INTERVIEW WITH THE VAMPIRE: SEASON ONE Starring: Jacob Anderson, Sam Reid, Eric Bogosian, Bailey Bass, and Assad Zaman Creator: Rolin Jones QUENTIN As a person who only knows the story from the 1994 movie (i.e., I haven't read the book), Interview with the Vampire works on almost all fronts, particularly as a less campy, grown-up version of True Blood . The performances (Sam Reid as Lestat, especially), lavish set design, and gothic atmosphere create a fun and engaging tale about love and immortality, while also exploring themes of race, sexuality, and certain power dynamics. There are a few moments when an episode might drag a bit, but it’s so beautifully put together, it’s hardly noticeable. It’s certainly one of the better new shows of 2022.

Previous Next October 12, 2023 WRITTEN BY: QUENTIN I’m not going to lie to you. Even as a person who tracks these things, I had never heard of Zurich Film Festival until about two weeks ago. For whatever reason, it just doesn’t get anywhere near the same press coverage as the other festivals, which is wild because its lineup was on par with all the major fests, including screenings for Maestro , Poor Things , May December , and Priscilla (as well as some other major titles you’ll see below). So, considering my late awareness of its existence, the fact that I just spent ten days at Venice Film Festival (making it hard to travel for another full week), and the number of movies on the Zurich slate that I had already seen, I was only able to make it to Zurich Film Festival for its final weekend. However, despite the quick turnaround, I still was able to view seven movies, nearly all of which were anticipated titles that didn’t screen at Venice. As for the festival itself? It was leaps and bounds better than Venice. The city was better, the logistical aspects of the festival were better, the people were nicer, and it was just more accessible. My hope is that next year, I’ll make it to Cannes Film Festival for the first time, but if that doesn’t come to fruition, Zurich should by no means be considered a consolation prize. It just might be the best film festival I’ve attended in person so far. Now, let’s talk about those movies…. 7. MEMORY With this being one of the few films I missed in Venice, I was happy to get a second chance at it in Zurich. Sadly, I learned that I didn’t actually miss anything worthwhile. Sure, it has decent performances from Jessica Chastain and Peter Sarsgaard (the latter of which won Best Actor in Venice somehow), but neither are performing at the top of their game. Most importantly, though, the story sets up several fascinating pathways for it to explore, but then never follows through. In fact, it leaves so many intriguing plot threads dangling that one must wonder if this final product is the director’s true vision, or if the studio made cuts to remove some potentially controversial story beats. 6. EILEEN Despite tremendous era-specific production design and terrific performances from Anne Hathaway and especially Thomasin McKenzie (with a great Boston accent), this slow-burning, twisty, coming-of-age thriller is just a tad too slow for its own good, while also featuring a third act that almost feels as if it’s from a completely different movie. Still though, at only 96 minutes, the chemistry and psychosexual tension between Hathaway and McKenzie, not to mention a great supporting turn from Shea Whigham, are more than enough to keep viewers mostly engaged until the end. 5. DUMB MONEY When one considers how recent the events of Dumb Money are, as well as the film’s very surface-level exploration of said events, it almost feels like the team behind this movie were in such a hurry to push it out to theaters before people forgot about the GameStop short squeeze that they weren’t terribly focused on making it interesting. Yeah, it’s shiny, features an all-star cast, and has a bangin’ soundtrack, but the characters aren’t really developed at all. They are essentially NPCs, only there to navigate the viewer through the highlights of this topic’s Wikipedia page. Overall, this feels like algorithmic filmmaking at its most money-grabbing. 4. KILLERS OF THE FLOWER MOON Look, I’m as surprised as you are. Going into the festival, I fully expected Killers of the Flower Moon to be the easy number one choice, but here we are. Broadly speaking, it features all the things you’d expect from those involved: great cinematography, powerhouse performances, strong themes, important messaging, and interesting directorial flourishes. However, at 3.5 hours, it has massive pacing issues. Some parts are extremely rushed while others are incredibly sluggish, not to mention some questionable editing that makes it hard to recognize over how many years this story takes place. All in all, it’s good, but it’s far from great…and it’s definitely not the masterpiece I heard about coming out of Cannes. 3. SALTBURN Saltburn , writer-director Emerald Fennell’s follow-up to the excellent Promising Young Woman (her feature directorial debut, for which she won Best Original Screenplay), ultimately feels like the result of a filmmaker being given creative control too soon after a breakout. Despite outstanding performances, beautifully shot scenes, and a tremendously engaging setup, the second half simply has too much going on. It’s overstuffed, rushed, and underdeveloped. It’s still very good, mind you, and Fennell is an amazing talent; however, it may have been better as a miniseries in order to flesh out the back end a bit more. Or maybe Fennell just needed someone to give her some honest notes to rein it in a bit. 2. WICKED LITTLE LETTERS If Flower Moon is the festival’s surprise disappointment, Wicked Little Letters is the surprise overachiever. I’ve often been accused of not liking “lady movies,” but this cheeky little gem is raunchily (in language only) delightful. Admittedly, a charmingly crass Jessie Buckley and Olivia Colman simply doing what Olivia Colman does can cover for a lot of flaws, but it’s not like this easy-going mystery has many flaws to begin with. It may feel slight, especially pertaining to the mystery aspect, but it’s an enjoyably simple watch that ultimately entertains. Think of it as the movie version of a good “beach read.” 1. DREAM SCENARIO I know what you’re thinking: “Of course, your top ranked movie is the Nicolas Cage movie.” And, yeah, I get it. That said, I didn’t plan this. I already told you that I fully expected Flower Moon to be here. In any case, Dream Scenario is part absurdist comedy and part surreal horror, which gives Cage multiple opportunities to show his impressive range…and show it he does. He nails what is asked of him on both sides of that coin, while the story delivers timely messages on the consequences of fame and cancel culture, even as it struggles to fill the entire 100-minute runtime adequately. More interestingly, though, it’s an incredibly layered metaphor for the Memeification of Cage, touching on the idea in a more intelligent and cerebral way than The Unbearable Weight of Massive Talent . Photo Credits: Toronto International Film Festival

Previous Next With films like Dumb Money, Pain Hustlers, and more coming out this season, we decided it was a good time to look at other films based on true events. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Films Inspired By A True Story. For inclusion on this list, a film must be focused on an event over a particular individual. This means no biopics. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. TITANIC While the love story and Heart of the Ocean in director James Cameron’s Titanic may not have been based on actual events, the sinking of the RMS Titanic in 1912 by way of an iceberg and hubris obviously was. Although the film contains both historical and fictional aspects, there’s no denying that this Best Picture winner, which won eleven Oscars in total (not to mention being the highest grossing movie of all time for 12 years until it was unseated by Avatar , another Cameron film), has an absolutely stellar production design and a heartbreaking story that is real and memorable. - Paige 4. MONEYBALL This look at the inner workings of a sports franchise both on and off the field is among the best sports films ever made. Led by a star-studded cast, including an Oscar-nominated Brad Pitt, an Oscar-nominated Jonah Hill (in the performance of his career), the late Philip Seymour Hoffman, and a young Chris Pratt, Moneyball examines a moment of significant change in the history of baseball. The introduction of sabermetrics and analytics could easily have been boring, but this film is filled with enough hope, tension, and turmoil to go with the excellent performances throughout. - Nick 3. ALMOST FAMOUS Loosely based on writer-director Cameron Crowe’s own experiences as a teenage writer for Rolling Stone magazine in the 70s, Almost Famous is ultimately the coming-of-age story for multiple characters from different backgrounds, told against the backdrop of a touring rock band. We get to witness young and innocent William (Patrick Fugit), the entire band of Stillwater (but especially lead guitarist Russell (Billy Crudup)), veteran groupie and “Band-Aid” Penny Lane (Oscar-nominated Kate Hudson), and even William’s mother (Oscar-nominated Frances McDormand) find themselves through sex, drugs, and rock ‘n’ roll (in addition to love, friendship, and regret). With a classic rock soundtrack that slaps and a deep ensemble cast, Almost Famous is as charming and heartfelt as it is compellingly irresistible and surprisingly relatable. - Quentin 2. THE SOCIAL NETWORK When you have arguably two of the most well-crafted movie scenes of the 21st century, featuring perfectly cast actors speaking perfectly written dialogue directed by the exact perfect person, it’s no wonder your film tops damn near every list it’s eligible for. The Social Network takes what, on the surface, looks like completely boring subject matter (“really, a Facebook movie??”) and provides a blink-and-you’ll-miss-it paced thrill ride of words too smart for you to not give your full attention to. It’s the same reason why I absolutely loved Sorkin’s ill-fated The Newsroom , except this time, there was no denying his lightning fast quips when he had David Fincher by his side running the ship. - Amarú 1. SAVING PRIVATE RYAN For decades, Saving Private Ryan has been the quintessential war flick for many reasons. Of course, it's an emotional powerhouse featuring some of Steven Spielberg's greatest work behind the camera to date. Also, though, right out of the gate, it is an immersive and stomach-turning film thanks to the hauntingly realistic 24-minute sequence on Omaha Beach. The D-Day sequence is arguably one of the most unforgettable moments in cinematic history, putting us into the terrifying, mud-filled shoes of the soldiers during one of the most devastating battles of all time. But what makes Saving Private Ryan so unforgettable is the humanizing portrait of the soldiers told through a grounded and heartbreaking approach to the reality of war, something that subsequent war films have tried to replicate, but have rarely duplicated. - Adriano HONORABLE MENTIONS FORD V FERRARI ARGO REMEMBER THE TITANS A LEAGUE OF THEIR OWN SPOTLIGHT Photo Credits: Photo 1 - Paramount Pictures; Photo 2, 4 - Sony Pictures Releasing; Photo 3 - Columbia Pictures; Photo 5 - DreamWorks Pictures

THE RIGHTEOUS GEMSTONES: THE FINAL SEASON Starring: Danny McBride, Adam Devine, Edi Patterson, Tony Cavalero, Cassidy Freeman, Gregory Alan Williams, Tim Baltz, John Goodman, Skyler Gisondo, Walton Goggins, Stephen Dorff, Megan Mullally, Michael Rooker, and Seann William Scott Creator: Danny McBride ADRIANO After this season’s premiere became my series favourite, the rest of The Righteous Gemstones' farewell season gives us what we expect from its morally corrupt televangelist family: some of the hardest laughs and most fascinating characters you'll see all year, despite some narrative bumps. What separates this season from the rest of the show is not only its closure (duh), but also how sincere creator Danny McBride was in his last go, giving us a look at what religion can do for people when it's not exploited, making this a very bittersweet and hilarious bon voyage to a very underrated show. KATIE The final season of The Righteous Gemstones solidifies it as one of the funniest, most original shows I’ve seen. The first episode is so good that I’d even recommend it to those who don’t watch the show, and despite a mid-season lull, it finishes off strong with a satisfying, unexpectedly emotional finale. Every cast member is completely dedicated to the show’s ridiculous absurdity, which combined with the Gemstone’s genuine faith and belief, makes everything so much funnier. The sincerity of The Righteous Gemstones is one of the reasons it works so well, and sets it apart from anything else on TV. BODE Since its start in 2019, The Righteous Gemstones has tackled megachurch culture and the hucksters who populate it with the same kind of vulgar humour and sincere pathos that creator / star Danny McBride has been specializing in as far back as Eastbound & Down (still a masterpiece of a sitcom). The show’s final season finds new and absurd ways to double down on both, and its incredible ensemble delivers every moment with full-throated commitment, right down to its bittersweet finale. If there’s any time for the Emmys to get behind this grossly underrated gem in a big way, it’s now. QUENTIN My only real complaint about The Righteous Gemstones ’ final season is, outside of Kelvin’s (Adam DeVine) storyline, there just isn’t much finality. I don’t exactly know how I expected it all to end, but I think I expected more than what I was given. But that is only applicable as far as series finales go because, otherwise, it’s another hilariously raunchy, incredibly dark, and surprisingly heartfelt offering about a ridiculous family that I’ve enjoyed over these past four seasons. Plus, it gave me "Teenjus," “Turn the Other Cheek,” and other gems from Baby Billy (Walton Goggins), so perhaps it gave me everything I needed after all. Check out our reviews for Season Three HERE .

Previous Next October 26, 2023 WRITTEN BY: NICK Although I’ve had the chance to virtually cover this festival in the past, this was my first time attending Toronto After Dark in person. It won’t be my last. The fanbase for this festival is rampant, and it felt like a more controlled Midnight Madness screening at the Toronto International Film Festival. Plus, the Q&As were more fan centric, even featuring some of the participants giving away merchandise from their films. It helped create a very special vibe. Due to time constraints, I was only able to attend the Opening and Closing Night Screenings, but this did allow me to see Late Night with the Devil , which I’d missed at this year’s Fantasia Fest, as well as a strong collection of short films. It was a good time, not a long time… but here is my wrap-up of Toronto After Dark 2023. THE LAST EXIT The Last Exit (aka Little Bone Lodge ) is quite the ride. What starts off feeling like a run-of-the-mill home invasion thriller soon becomes something far more interesting. Director Matthias Hoene isn’t afraid to take big swings, and while they don’t all pay off, the attempts should be commended. The film is more than just the sum of its twists, however, as Joely Richardson and Neil Linpow are the ones who really sell the somewhat convoluted script with honest performances. The Last Exit isn’t without flaws – it’s low on re-watch value and drags a little – but it’s bound to keep your attention. IT'S A WONDERFUL KNIFE No question, there are moments in It’s a Wonderful Knife that work – Justin Long’s over-the-top mayor is ridiculous enough to be funny, for example. However, where the film falters is in its unwillingness to go full spoof. The comedic aspects of the film are its strongest facets, but they’re bogged down by a desire to be taken seriously. You could still have the entertaining horror moments, such as the strobe sequence, and maintain the tone of a parody, but by not going that route, It’s a Wonderful Knife becomes a slightly below average horror flick that feels destined to be forgotten. LATE NIGHT WITH THE DEVIL Late Night with the Devil is an impressive feat. The film not only transports you back in time to the 1970s, but it does so while seamlessly blending its timeline into our actual past. This smart directorial decision makes everything feel authentic to the period. David Dastmalchian plays the host of the proceedings, and he channels the squeaky-clean cheese of yesteryear with an era-perfect performance. You feel as if you’re sitting in the audience of this supposed pivotal moment in time, and it makes for a special theatrical experience. Go out of your way to catch this one when it releases wide. SHORTS Although we only cover feature films and series with our patented bitesize reviews, with a festival like this, it only seems fair that we give somewhat equal time to the 10 short films I was able to check out, just with an even smaller bite… a nibble so to speak… BYE-BYE is a short that feels like a teaser trailer. It’s a nice little snippet of horror, like a nightmare you dozed into. BIRD HOSTAGE is ridiculous in the best way possible. Not quite a horror, this quirky tale of a housesitter and a bird is a good time. Oh, and the bird is voiced by Jay Baruchel. Need I say more? POOL PARTY spends the majority of its runtime setting up a finale that it doesn’t earn. It’s an interesting premise with lacklustre execution. GAMESMANSHIP was a highlight of the short films. It’s a clever premise (which I won’t spoil) that is well executed thanks to some quality humour and effects. I’m glad I got to see this one with an audience. MYSTERY BOX is a poorly acted short that fails to build the suspense it necessitates. Its cliff-hanger conclusion is neither satisfying, nor does it leave any interest in a continuation. FORGOTTEN LAKE feels more like a TV ad or an SNL horror-themed skit than anything that should be taken seriously. That said, it is self-aware, so that isn’t necessarily a bad thing. CAMP doesn’t do anything to make itself stand out; it plays like a singular scene from a movie instead of being a fully fleshed-out idea. DEMON BOX is a documentary about the making of a film, so it’s like watching a film with the director’s commentary on. A personal story for the director, he goes over the reality of growing up a Jewish child who fears Nazis. SOUL PROPRIETOR flips the exorcism trope on its head in this comical short with just enough legs to stretch into a feature. THRIVING: A DISASSOCIATED REVERIE is another winner from the duo of Nicole Bazuin and Andrea Werhun! Much like their prior shorts Modern Whore and Last Night at the Strip Club , this is a well-done character study featuring sharp directorial decisions. Photo Credits: Toronto After Dark

WEREWOLF BY NIGHT Starring: Gael García Bernal, Harriet Sansom Harris, Laura Donnelly, Kirk R. Thatcher, Eugenie Bondurant, Leonardo Nam, Daniel J. Watts, Al Hamacher, and Richard Dixon Director: Michael Giacchino AMARÚ Michael Giacchino is the modern day GOAT composer because he always understands the assignment. His musical ability allows him to be entertaining, ethereal, or epic…or all three at once…and he applies that talent to his directorial debut, Werewolf By Night . Combining a 1940s black-and-white horror aesthetic, schlock and scares reminiscent of Murder By Death , and the MCU’s charming action and comedy stylings, he delivers a deftly sleek hour of entertainment perfectly fit for spooky season. The man. Understood. The assignment. Also, more of Jack (Gael García Bernal) and Ted (Carey Jones), please and thank you. QUENTIN I’m not entirely sure where the disconnect is for me, but I didn’t love Werewolf by Night as much as I loved individual things about it. I dug the “classic monster movie” vibe with the black and white, but that also made the Marvel special lack vibrancy. Some scenes were very muddled and lifeless. Also, the Disney-ness of it all held back the spookiness, and the 53-minute runtime didn’t allow for great character development. That said, I loved the idea behind the show, the music is great, and I’d watch a whole series about Ted (Carey Jones). I dunno, I’m just really torn on this one.

BUPKIS: SEASON ONE Starring: Pete Davidson, Edie Falco, and Joe Pesci Creators: Pete Davidson, Judah Miller, and Dave Sirus QUENTIN If you don’t like Pete Davidson, you probably won’t like Bupkis since he’s literally playing himself…again (he has previously played virtual versions of himself at least twice before). For me, a person who likes-but-doesn’t-love Pete, this show is great. Admittedly, he’s helped quite a bit by the terrific supporting cast and cavalcade of celebrity cameos, but the Louie meets Atlanta approach - which is to say a vibe of introspective surrealism - is one that had me laughing out loud through moments of legitimate depth and empathy. Honestly, I only came for Joe Pesci, but ended up getting one of the year’s best new series. PAIGE Bupkis is a tight-knit eight-episode series lathered with witty writing. It resembles Entourage with a hint of Atlanta , which many will enjoy, but this heightened version of Pete Davidson’s life isn’t anything we haven’t seen before. In fact, it plays very similar to Davidson’s film The King of Staten Island . And while there are a lot of fun cameos and an exceptional supporting cast (including the great Joe Pesci, who came out of flippin’ retirement for this series), it struggles to piece together a consistent tone. JACOB While it might have been improved by being set at a weekly pace as opposed to a binge, there’s little on television right now like Pete Davidson’s semi-irreverent Bupkis . As much about Davidson’s elusively hard-to-pin-down persona as it is a fun hang-out show, the series’ writing demonstrates both his innate comic ability and his skill at navigating subtly dark subject matter. All the supporting players bring their A-game too, but even as Joe Pesci and Bobby Cannavale turn in some of their best character work in a good while, neither bests Edie Falco as Pete Davidson’s mother.

DIGMAN!: SEASON ONE Starring: Andy Samberg, Mitra Jouhari, Tim Robinson, Guz Khan, Dale Soules, Melissa Fumero, and Tim Meadows Creators: Neil Campbell and Andy Samberg QUENTIN Even though it boasts several things that are right up my alley, including an exaggerated Indiana Jones meets National Treasure storyline and Andy Samberg reviving his “In the Cage with Nic Cage” impression, Digman! is a complete misfire. As the exclamation point in the title would suggest, the series operates on the wavelength of “louder is funnier,” which is almost never the case. The animation is eye-catching enough and there are some notable guest stars, but in terms of laughs, Digman! can’t even hold a candle to the mediocrity that is modern-day Family Guy despite the mile-a-minute jokes. Maybe it’s good if you’re on edibles?

Previous Next September 15, 2023 WRITTEN BY: PAIGE For me, the thing I like most about movies is that they allow us to enter a world that isn’t our own, giving us the ability to escape reality while, hopefully, granting us the opportunity to experience something relatable. Truth be told, some of my favorite films are really bizarre, taking a concept to a whole new level and pushing the boundaries of what is “normal.” These types of movies may not be for everyone, but they challenge us as an audience, which means they are worth checking out if you’re seeking a unique cinematic experience because, at the end of the day, life is weird. And weird is good. So, let’s discuss some weird-ass movies! Below is a list of the weirdest, less mainstream films of the 2010s – films that I quite enjoy, and that I highly recommend you check out. PREDESTINATION (2014) Predestination , an ambitious film filled with twists and turns from The Spierig Brothers, is one of those films that will have you thinking about it for days after you watch it. This hidden gem is adapted from Robert Heinlein's short story “— All You Zombies —,” and is probably the film I recommend to people the most if they are looking for a mind-blowing film. Plus, a star was born in the making of this film with Sarah Snook, who delivers a fucking phenomenal performance. In hindsight, it’s such a daring film that wasn’t afraid to execute something wild. I honestly can’t explain much about Predestination without giving away key details, so here is the simplest plot synopsis I can give: it follows a temporal agent who must pursue the one criminal that has eluded him throughout time. Sounds simple, right? Well, I promise you it’s probably one of the most original and thought-provoking movies I’ve ever seen. The joy of this film is in watching it all unfold, so buckle up! Get ready for this time-traveling sci-fi action thriller to blow your mind. COHERENCE (2013) If you want to watch an anxiety-ridden psychological film, then this movie is for you. Coherence is mind-boggling and unsettling mostly because it feels so natural and real, but, at the same time, so bizarre that you’ll be thinking “WTF is happening here?!” It truly feels like you’re stuck in The Twilight Zone in the most intense way possible, and by the end, it will leave you feeling disconnected from reality. Sci-fi thrillers just do “weird” the right way, and this film certainly delivers by leaving you paranoid. This atmospheric mystery follows a group of eight friends at a dinner party on the night of a comet passing over. Strange things begin to unfold as the group experiences a troubling chain of events due to the influence of a passing comet. This low-budget indie is extremely clever and compelling, and I highly recommend not watching this film while stoned. SWISS ARMY MAN (2016) Corpse and man become best friends…weird, right? The thing is… this film is actually kind of beautiful and heartbreaking all at the same time. Directed by Daniel Kwan and Daniel Scheinert (aka Daniels), who just won Best Director for Everything Everywhere All at Once , they manage to use tragedy and humor much like they did in EEAAO to explore deeper aspects of the human experience within ourselves and others. We have all felt lonely in life, and this film brings a fresh take on loneliness. It’s genuinely something special, no matter how offbeat it is, and Swiss Army Man will have you laughing and/or crying throughout. Swiss Army Man follows Hank (Paul Dano), a hopeless man stranded on a deserted island who finds and befriends a dead body (Daniel Radcliffe) that has washed ashore. Together they go on a surreal journey of survival as they try to make their way home. VIVARIUM (2019) Man, the level of weirdness in this film is off the charts. Hints of it feel like a Stanley Kubrick movie, but it’s also a modern-day satire on society's expectations and the commercialized ideas of happiness. Vivarium is such a uniquely bold indie film that it truly taps into the fear and desire of settling down into a suburban lifestyle. This oddity follows a young couple (Jesse Eisenberg and Imogen Poots) looking for the perfect starter home when they meet a strange realtor who takes them to a mysterious housing development. The couple find themselves trapped in a mysterious labyrinthine neighborhood of identical houses and the seemingly endless nightmare maze of life. Will they find their forever home and live happily ever after? Watch the film to find out! THE LOBSTER (2015) Director Yorgos Lanthimos is known for strange and obscure films, and The Lobster is probably the strangest in his filmography. It’s definitely an acquired taste, but it has a few solid themes that are very relatable, including an exploration of the pressures of conformity and the absurdity of dating in the modern era. You can’t go wrong checking out The Lobster , which stars Colin Farrell and Rachel Weisz displaying some awkward energy with their performances. This dark comedy is set in a dystopian society where being single is illegal. It follows David (Farrell), a man who has 45 days to find a romantic partner. If he doesn’t, he will be turned into an animal of his choosing: a lobster, hence the title of the film. THE INVITATION (2015) Directed by the fierce Karyn Kusama, The Invitation is a must watch for all you suspense seekers out there. The tension is crafted so beautifully throughout this film that I promise you it will have your mind racing, making you feel claustrophobic in your own thoughts. While the film has a really weird premise, it’s truly one of the best thrillers I’ve seen in some time. I’m not going to lie, it honestly made me feel like I was going insane, just like our main character, played by Tom Hardy look-alike, Logan Marshall-Green. It will have you on edge throughout. The Invitation follows a man (Marshall-Green) who, out of the blue, receives an invitation to a dinner party hosted by his ex-wife. As one does, he accepts, and through returning to his old home, their unsettling past reopens old wounds and creates new tensions as things just don’t seem right. I mean, just imagine throwing yourself into this weird, weird situation. Would you accept the invite from your ex, or would you decline? Either way, accept your invite to watch this flick ASAP! CREEP (2015) Creep is a must watch for all you weirdos out there. It also happens to be, in my eyes, one of the best Blumhouse films to date, and that is all due to Mark Duplass' wacky performance as Josef. Duplass manages to make all the hair on your arms stand up because of just how creepy he is in this movie. While it’s a disturbing found-footage, psychological thriller, it somehow manages to throw in some humor here and there. The perfect comparison for this flick is The Blair Witch Project meets The Office , and it’s a little indie-minded horror film that is extremely underappreciated. It deserves more love no matter how weird it is. Here's a synopsis: a videographer answers a Craigslist ad to record a dying man’s messages to his unborn son, but the job begins to take a strange turn when the messages get odder and darker. Plus, after giving this one a watch, you can watch the sequel, Creep 2 . COLOSSAL (2016) Who would’ve thought that one of Anne Hathaway’s best performances would be in an underseen movie about her turning into a kaiju. The film we’re talking about here is Colossal , which is a clever and refreshing take on a monster movie. While this indie sci-fi dramedy has such an outrageous concept, it somehow manages to be quite amusing and surprisingly deep too. Overall, although it is a monster movie in the forefront of its heart, it’s about a woman desperately trying to gain control of her life. Colossal follows Gloria (Hathaway), an out-of-work party girl forced to leave her life in New York City and move back home. When sudden reports surface that a giant creature is destroying Seoul, she slowly but surely comes to the realization that she is somehow connected to the phenomenon. I’m telling you, for being such a strange creature flick, Colossal will sell you on its sheer destruction, as well as the emotional beats that Hathaway brings to the table for her character. SORRY TO BOTHER YOU (2018) This film has got to be one of the most bonkers and bizarre movies I’ve ever seen. Sorry to Bother You marks the directorial debut of Boots Riley, who delivers an ambitious AF film. While it’s most definitely weird, it’s also a brilliant social satire on race, class, and corporate greed. This outlandish dark comedy has a very unique voice, and it is one to go into not knowing much about. Along with its refreshing approach, it also has stellar performances from the entire cast, especially from our lead, LaKeith Stanfield. The movie is set in an alternate present-day version of Oakland, where young telemarketer Cassius Green (Stanfield) discovers a magical key to professional success. This ammunition propels him into a universe of greed and corporate conspiracy, which pretty much makes it the woke version of Office Space .

SEVERANCE: SEASON ONE Starring: Adam Scott, John Turturro, Zach Cherry, Britt Lower, Tramell Tillman, Patricia Arquette, Jen Tullock, Dichen Lachman, Michael Chernus, and Christopher Walken Creator: Dan Erickson JACOB Echoing Black Mirror by way of the hit video game Control , creator Dan Erickson’s Severance is a high-wire balancing act of excellence across the board. Its design is minimal but meaningful, as entirely three-dimensional characters navigate its mystery so as to make audiences hang on every moment. Pitch-perfect performances (especially from Adam Scott and John Turturro) utter crisp writing so fine-tuned that the bombshells dropped and cliffhangers presented feel earned every time. Ben Stiller might be an even better director than he is an actor, and Apple TV+ has now fully established itself as an essential streaming service. QUENTIN With its high concept, sharp satire, and puzzle box mystery, I went into every episode of Severance wanting to like it; However, it’s such a slow burn that I was on the verge of giving up almost every week. It just requires so much patience and commitment since it doesn’t really pick up until the seventh episode, which is pretty late in the game for a season with only nine episodes. On the other hand, as soon as I finished the finale, I definitely wanted more. Will I still feel that way when Season Two drops next year? I don’t know if I’m that committed. ADRIANO Severance is just one of those shows that gripped me instantly. Its concept could have easily been way too complicated, yet everything becomes clear pretty quickly. The entire ensemble is fully committed to this puzzle box of a show, and the writers and directors keep the show suspenseful and wholly entertaining. Meanwhile, the score and production values contribute to the creepy and bizarre atmosphere that help carry the story. After each episode, I was desperate to find out what would happen next, and the way the season ends is almost rude because I need Season Two right this second.

Previous Next October 2, 2023 WRITTEN BY: ADRIANO Once again, the Toronto International Film Festival has come and gone. While the energy wasn't as strong this year, probably due to the lack of star power and buzzier titles, likely caused by the ongoing SAG-AFTRA strike and the studios' unwillingness to pay their actors fairly, the lineup was, as always, a nice blend of genre filmmaking, independent discoveries, and international storytelling. Not everything was great…or even good…but there were enough winners to call this another successful TIFF. This year, like the idiot I am, I pushed myself to watch an unhealthy amount of movies in 11 days: 49, to be exact. That may sound insane (because it is), but honestly, until the final days, the hungry cinephile in me couldn't get enough. If you can believe it, there are even some movies I regret missing, such as Ning Hao's The Movie Emperor , Ilker Çatak's The Teacher's Lounge , and Aki Kaurismäki's Fallen Leaves . And I'd be lying if I said I'm not still curious about Harmony Korine's Aggro Dr1ft . But alas, I saw 49, and I'm satisfied with that number. Now that I've had the time to clear my head and properly process everything I saw, here is the ranking of all 49 movies that I saw at TIFF… Also, in case you missed it, check out how Nick ranked the 38 movies he saw at the festival HERE . 49. NYAD On one hand, Nyad did produce some hard laughter; on the other hand, the movie is not supposed to be a comedy. It’s amazing how directors Elizabeth Chai Vasarhelyi and Jimmy Chin direct the film with nothing to offer; however, whenever they try to go outside the box, the decisions are atrocious. Its mix of documentary-style formatting doesn’t work, and the movie doesn't give you anything beyond a feel-good ending. Jodie Foster and Rhys Ifans are good, but wow, Annette Bening is horrendous. Beyond being unintentionally hilarious, Nyad is a massive waste of time. 48. THEY SHOT THE PIANO PLAYER They Shot the Piano Player is just baffling. Giving off the appearance of an animated documentary that features a voice performance from Jeff Goldblum, who sounds like he recorded his lines from bed, Piano Player tells us a lot about the subject while not giving us enough reason to care. While I assume this was intentional, the animation is very clunky, out of sync with the sound and voices, and overall just unappealing. I see the intent with this one, but I found myself way too disinterested. 47. KNOX GOES AWAY I love Michael Keaton, but directing is not his thing. Knox Goes Away takes a somewhat interesting concept and goes nowhere with it. Admittedly, the ending is interesting, but to get there, we have to sit through dull storytelling, weak melodrama, and a very warped interpretation of what Alzheimer’s is. Michael Keaton's (for lack of a better term) Michael Keaton-isms don't work here, which just add to the film's noticeably dour tone. Failing as both a thriller and a character drama, Knox Goes Away doesn't have much, if anything, to offer. 46. PAIN HUSTLERS Pain Hustlers wants to be The Wolf of Wall Street so badly that it forgot to be good…at all. It wants to have it both ways in its approach to the opioid crisis: highlighting the depravity of the people pushing the drugs while also attempting a humanizing character study. Sadly, it fails at both, especially considering how tame the movie really is. In short, it’s too easy. It offers simple answers and takes quick shortcuts in how it handles the subject matter. If you want a good example of style over substance, look no further. 45. ORIGIN There is an old rule in storytelling: Show, don't tell. Origin largely abandons that rule. Instead of delivering what should have been a documentary on the Caste system, writer/director Ava DuVernay opts for an aggressively unsubtle and borderline Hallmark approach to the narrative form. Aunjanue Ellis-Taylor is terrific, and she could gain something from this, but the way in which the message is presented is flatly directed, a structural disaster, and full of moments that are emotionally manipulative. The final thirty minutes, in particular…I'm not gonna lie…were horrendous. I had high hopes for this one, but I was very disappointed. 44. WILDCAT I still don't believe that Wildcat is a movie and not a bizarre fever dream. The way the movie begins, I was into it; however, it collapses from there. Maya Hawke does some heavy lifting, but her father? Not so much. Co-writer/director Ethan Hawke's storytelling abilities reek of pretentiousness without giving reason to care about the subject. On top of that, there are countless baffling creative decisions that had me holding back laughter; not to mention, sadly, a horrible Laura Linney performance. For what it's worth, Wildcat is a very funny movie, but not intentionally. 43. LEE There seems to be this misconception in Hollywood that a movie can coast on just the power of its true story. Lee is another victim of this mentality because, while the story of Lee Miller is interesting, the film does nothing to distinguish itself beyond great performances from Kate Winslet and Andy Samberg. It tries to comment on sexism and war, but that doesn't go anywhere beyond finger-wagging. Motivations aren't entirely clear, and the film falls victim to a bizarre framing device that confuses more than delivers. I'm probably gonna forget Lee very quickly. 42. WORKING CLASS GOES TO HELL To put it bluntly, Working Class Goes to Hell is a disappointing movie. The worst crime a movie can commit is wasting a good concept with mediocrity, which is what is especially done here. As a horror movie, jump scares are present, but it's not fully reliant on them, mostly relying on tension and scary imagery. However, as a social satire, it falls aggressively flat. Its messaging is, at best, agreeable; at worst, oversimplified yet confusing. The decisions made in the end are just baffling too, and interesting political commentaries are not enough to save this from being another spineless horror film. 41. DUMB MONEY It’s not a good sign that my first thought after watching Dumb Money was, “I’ve seen worse.” The story itself is fascinating, and if handled correctly, it could’ve been the funny and entertaining middle finger to Wall Street it aspires to be. Instead, the film overextends itself with needless and underdeveloped subplots that don’t do much to enhance what we know already. With the events of the film happening very recently, the movie’s presentation is way too dull to distinguish itself or justify its existence, making me think it’s going to become irrelevant almost immediately. 40. DICKS: THE MUSICAL I can't remember the last time a movie had me in the palm of its hand then completely lost me by the end. Dicks: The Musical is a film that dials the absurdism up to a thousand and never dials it down. Initially, I loved it. I was laughing a lot while enjoying the musical numbers and just how unapologetically queer the film is. But, eventually, the film’s non-stop insanity just exhausted me. Sadly, there are only so many sex jokes and sewer boys I can take in a minute, let alone 90. 39. GONZO GIRL The pieces are present for Gonzo Girl , but it ultimately falls flat, even if director Patricia Arquette shows loads of potential behind the camera. The film is well shot and the pacing works, but the real highlights are the magnetic performances of Willem Dafoe and Camila Morrone. Both come close to overdoing it, but never cross that line, instead working off each other incredibly. Sadly, the writing is not up to their level, as the movie is mostly just screaming obscenities and cocaine use. It very quickly becomes tiresome and too mean-spirited to enjoy. 38. MOTHER COUCH I'll always respect a movie for taking swings, but Mother Couch misses the mark. While the entire cast delivers great performances, especially Ewan McGregor, its messaging on parenthood and family dynamics are way too obvious to warrant the surrealist rabbit hole the movie chooses to take us down. It attempts to use imagery and just plain weirdness (I still don't really know what Taylor Russell's character was doing) to trick us into thinking the movie is deeper than it actually is, but in the end, it mostly just left me pretty perplexed as to what I just watched. 37. NAGA I understood some of what NAGA was going for, but overall, I left feeling dissatisfied. Writer/director Meshal Aljaser fills the movie with unrelenting tension, and there are moments that genuinely had me at the edge of my seat (Adwa Bader's performance certainly helps). However, as the movie keeps going, it doesn’t feel like it is offering much other than thrills. I didn't like the student film vibe, and while I got the message, the tone didn't feel correct for what it was saying. It's not all bad, but there just wasn’t enough that worked for me. 36. THE END WE START FROM I found myself mostly confused by The End We Start From , and not nearly emotionally invested enough to forgive that. Jodie Comer is fantastic, portraying a tender mother and a fighting survivor with deft nuance. That said, the world-building around her isn't great. I found it hard to wrap my head around what happened in this world to create a borderline dystopian society. On top of that, some of the characterizations felt rushed and unnatural. If you wanna watch The End We Start From for Jodie Comer, go ahead; otherwise, it's skippable. 35. THE QUEEN OF MY DREAMS The Queen of My Dreams is by no means a perfect film. It's a little wonky, structurally speaking, and in the end, it doesn't get at anything deeper than what's on the surface. To make things worse, the subplot about the younger years of our protagonist in the third act is just poorly written. Thankfully, it has a wickedly charming dual lead performance from Amrit Kaur and is a lovely celebration of Pakistani culture and cinema. The film’s familial bond is likely to tug at the heartstrings as well, making this a worthwhile experience overall. 34. HELL OF A SUMMER I'm glad I watched Hell of a Summer with a Midnight Madness crowd because it certainly helped my perception of the movie, especially because time has not treated this movie well. My initial viewing experience was a lot of fun. I laughed a lot, and I thought the slasher aspects were interesting at times. However, the film’s flaws…namely, the weak structure, the shallow Gen-Z commentary, and the way the movie reveals its mystery out of thin air…makes the rest of the movie tensionless, which, in hindsight, has begun to overshadow the fun I had. 33. SLY As a lifelong fan of Sylvester Stallone, it saddens me to say that Sly is predictably self-pandering. I wanted a deeper look at his life, not just his career, but the movie takes most of its runtime to talk about how Stallone created his famous franchises (a lot of the movie is just about Rocky ). As a fan, that's fun, but it's not worth my time when I'm after a little bit more. Not that his personal life isn't touched on at all, but not nearly enough to be insightful. Is it an easy watch? Absolutely. Will I watch it again, though? Probably not. 32. ROBOT DREAMS There is something to admire about the simple existence of Robot Dreams . An animated movie about the friendship between a robot and a dog that is told entirely with no dialogue feels like a relic of the past, and yet here it is. The animation is colourful and enticing throughout, while the themes of loneliness and the human desire to reach out make for an endearing watch. Unfortunately, while the movie feels like a short film stretched to feature length due to increasingly repetitive subplots that could have easily been removed, the final scene alone makes the experience worth it. 31. FINGERNAILS Fingernails has a great premise, but the film never lives up to it. A good chunk of the movie is fleshing out the central idea regarding this test that can calculate love, and because it spends so much time on that, the broader implications of what writer/director Christos Nikou is trying to say about the human desire to feel loved falls through the cracks. Not that this is a bad movie, as Jessie Buckley is as excellent as always and the ideas presented are good ones, but I wish it offered something more. 30. LES INDÉSIRABLES Look, director/co-writer Ladj Ly's intentions for Les Indésirables are clear. It's a very well-made criticism of France's racial inequality and displacement system that can feel riveting at times. However, at a point, Ly's obvious anger felt more like we were being shouted at. There isn’t enough to sink your teeth into as the point comes across fairly quickly; then there is another hour left, ultimately leaving you with a harrowing yet repetitive film. It's unfortunately the kind of film that is less interested in teaching and more in getting a reaction. 29. NEXT GOAL WINS After years of delays, I've finally seen Next Goal Wins and...it's solid, I guess. If you're not into co-writer/director Taika Watiti's sense of humour, this isn't gonna change your mind; however, as someone who is into his style, I found the film quite funny. As a crowd pleaser, Next Goal Wins works, and the film boasts a funny cast, led by an amazing Michael Fassbender, but the writing is quite weak in terms of characterization and story structure. Plus, its portrayal of American Samoa as careless goofballs is a little reckless. Although it's a good time, it’s not necessary viewing. 28. FRYBREAD FACE AND ME Culture and family play a big part in Frybread Face and Me , but the movie doesn't offer enough beyond that to make the experience worthwhile. It's not bad, though. Its look at Navajo-American life is compelling as we learn about their culture, while the family dynamic can be endearing, if not a little confused at times in terms of how we're supposed to feel about the relationship. However, as a coming-of-age comedy, it doesn't really land. The jokes miss a lot, the pacing is off, and the ensemble gives mixed results. Overall, it’s not something I'd ever return to. 27. FITTING IN Fitting In is, at worst, a well-intentioned film that just misses the mark in its execution. The film's strongest asset has got to be Maddie Ziegler, whose raw and authentic performance gives the film and subject the realism it requires. Not that director/writer Molly McGlynn didn’t do that, as the tragicomedy tone worked for the film, but its wonky set up and underdeveloped subplots leave a lot to be desired. That all said, I do believe this film is successful at examining the insecurities of young women in an entertaining and unique coming-of-age way. 26. A DIFFICULT YEAR There is a great movie hidden in A Difficult Year . It’s admittedly hilarious at times, and the performances by Pio Marmaï, Jonathan Cohen, and especially Noémie Merlant are compelling, which almost drives the film to reach its potential. However, the film is lacking in some key areas. The political message of faux activism is very shallow, and it doesn’t make any observations beyond 'it's bad.’ Plus, the characters are one-dimensional, and the plot is way too thin to feel any of the emotional stakes that we are supposed to feel. I would’ve loved to see a better movie with this concept. 25. LA CHIMERA La Chimera has a lot boiling underneath that sadly never reaches the surface, but it still features more than enough to make up for it. The ensemble works wonders, namely the film's lead, Josh O’Connor, whose grit makes him hard to look away from. Alice Rohrwacher’s direction makes the film engaging too, as does the picturesque portrait of the Italian countryside from cinematographer Hélène Louvart. Unfortunately, the crime aspect of the film and its deeper implications don’t result in anything larger than seemingly intended, and the note it ends on isn’t satisfying enough to justify the journey, making me feel very conflicted overall. 24. WOMAN OF THE HOUR Colour me surprised because Woman of the Hour is quite good. Some moments certainly feel like they were only there to pad the runtime since they didn't add anything we didn't already know or because they felt unearned, but Anna Kendrick's direction gives way to not only a freakishly intense final twenty minutes, but also a thrilling commentary on how men are able to manipulate women. Kendrick is as delightful as she always is, and Daniel Zovatto is as charming as he is creepy, and though not without its flaws, Woman of the Hour is a hell of a debut. 23. THE BOY AND THE HERON Hayao Miyazaki's latest feature, The Boy and the Heron , is another wonder from the legendary filmmaker, but one that unfortunately falls just short of greatness. Like Miyazaki's other films, the animation is stunning to look at, with every single frame a sight to behold as it takes you to a universe that shows Miyazaki's imagination holds no equal. While its themes of grief are well written, the film throws a bit too much at the viewer to get the message across, making the film less thought-provoking and more overwhelming. It’s another win for Miyazaki, but not amongst his best. 22. RUSTIN I guarantee you've seen the nuts and bolts of Rustin before, but something about this film works better than most average biopics. Maybe it's just how incredible Bayard Rustin's (Colman Domingo) story of being a forgotten yet important part of the civil rights movement is… Or maybe it's Domingo's instantly charming performance that both devastates and empowers at the same time… Or maybe it's the frenetic energy the film offers in telling this story… or the quick and snappy dialogue that adds layers of surprising entertainment. Whatever it is, it made Rustin work. 21. MEMORY It's wild how much the performances of great actors can elevate a film, but in the case of Memory , that's exactly what Jessica Chastain’s and Peter Sarsgaard’s do. Their nuance in approaching these heavy roles is something to marvel at. Not that Memory isn’t great without them, mind you. Writer/director Michel Franco's deft hand at going about the subjects is delicate and precise, and though I don't see his slow-moving nature working for you if it hasn't before, it works for me. And, again, even if you're not totally into the plot, you still have two incredible performances that are beyond worthwhile. 20. WICKED LITTLE LETTERS One can look at Wicked Little Letters and go, “Oh, look, another charming British comedy.” And there is some truth to that. However, it goes beyond that to deliver more poignancy than I expected. Olivia Colman and Jessie Buckley are both amazing (they always are), but I loved the whole ensemble. Each actor is committed to this bizarre story that intrigues and delights at the same time. The structure isn't completely sound, but with what lies at the end of Wicked Little Letters , it’s hard to not at least smile. 19. THE BURIAL I didn't fully know what I expected out of The Burial , but it wasn't this. I'm not saying it's unlike anything out there (believe me, that's not the case), but I wasn't expecting something this funny to hold this much weight. Tommy Lee Jones is mostly just being Tommy Lee Jones (not bad, just expected), but Jamie Foxx and Alan Ruck are particularly hard to keep my eyes off of. This is a breezy watch, for sure, but the dramatic depth this film had in its storytelling caught me off guard and left me emotionally satisfied. 18. EVIL DOES NOT EXIST Not many directors can make an elongated wood-chopping sequence captivating, but that's what Ryûsuke Hamaguchi pulls off in Evil Does Not Exist as he takes on the environmental crisis with care and insight. The landscapes of the film are stunningly well shot, and the characters on both sides are handled with depth in a way that doesn't villainize anyone. Unfortunately, the final ten minutes take a turn for the worst, feeling like a completely different film that ditches the subtly for thrills. All in all, a once brilliant film that falls flat in the end. 17. FAIR PLAY I found myself really loving Fair Play , something I did not expect to say before seeing it. It starts as an erotic thriller, which I had mixed feelings about, but the psycho-sensual tension between Alden Ehrenreich and Phoebe Dynevor kept me on my toes. As the film goes on, however, it makes a 180 and begins to really captivate as it viciously examines domestic and gender dynamics in the workplace. And Ehrenreich, in particular, really gets to shine. Fair Play went places I had no idea it was gonna go, and it made the movie for me. 16. THE ROYAL HOTEL Does every narrative beat in The Royal Hotel work? Not necessarily. However, Kitty Green's latest film takes you on a thrill ride that rarely ever lets up. Scenes are tension-filled to an uncomfortable degree from start to finish, all in service of its themes of toxic masculinity and male fragility, anchored by great performances from Julia Garner and Jessica Henwick. The ending left me a little perplexed, if not slightly dissatisfied, but the film's commentaries and approach kept me thinking long after the credits rolled. 15. KILL Fun fact: This was my first Midnight Madness premiere at TIFF, and I believe I made the right choice starting with KILL . To put it plainly, KILL is like The Raid on a train. The first act has its fair share of violence, but in the second act, it never stops. The kills are ultra gory, slick, stylized, and messy in the best ways possible. Now, you'd think with a movie like that, it would mainly rely on its kill count, but there's a shocking emotional throughline to compliment the gore. KILL is simply a killer good time. 14. DREAM SCENARIO Now, I'm not saying I don't dream about Nicolas Cage on a regular basis, but Dream Scenario takes that idea to new extremes. Cage puts a new spin on his holds-nothing-back persona for more laid-back chaos in a film that's wildly funny yet thought-provoking. Its commentary on cancel culture offers mixed results, but its stance on the current state of fame hits hard. The absurdism of the plot is very entertaining, but by the third act, it wears a little thin. Still, Dream Scenario is fun and poignant, and who doesn't love some Cage mayhem? 13. MONSTER Director Hirokazu Kore-eda once again shows his knack for quietly devastating storytelling with Monster . Its framing device can be initially jarring since it tells the same story through three perspectives, but the impact is never blunted. By the film's fantastic third act, you get what Kore-eda is saying, and all you need to do is sit back and let the haunting beauty of Monster suck you in and leave you a blubbering mess. The film comes together to make for many shocking reveals that turn its dark subject matter into a tender tale that's hard not to fall for. 12. CONCRETE UTOPIA At face value, Concrete Utopia seems like a fun disaster flick, which set all my expectations going into it. However, I was not prepared for the emotional force and the politics it presented. I can't say it has the most unique messaging about class warfare or dictators, but I couldn't help but get sucked into its atmosphere almost instantly, thanks to the incredible cast, the jaw-dropping production design, and the emotionally satisfying finale. At first, Concrete Utopia may seem familiar, but it wound up being a remarkably unique experience. 11. THE GREEN BORDER The Green Border is an incredible film and a powerful call to action. Through a horrifying black-and-white lens, co-writer/director Agnieszka Holland takes us to the mortifying reality that is the refugee crisis at the border between Poland and Belarus. The film is guided by three plots (a family, a border guard, and an activist), and while some have more weight to them than others, all of them expose something both revealing and painful. The Green Border is a hard watch, no question about it, but it's one that's necessary and worthwhile. 10. PERFECT DAYS Perfect Days is proof that, sometimes, less absolutely equals more. A fascinating character study, the movie follows the protagonist through his day-to-day life, and the film holds nothing back in showing the less-than-ideal yet mundane situation he’s in; however, through Wim Wenders’ nuanced direction and Kôji Yakusho’s subtle performance, even the 20-minute-long sequences of Yakusho cleaning bathrooms reveal a poetic truth. Due to the film’s patient and purposefully repetitive nature, I can’t say it’s a film that’ll appeal to everyone, but the final shot alone made the journey worth it. 9. HIS THREE DAUGHTERS His Three Daughters is a mature, heartbreaking, and bittersweet analysis of family and grief that had me blubbering. Azazel Jacobs' writing and direction ground the film to a point of uncomfortable familiarity as it examines its subjects and the past and current trauma they’ve experienced, all of which is anchored by three magnificent performances from Carrie Coon, Elizabeth Olsen, and especially Natasha Lyonne. The dynamic between the three gives way to something that devastates beyond the central premise in a way that'll make it hard not to hurt your heart at least a little bit. It was an amazing way to end the festival. 8. SING SING The surprise of the festival has got to be Sing Sing . What could've been sappy Oscar-bait turns into something truly beautiful as it examines the humanity that can be found somewhere so deeply dehumanizing. Colman Domingo shines alongside an incredible ensemble (mostly comprised of real-life former inmates), all of whom come together with director Greg Kwedar and his co-writer Clint Bentley to make something devastating yet hopeful about the healing power of art. Quietly powerful in its approach to the subjects at hand, Sing Sing might present answers that could be seen as easy, but it’s effective nonetheless. 7. THE HOLDOVERS Even before the studio logos appeared, I was already into what The Holdovers had to offer. For the first half, I was enthralled by director Alexander Payne's 70s aesthetic and the sharp, almost screwball comedy script (written by David Hemingson). Dominic Sessa and Da'Vine Joy Randolph shine too, but Paul Giamatti gives a performance with so many layers that you can't help but love him despite his grouchiness. The much more mature second act, however, is what stuck with me the most. While still funny, it offers a devastating yet sweet portrait of loneliness that will leave audiences satisfied. 6. AMERICAN FICTION American Fiction juggles comedy, family drama, and social-racial politics amazingly considering this is writer/director Cord Jefferson’s first feature. The film is hilarious throughout, with a healthy blend of absurdism and slice-of-life humour. While the family drama plot can seem familiar (not in the way I imagine was intended), the way it blends with the commentary on how black people are depicted in the media and in culture was nothing short of brilliant. I foresee the ending dividing people, but I thought it was incredible. American Fiction is, at worst, a familiar comedy; at best, an ingenious satire. 5. ABOUT DRY GRASSES About Dry Grasses is proof that when your movie is captivating enough, it’s never too long. Sitting at just under 200 minutes, this film is almost all dialogue, which sounds jarring, but it felt as if it breezed by. Director/co-writer Nuri Bilge Ceylan fills the runtime with fascinating conversations that make the concept, which can seem very simple, become a brilliant character study. Deniz Celiloglu is particularly breathtaking in the lead role, and certain moments in the film are so shocking that I had to stop myself from audibly gasping. It’s the rare three-hour feature that I'd be delighted to return to. 4. THE ZONE OF INTEREST The Zone of Interest is a haunting portrait of the Holocaust that will stay with any audience member willing to take the journey. Writer/director Jonathan Glazer presents an analysis of evil, and how some of the most atrocious human beings can look so normal. While the film revels in the mundane to an uncomfortable degree, Glazer is not afraid to get experimental on us, presenting the audience a challenging way to view humanity in all its ugliness. I left this movie feeling disturbed and angry, yet awestruck at the brave approach to this subject matter. 3. HIT MAN Do you love movies? Yes? Then you'll love Hit Man . There isn't a lot to not love about it, to be honest. Co-writer/director Richard Linklater's latest produces belly laughs nearly non-stop, thanks to sharp writing and instantly lovable characters. Glen Powell's leading man charm is dialed up to 1000, and his chemistry with Adria Arjona is so good that I felt like I was intruding sometimes. As the film keeps going, the plot gets more and more interesting and entertaining, making for a film so calculated, so creative, and so sexy, that it must be seen to believe. 2. HOW TO HAVE SEX In the beginning, How to Have Sex presents us with a lucid and fun coming-of-age sex comedy, and a very energetic one at that. Eventually, however, the film takes a drastic turn into a fascinating study of modern hook-up culture and the dynamic young women have when approaching it. In her feature debut, writer/director Molly Manning Walker announces her arrival to the scene with devastating nuance and astounding visuals. The film also features a performance that I hope turns Mia McKenna-Bruce into a star. How to Have Sex is a stomach-turning accomplishment that must be seen to believe. 1. ANATOMY OF A FALL I'm still in awe of what Anatomy of a Fall pulled off. Co-writer/director Justine Triet crafted a mystery/courtroom procedural that needed every single moment to work or else it would fall apart. I can’t believe she pulled it off. Everything we learn about the case, we learn through Sandra Hüller's character, and Hüller is more than up to the task, giving a breathtaking performance. For a film that's mostly dialogue, the two-and-a-half-hour runtime breezes by, and by the end, the portrait of dysfunctional domestic relationships stays with you as you question everything you've been told. A true work of art. Photo Credits: Toronto International Film Festival

Previous Next June 3, 2026 The Spider-Verse may not be back on the big screen for another year, but Nic Cage and Prime Video give us something to tide us over until the end of that trilogy in 2027. Join Nick, Amarú, and Harrison as they discuss the live-action series Spider-Noir , which can be watched in both vivid colour and black & white. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!