40. MILLERS IN MARRIAGE Upon completion of Millers in Marriage, I'm still not sure what the point of it all was. My best guess is a portrait of people trying to handle unhappy marriages. If that is indeed the case, the execution is piss poor. I'm talking “Hallmark movie on the high end, generic commercial on the low end” quality. The fact this film got the cast it did - likely attributed to director Edward Burns - is astonishing because every single one of them deserves better than this joke of a film. Also, light every copy of that piano score on fire.

39. REZ BALL For a film about basketball, it’s the sporting elements that fail Rez Ball. The in-game action lacks gritty intensity, so they come across more like a glossy High School Musical scene over something with the weight the story requires. In fact, the film as a whole feels very Disney Channel Original Movie, from the performances to the look and feel. When it delves into the Navajo culture and its people, the film is at its strongest, but those moments happen too infrequently. The focus here is basketball, and when you can’t equal your contemporaries, let alone surpass them on that front, that’s a problem.

38. THE SHROUDS Although I respect the man's work, I haven't been enamoured with a David Cronenberg film in a minute. Sadly, The Shrouds does nothing to change that. This is my least favourite offering of his in a while, in fact. A dialogue-driven film with poor and unnatural dialogue, the interesting story tidbits Cronenberg offers are quickly extinguished by underwhelming performances (Vincent Cassel has painfully low energy). Even the body horror and copious amounts of nudity feel disingenuous. I’ve seen many films about grief, but The Shrouds is one of the few to make me grieve my decision to watch it.

37. CAN I GET A WITNESS? I’m not being hyperbolic when I say the concept of Can I Get a Witness? is excellent. A live-action animated hybrid about a world devoid of electricity, where people are only allowed to live until the age of 50, is fascinating. Unfortunately, the film completely wastes that concept by delivering a meandering plot without anything interesting to say until halfway through the film, at which point I'd already checked out. Even the animation is sorely underused, making me question the decision to include it. An idea this cool shouldn’t lead to a film so boring. It’s easily one of my bigger disappointments at the festival.

36. THE CUT

There are some serious real-life dangers to cutting weight, so I was looking forward to seeing The Cut dive into the concept. Well… it doesn't. Instead, you get a relatively generic boxing film with very little boxing. That may not be the worst thing, though, as the limited in-ring sequences don’t offer much in the way of excitement, nor does Orlando Bloom's unnamed character’s backstory. Bloom does his best with the material given (as does John Turturro), but it’s never particularly engaging and is instantly forgettable. Films like The Fire Inside show that you can still make a great boxing film. This isn’t one of them.

35. OH, CANADA I keep giving modern Paul Schrader films a chance, but it seems his work just isn't for me. In fact, Oh, Canada may just be my least favourite yet. Although it's nice to see Richard Gere back on screen, and he's quite good in the film, Schrader has crafted something fairly boring, and every extra flourish he attempts in order to enhance things falls flat. Whether it's playing with timelines or colours (the black & white shots lack any vibrancy), I found myself waiting for the end, and even that wasn't very satisfying. I think Schrader may have run out of chances.

34. ELTON JOHN: NEVER TOO LATE

There is so much to mine from the storied career of Elton John, so, surely, it would make for a good documentary, right? Not really. Not quite a career retrospective, and not quite an in-depth look at the lead up to his retirement, Never Too Late can't decide which story to tell. Scattershot bits and pieces of John's career (including flashbacks told through animation) are mixed with a rushed lead-up into his final touring performance to create a film that fails to satisfy on all fronts. This should’ve acted as a farewell to an iconic career, instead it’s just a big disappointment.

33. THE QUIET ONES The Quiet Ones, based on the largest robbery in Denmark's history, handles the heist elements with the level of high-octane, immersiveness that you'd hope. It has a realism similar to last year's How to Blow Up a Pipeline. Unlike that film, however, director Frederik Louis Hviid fails to get you invested in either the characters or the planning process, which makes for an opening hour without much tension. It also doesn't help matters that the motivations for the heist itself are murky at best. Unfortunately, one scene does not make a film, but it IS enough to bump up the rating a bit.

32. RIFF RAFF

Riff Raff is a little all over the place. It gets off to a weak start, then settles in nicely once the characters' motivations are clear. Then it goes off the rails. It's very hit or miss in everything from the jokes to the performances. After hearing Bill Murray was a late replacement for his character, I can only wonder how the film would've originally been because he is the clear highlight. He chews on his fun, villainous role while other characters have a tendency to become annoying. For an indie comedy with this cast, I'm sure you could do worse, but you can certainly do better.

31. PIECE BY PIECE

I love big swings, and the idea of doing an entire documentary in LEGO form is a BIG swing. Unfortunately, Piece by Piece never does anything to justify the gimmick. Much like the music in the film, the LEGO aspect feels like it's only there to distract from the fact that this is a VERY surface-level biopic. Anything serious or contentious is barely mentioned in passing, so it all comes across as a little shallow. I’m sure Pharrell Williams has an interesting story to tell; hopefully, he’s ready to tell it someday.

30. SHARP CORNER

Although it’s nice to see Ben Foster playing against type, Sharp Corner leaves much to be desired. You can tell it was originally a short story because its thin premise is stretched out to a near two-hour runtime filled with tons of build-up that culminates in a rushed and disappointing final ten minutes. Foster does well to keep you interested up to that point, but when all is said and done, I just felt deflated. The story either needed to be adapted into a short film or a really expanded and fleshed-out mini-series. As currently constituted, it misses the mark.

29. NUTCRACKERS

You've seen this story before: the reluctant father figure who comes into guardianship only to re-evaluate his life. In fact, story aside, Nutcrackers feels like a film from a bygone era, the mid ‘90s to early 2000s boom of family films. What gives it a slight edge are the child performers (all real-life siblings). They are quite good, bringing an authenticity that helps the film land emotionally. It's incredibly predictable and fairly unoriginal, but at the very least, it's a feel-good film that'll bring a smile to your face. You could do worse.

28. RELAY

Relay feels straight out of the 90s. Like, I can picture reruns of this film playing on TBS growing up. That's not a knock, either. The movie is specifically meant as an homage, so it succeeds on that front. It's the required intensity that is absent. That's not Riz Ahmed’s and Lily James’ fault, both of whom provide solid performances and great chemistry. It's the pacing and overall feel of the film; it's just a little on the forgettable side. With the rerun era essentially obsolete, Relay won't have the same chance as its predecessors, but perhaps it finds a home on streaming.

27. BABYGIRL

No doubt a very sexually driven film, there's something missing from Babygirl. Both Nicole Kidman and Harris Dickinson bring great performances to the screen – as does the glue of the film, Antonio Banderas – so it's not the cast. So the problem must be in the direction. Whether it's the cheesy, too-on-the-nose musical montages or the hints of unintentional camp, there are flaws that really took me out of the film. I will give credit where it's due, though: director Halina Reijn handles the sexuality with a maturity few would, and she deserves to be commended for that.

26. BIRD

The circumstances and events surrounding Bailey's (Nykiya Adams) upbringing is far from your typical coming-of-age story. In spite of that, something about Bird feels typical, and my investment levels were diminished because of the story’s focus on too many threads. Also, not that there are any issues with the cast, per se, but the film takes a big upturn whenever Barry Keoghan is on screen. He brings a magnetism unlike anyone else in the film, and more of his character (and the father/daughter story) would have been welcome. Still a worthwhile watch, but with a more deliberate focus, things could have been much improved.

25. RUMOURS

As far as political satires go, Rumours is among my favourite, conceptually speaking. The directing team of Guy Maddin, Evan Johnson, and Galen Johnson fill the opening hour with clever jokes and visual gags, all of which is brought to life via a very solid ensemble, highlighted by Roy Dupuis (pure coincidence he plays the Canadian Prime Minister). However, after that first hour, things run out of steam as the clever intricacies are replaced by a more ridiculous tone. Although this worked for a film like Triangle of Sadness (which, coincidentally, also features Zlatko Buric), it works against things here.

24. PRESENCE

Presence is one of Steven Soderbergh's most ambitious films in years. Relying on a first-person shooting approach and continuous single shots could have felt gimmicky, but the director deserves credit for making sure it never does. Unfortunately, for a film this style to work best, you need crisp dialogue, and what we get ranges from natural (almost exclusively Chris Sullivan's lines) to inadvertently laughable. It certainly hurts the film, but if you can get past it, there IS an interesting story to be found. I respect what Soderbergh attempted, but it’s not without its challenges. That said, it will stick with me for a while.

23. DEAD MAIL

Dead Mail is exactly what you should be looking for from an indie horror. It’s got a grainy shooting style that gives a grimy feel on top of an engaging story to work with. The reason it works as well as it does, however, is the traumatized performance from John Fleck. Although Trent (Fleck) begins with sympathetic motivations, he soon turns sinister, and his descent into madness is the highlight of the film. Sure, you could shave a little off the runtime (there's a bit of a drag in the middle), so Dead Mail feels destined for Shudder. I expect it’ll do well there.

22. MR. K

With the major names both in front of and behind the camera at this year's TIFF, it would be easy to miss Mr. K, but you shouldn't. This surreal tale of a man trapped in a hotel feels as if it were perfectly made for Crispin Glover and no one else. Director Tallulah H. Schwab and cinematographer Frank Griebe have brought forth one of the most visually appealing films of this year's festival, with an interesting story to match. With shades of The Brothers Grimm, this pseudo-fairytale is bound to surprise people with its overall wonder.

21. QUEER

Luca Guadagnino's latest film, Queer, is a trip in every sense of the word. A film that had me hooked and lost me completely on multiple occasions, this is definitely not what I expected. Gone are the awards hopes for Daniel Craig – he's EXCELLENT here, it's just not that kind of film – since Guadagnino's decision to abandon the more traditional love story he sets up does more harm than good. As the story goes on, what was once cohesive becomes confusing and unfocused. Maybe the film is better on rewatch, knowing the story path, but that should never be part of the watch requirements.

20. EMILIA PÉREZ

There will deservedly be a lot of awards chatter for the women of Emilia Pérez, particularly Zoe Saldana and Karla Sofía Gascón. The film itself, on the other hand, is kind of flawed. The musical numbers are very traditional (for the most part), and they don't really do anything to greatly enhance the story. In fact, I think you could watch a version of Pérez with all of them cut out and still be able to follow everything. That can only be viewed as a flaw. So, although you get the aforementioned performances and a twisty story, temper your expectations.

19. THE LAST SHOWGIRL

It’s clear The Last Showgirl was a labour of love for all involved, but for Pamela Anderson, in particular. Never accused of being a tremendous actress, she's great in a role that feels as if it was tailor-made for her. It's likely the best way to cap off her unique career too. She's also joined by a great supporting cast, so the acting is not the problem here. The issue is the story structure. Everything is a bit messy, and a few of the supporting characters could have used more fleshing out. Also, for a story about finality, the end should've landed better.

18. SKETCH

Director Seth Worley describes Sketch as “Inside Out meets Jurassic Park,” which is a pretty accurate description, although I may sprinkle a little Honey, I Shrunk the Kids and Jumanji in there too. Either way, this is a fun children’s adventure with delightful visual effects, an entertaining cast of youngsters (they can get a tad annoying at times, but that just means it’s authentic), and some solid messaging. I could see this becoming required viewing for families looking for help during the necessary but difficult conversations with their children, and for that alone, I think the film succeeds.

17. SHELL

Truth be told, I've never been a fan of Elisabeth Moss. I just don't usually connect with her roles. With Shell, that's not the case. Moss gives a performance that is both vulnerable and empowering while also balancing the film’s humour. That balance is needed because the humour permeates the entire film and is the main reason Shell is as enjoyable as it is. Things get progressively more ridiculous as the plot builds, and it finds itself on shaky footing for a bit, but because the entire cast buys in, you will as well. Based on my audience, this is sure to be a crowd pleaser.

16. PAYING FOR IT

Truth be told, Paying for It was only on my radar due to the involvement of Andrea Werhun (Modern Whore, Last Night at the Strip Club). Having said that, I am thoroughly impressed with how good it turned out to be. The story is an unflinching portrait of the evolution of relationships as told by Sonny (a fictionalized version of director Sook-Yin Lee) and Chester (Dan Beirne bursting at the seams with Rick Moranis energy). There's comedy, there's cringe, and there's a lot to be said about what we'll do in our search for love (or its alternatives). A true hidden gem.

15. HERETIC

I believe your enjoyment of Heretic will be closely linked with how religious you happen to be. Right off the top, the film unabashedly dissects religion as it attempts to challenge or affect not just the characters, but the viewer. Had this been the entire movie, my rating would have gone up a reel. Also, Hugh Grant is devilishly good, which is why the opening act works as well as it does. It’s when the film devolves into more traditional horror that it doesn't work quite as well. It’s still a very good, enjoyable film, but it can’t quite keep its early momentum.

14. FLOW

Flow has a lot to say without uttering a single word. This wonderfully animated film follows the journey of Cat and other wildlife as they navigate their way through the flooding of their home. Although there are no human characters, the themes of class, family, and isolation are all prevalent, which leaves a lot of aspects to relate to. Even if you take away that depth, you’re still left with a very cute film about animals (with tons of personality) coming together in the face of disaster. Just like the best animated films, this one is bound to appeal to children and adults alike.

13. THE LUCKIEST MAN IN AMERICA

If you're yet to be convinced that Paul Walter Hauser deserves more leading roles, The Luckiest Man in America is here to change your mind. This throwback true story of Michael Larson (Hauser) and the Press Your Luck scandal peeks behind the curtain of the events to keep the uninitiated wondering what will happen next. Director Samir Oliveros transports you back to the 80s with a tight story and vibrant colour palette that makes you feel like you are in the studio audience. No bells and whistles, just an honest approach to the story, which is precisely what Luckiest Man calls for.

12. EDEN

The true story of Eden takes a little while to get going, but once it does (coincidentally once Ana de Armas shows up?), it settles into quite an engaging picture. The film isn’t what you’d expect from director Ron Howard, but that’s part of its intrigue. The cast (again, highlighted by de Armas) understand their assignments, preventing the material from becoming too campy. There are laughs (I’d have liked a touch more comedy, though), but they’re well balanced in a story about humanity and survival. I, for one, would welcome Howard going this direction more often.

11. THE FIRE INSIDE

The Fire Inside is a typical sports biopic (albeit with above average cinematography) until it becomes so much more. It’s about the struggle female athletes have to manage alongside their male counterparts. It’s about self worth. It’s about another great supporting turn from Bryan Tyree Henry (it’s about time someone lets this man lead his own film). That said, it’s newcomer Ryan Destiny who truly takes center stage, telling Claressa Shields’ story with authenticity and poise. It seems director Rachel Morrison’s career change was a good call (originally a cinematographer) because The Fire Inside surpassed all expectations.

10. THE ORDER

The Order is a feature that works because it checks all the filmmaking boxes. Nothing is flashy, it’s all just really solid. From the simple-yet-affecting score to the airtight performances, there is a real lived-in quality to this film. The action sequences are deliberate (though a little too limited), while the actions and motivations of “The Order” feel quite timely in our current climate. It’s not a horror film, but the implications of the events are quite terrifying, which only adds to the authenticity of everything. The Order is a no-nonsense police procedural, and it’s among the better ones we’ve seen in quite some time.

9. SATURDAY NIGHT

All credit to director Jason Reitman for even attempting to bring the mayhem of SNL‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness.

8. THE ASSESSMENT 

The Assessment is so much weirder than I ever could have imagined... in a good way, though. This science fiction story reminded me of Biosphere with its unexpected story turns and surprising humour. The trio of Elizabeth Olsen, Alicia Vikander, and Himesh Patel completely buy in to the unique concept, and it's the reason the film works as well as it does. Patel, in particular, is the glue that holds this thing together, and it’s one of his strongest performances to date. Fair warning: the less you know about this one going in, the better.

7. ANORA

I'm not sure exactly what I was expecting Anora to be, but it certainly wasn't what I got. Director Sean Baker offers up a film a lot more zany than I'd assumed going in, and it works in the film’s favour. Mikey Madison (Ani) is bound to receive overwhelming critical acclaim for her lead performance, but it's the way Baker surrounds her with rich side characters that really fills out the story. There is a bit of a pacing issue in the middle that slows momentum, but the final 20 minutes (including a poignant closing shot) refreshes any good will that was lost.

6. THE PIANO LESSON

What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers, Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue!

5. THE WILD ROBOT

Sure, the trailers made The Wild Robot look visually stunning, but they did nothing for me story-wise. I certainly wasn't expecting it to be the best DreamWorks Animation effort in 20 years, but that's exactly what it is. The breathtaking animation pairs wonderfully with Lupita Nyong’o's vocal performance as Roz. Part Baymax, part droid, Roz is one of the richer animated characters we've seen in some time. Much like DreamWorks' Shrek franchise, she is surrounded with instantly memorable and funny side characters. For a film about coming together and forming unlikely friendships, this is crucial to make the story work, and it does so in spades.

4. BETTER MAN

I’ve long been a fan of Robbie Williams, so perhaps I enjoyed Better Man as much as I did because of my familiarity with everything. But, honestly, I just think it’s a great film. Whether it’s the stylistic decisions that realistically shouldn’t work but do, or the spectacle of all the musical numbers, everything succeeds because of Robbie. A supremely creative (and narcissistic) showman, the man shies away from nothing to tell his story, demons and all. It makes for a refreshing and relatable examination. I was thrilled, I was moved, and as Robbie would have wanted, I was entertained. Give this one a shot.

3. THE LIFE OF CHUCK

When you hear the names Mike Flanagan and Stephen King, you’re likely expecting a horror film, but you’d be mistaken with The Life of Chuck. Among Flanagan’s best works, I’m not sure I’ve seen a film look at death and mortality through as beautiful a lens as this film does. I could break down the technical specs (no complaints) and the performances (once again, no complaints), but it’s really about the purity of the film. There are multiple dance numbers, dark comedy, and apocalyptic dread, but Flanagan never loses sight of the hopeful message he wants to send. I wish all films were this sincere.

2. THE SUBSTANCE

The Substance is the latest film from director David Cronen... Psych! This feature is directed by Coralie Fargeat, and although there certainly is a Cronenberg feel at times, she makes it all her own. Exploring themes of mortality, self-confidence, and desperation, Fargeat tells a story that’s surprisingly relatable. Demi Moore is given a chance to strut her stuff for the first time in years, while Margaret Qualley lives up to exactly what her character needed to be. As for the body horror aspects, this still would have been a good movie without it, but it takes things to another level in the most wonderful ways.

1. CONCLAVE

I'm not particularly religious, so the concept of the conclave was foreign to me. That said, director Edward Berger instantly sucked me into this process and the tension surrounding the decision. This is high-concept drama told by highly acclaimed actors. The always reliable Ralph Fiennes, in particular, gives one of the best performances of his career, but it's the sum of Conclave's parts that truly makes it shine. Whether it's the sound design and score, the beautiful yet simplistic visuals, or the overall tone of the film, it all amounts to a well-oiled machine I could have spent another hour with.