mere mention of his name widens the eyes of citizens north of the border, as I learned here at the Toronto International Film Festival, where I attended the film's North American Premiere (it debuted at Cannes, where it was nominated for the prestigious Palm D'Or). Locals hold him to a very high standard. For me, I prefer going in cold, knowing as little as possible about a film. Similarly, I won't reveal much about the story here.

After losing his parents under questionable circumstances, Simon (Devon Bostick) is reluctantly being raised by his Uncle Tom (Scott Speedman). Simon's memories of his mother Rachel (Rachel Blanchard), an accomplished violinist, and father Sami (Noam Jenkins) are shrouded in mystery. Enter Simon's teacher Sabine (Arsinée Khanjian), who might be able to help Simon unlock the secrets that are the key to his youthful confusion. What follows is a brain teaser which takes great concentration. The wheels are always turning, and the viewer is constantly challenged to figure out exactly what is real or perceived, and by whom.

The look of the film enhances the mystery inherent in the story. The use of single-point lighting allows shadows to fall upon already-obscure settings. Music is essential to the plot and, as such, Rachel's violin virtuosity is extended to a string soundtrack that is as haunting as the film itself. Paul Sarossy's cinematography is cleverly integrated with composer Mychael Danna's soundtrack, with tracking shots set to music as a visual ballet. Editor Susan Shipton had a tall order working with Egoyan to craft a virtual puzzle in which nothing is at it seems.

Speedman ably plays the father figure who isn't quite ready to take on the task of raising a teen but does so out of loyalty to his late sister. Khanjian's Sabine is simply chilling and central to the power of the film. Blanchard is a joy to watch -- simply an angel on screen (and shot that way, to boot) -- and Jenkins successfully remains an enigmatic personality throughout. But, most of all, this is Bostick's film to carry on his young shoulders. Appearing in almost every scene, it's his curiosity and angst which drive "Adoration," and it's our empathy for him (weren't we all Simon once?) that gives the film its heart and soul. Bostick is one of Canada's most prolific young actors (he co-starred in Citizen Duane, one of my Top Picks from the 2006 festival) and will hopefully be introduced to a wider audience if this film gets the distribution it deserves.

The moment the credits began to roll I wanted to see "Adoration" again. If there were back-to-back screenings I would have remained in my seat. This is the first film in recent memory which has had that effect on me. There's nothing more exciting and intriguing than a film that plays with space and time, where perception matters more than anything else. What we see on screen vs. what is in our heads -- the spaces we fill with our own thoughts -- are artfully juggled by Egoyan and the result is simply a masterpiece.