TIFF: Sprawling, historical family sagas used to be de rigueur as culminating artistic statements from our greatest talents. They were characterized by the intertwined lives of a large cast of characters—parents, children, and siblings—their hopes and fears, triumphs and disappointments—situated at moments of profound societal change. Classic examples include Thomas Mann‘s “Buddenbrooks” and Giuseppe Tomasi di Lampedusa‘s “The Leopard.” It is, thus, heartening to see director Maura Delpero attempting such a tale in just her second narrative feature.

Continue reading ‘Vermiglio’ Review: Italy’s Award-Winning Oscar Submission Is A Sprawling, Ambitious Family Chronicle at The Playlist.

The 2024 Toronto International Film Festival has come to an end and, as is tradition, the festival announced its annual People’s Choice Award winner. Usually, it’s a movie destined for a Best Picture nomination, something the festival touts proudly, but not this year. Surprisingly, Mike Flanagan‘s “The Life of Chuck,” which is still looking for distribution, won the award.

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Continue reading ‘The Life of Chuck’ Is The Surprise 2024 Toronto International Film Festival People’s Choice Award Winner at The Playlist.

Max Minghella’s “Shell” follows in the grand tradition of lurid comedies, like Robert Zemeckis’ “Death Becomes Her,” which satirizes societal pressures on women to look youthful and vital into the later stages of life. “Shell” is purposefully designed to be campy, silly, fun—mainstream entertainment with topical bite. And Minghella largely succeeds in his admittedly modest ambitions. It’s too bad he’s had his lunch eaten by Coralie Fargeat’s “The Substance,” a film with an identical premise and analogous execution but a much higher profile.

Continue reading ‘Shell’ Review: Elizabeth Moss & Kate Hudson Skewer Hollywood Ageism With Playful Slasher Comedy [TIFF] at The Playlist.

“All Of You” is a slim, modest, 100-minute love story starring Brett Goldstein and Imogen Poots. But in its decade-spanning structure and proclamations of “one true love” and “true soul mate,” it very much wants to be “Doctor Zhivago” or another such sweeping romance. Only it obviously isn’t and leaves you with a feeling of much ado about nothing. William Bridges makes his feature directorial debut from a script he co-wrote with Goldstein, based on the short “For Life” they had made years earlier.

Continue reading ‘All Of You’ Review: Brett Goldstein & Imogen Poots Heat Up Decade Spanning Sci-Fi Romance [TIFF] at The Playlist.

TORONTO – The difficult journey of the couple at the center of “The Salt Path” doesn’t seem like a true story at first. There is a lyrical flow to their revelations. So much so that each stop on their 630-mile hike seems crafted as an allegory to how perilous life can be. Assuming you were unaware of Raynor Winn‘s best-selling autobiographical novel of the same name, the end cards may be something of a surprise.

Continue reading ‘The Salt Path’ Review: Gillian Anderson & Jason Isaacs Endure A Perilous Journey [TIFF] at The Playlist.

Sports biopics are only as good as their subjects, and “Unstoppable” has a doozy—Anthony Robles, who, despite being born with one leg, went on to win the 2011 NCAA national wrestling championship as a senior at Arizona State University in the 125-pound weight class. It is a remarkable story and now receives an extremely traditional, by-the-numbers big-screen movie treatment in “Unstoppable” that nevertheless boasts existing scenes of wrestling and a bevy of committed stars around lead Jharrel Jerome.

Continue reading ‘Unstoppable’ Review: A Remarkable Story Gets The Familiar Sports Biopic Treatment With Jharrel Jerome & Jennifer Lopez [TIFF] at The Playlist.

The ‘true crime’ genre is all the rage in popular culture right now, with several shows, podcasts, and books achieving blockbuster status. They typically document stories of factual crimes, the psychological motivation behind them, and the ensuing investigation and fallout. Fictional adaptations on the small screen have been star-studded, widely seen, and award-winning. Notable hits include “The Assassination of Gianni Versace: American Crime Story” with Penelope Cruz, “The Dropout” with Amanda Seyfried, and “Dahmer — Monster: The Jeffrey Dahmer Story” with Evan Peters.

Continue reading ‘Eden’ Review: Ana De Armas Is A Force Of Nature In Ron Howard’s Island-Set True Crime Thriller [TIFF] at The Playlist.

TORONTO – Underdog sports stories are a dime a dozen. Scrappy athlete – often from a disenfranchised background – makes it to the big game, title match, or final race to emerge a heroic champion. And, truth be told, these are real, life-changing outcomes that happen multiple times a year across the globe. What movies and the media often ignore, is what happens after the coronation. Because, for many, it doesn’t result in the untold riches they dreamed of.

Continue reading ‘The Fire Inside’ Review: Ryan Destiny Throws Like A Champ In Another Underdog Boxing Tale [TIFF] at The Playlist.

Hugh Grant proclaims near the beginning of A24’s “Heretic” that there is only one true religion, and it isn’t Islam, Christianity, or Judaism. By the end, he does reveal his pick, though your mileage may vary. Some viewers might have an epiphany; some will shrug with indifference. Whatever the response, the journey to that point is compelling—a miracle because “Heretic,” despite its marketing, is primarily a drama of ideas—at least in intent.

Continue reading ‘Heretic’ Review: Hugh Grant’s Charming Creepiness Anchors A24’s Heady & Chatty Horror-Thriller [TIFF] at The Playlist.

Homer’s The Iliad and The Odyssey are foundational works of Western literature, yet they are seldom adapted for the screen today. The Iliad was last made into a mainstream Hollywood blockbuster in 2004’s “Troy.” But you must go back to 1954 to find an equivalent for The Odyssey in “Ulysses” starring Kirk Douglas. Since then, The Odyssey has had some notable television adaptations: 1968’s Italian production “Odissea” (with Bekim Fehmiu and Irene Papas), 1997’s American production “The Odyssey” (with Armand Assante, Greta Scacchi, and Isabella Rossellini) and 2013’s French production “Odysseus” (with Alessio Boni, Caterina Murino and Niels Schneider).

Continue reading ‘The Return’ Review: Ralph Fiennes & Juliette Binoche Lead Deeply Satisfying Retelling of Homer’s The Odyssey [TIFF] at The Playlist.

TORONTO – Perhaps it’s the subject matter she has gravitated to or the glare of the global spotlight, but it is embarassing how little respect Angelina Jolie has received as a filmmaker. Three of her first four narrative films as a director, “Unbroken,” “In The Land of Honey,” and “First They Killed My Father,” have demonstrated considerable cinematic skills. And, yet, when female directors are touted or pitched for projects you never hear her name.

Continue reading ‘Without Blood’ Review: Salma Hayek Cannot Save Angelina Jolie’s Inert Revenge Melodrama [TIFF] at The Playlist.

A traveling magician waxes poetic about our lonely existence only to be terrorized by the inability to find solitude. Such is the dark comedy “Mr. K” exists in, the latest from director Tallulah H. Schwab (“Confetti Harvest”). Riddled with mounting anxiety as the walls begin to close in, “Mr.K” is half an exercise in dread and half an example of showing one’s hand too soon.

Continue reading ‘Mr. K’ Review: Crispin Glover Is A Traveling Magician In An Enigmatic Dark Comedy [TIFF] at The Playlist.

“Nightbitch,” adapted from Rachel Yoder’s eponymous novel, is a film of many parts, some more successful than the others, and each clashes in a tonal mish-mash. Marielle Heller directs, with an inherent understanding of the subject matter—the curbed spirit and artistry of women doomed to stay-at-home motherhood—yet struggles to make a cogent point by the end. Amy Adams stars in the lead role and is unsparing, setting aside all vanity, but is constrained by a film that is ultimately more square than intended.

Continue reading ‘Nightbitch’ Review: Amy Adams Gives A Committted Performance In Marielle Heller’s Cathartic Look At Motherhood [TIFF] at The Playlist.

TORONTO – Queer characters hiding their true selves in the 1950s and early 1960s America is becoming something of its own subgenre. There is already Todd Haynes’ acclaimed melodrama “Carol,” Tom Ford’s “A Single Man,” Bill Condon’s “Gods and Monsters,” and a whole storyline in Stephen Daldry’s “The Hours.” All four of those films also have something in common, they are revered contemporary classics. It gives us no pleasure to report that Daniel Minahan’s “On Swift Horses,” an adaptation of Shannon Pufahl’s 2019 novel, won’t join those particular films in critical or audience acclaim.

Continue reading ‘On Swift Horses’ Review: Jacob Elordi & Daisy Edgar-Jones Can’t Spark This Queer Drama [TIFF] at The Playlist.

Stephen King might have more individual works adapted for the screen than any other writer in history, besting Shakespeare, Dickens, and Christie. With “The Life Of Chuck,” horror impresario Mike Flanagan brings yet another King tale to the big screen, his third straight after “Doctor Sleep” and “Gerald’s Game.” Despite containing the expected horror and sci-fi elements, “The Life Of Chuck” is a bit of a departure for both King and Flanagan as it is a straight drama for much of its runtime—veering closer in tone to “The Shawshank Redemption” and “The Green Mile” than, say, “The Shining.

Continue reading ‘The Life Of Chuck’ Review: Tom Hiddleston, Spectacular Dancing & Performances Power Elevated Stephen King Adaptation [TIFF] at The Playlist.

Youthful love (relatively speaking) beset by terminal illness and heartbreak is well-worn cinematic and literary territory. Examples include “The Fault In Our Stars” (Shailene Woodley and Ansel Elgort), “A Walk To Remember” (Mandy Moore and Shane West), “Sweet November” (Charlize Theron and Keanu Reeves), “P.S., I Love You” (Hilary Swank and Gerard Butler), even the classic Oscar-winning “Love Story” (Ali MacGraw and Ryan O’Neal).

Continue reading ‘We Live In Time’ Review: Florence Pugh & Andrew Garfield Elevate A Time-Hopping Romance [TIFF] at The Playlist.

The makers of “Elton John: Never Too Late” wisely didn’t try to be completists. After a half-century-plus of touring as well as recording approximately eleventy thousand albums and musicals, attempting a complete survey of Elton John’s output in one film is a fool’s errand. However, the film ends up covering enough of his career that the resulting gaps are more noticeable than they should be. Viewers will leave the movie with a good-enough appreciation of his work, but not necessarily any deeper an understanding of the man than could be gleaned from viewing “Rocketman.”

READ MORE: TIFF 2024 Preview: 21 Must-See Films To Watch

The documentary is ostensibly bracketed by a pair of massive concerts at Dodger Stadium.

Continue reading ‘Elton John: Never Too Late’ Review: Music Doc Wraps Searing 1970s Concert Footage In Ho-Hum Valedictory Package [TIFF] at The Playlist.

TORONTO – Las Vegas is more than the familiar strip of hotels and casino resorts that dominate the city skyline. Its heart and soul – and, yes, it has one – are the people who work in this mostly unconventional city. They may work the blackjack tables, bartend, or perform for their supper six nights a week, but for all the glitz and glamour this is a union town. If you stick around enough, the blue-collar grittiness shines through.

Continue reading ‘The Last Showgirl’ Review: Pamela Anderson Glitters In Gia Coppola’s Dissection Of The Las Vegas Dream [TIFF] at The Playlist.

As far as breakups go, cartoonist Chester Brown (Dan Beirne) faces a relatively soft blow. In the early moments of Sook-Yin Lee’s “Paying For It,” he wakes up next to his then-girlfriend, Sonny (Emily Lê), who announces that she thinks she’s begun to fall in love with another man. She’s looking for acceptance to see “where this goes.” Chester, almost inhumanely agreeable, acquesses.

Continue reading ‘Paying For It’ Review: Director Sook-Yin Lee Explores Monogamy, Relationships & Sexual Freedoms [TIFF] at The Playlist.

TORONTO – A few minutes into Sean Ellis’ “The Cut,” it would be easy to assume you’re watching yet another contemporary remake of “Rocky.” A long line of boxing movies that center on a washed-up fighter looking for that one last title shot to redeem himself. There are usually two a year, sometimes more, often with a twist. It soon becomes intriguingly apparent, however, that is not this movie. This is something completely different entirely.

Continue reading ‘The Cut’ Review: Orlando Bloom Must Make Weight At Any Cost [TIFF] at The Playlist.

TORONTO – Jack doesn’t know why he’s been invited to attend the memorial service of a mother, Elizabeth, he never knew. Much to the frustration of his boyfriend, he’s traveled to New Zealand from Australia after receiving a call from Jill, Elizabeth’s now widowed wife. After arriving at Elizabeth and Jill’s striking, modern enclave in the winter-ish mountains, he’s surprised to learn not only does Jill not remember calling him, but the deceased’s sister, Helen, is horrified that he’s there at all.

Continue reading ‘Went Up The Hill’ Review: Vicky Krieps & Dacre Montgomery Are Possessed, But Should They Be? [TIFF] at The Playlist.

TORONTO – The more you consider Nick Hamm’s “William Tell,” a gala world premiere at the 2024 Toronto International Film Festival, the more you realize how utterly wild it is. Set in 1307, it centers on a legendary archer, the title character (Claes Bang), and chronicles how this humble farmer in the Swiss Alps became a symbol of resistance against an evil Austrian kingdom. Like Matthieu Delaporte and Alexandre de La Patellière’s Cannes premiere “The Count of Monte Cristo,” which was a crowd-pleaser in French cinemas this summer, it’s also a throwback to a style of big studio filmmaking that audiences haven’t experienced consistently since the ’90s.

Continue reading ‘William Tell’ Review: A Swiss Folk Hero Gets The ’90s Throwback Epic Treatment [TIFF] at The Playlist.

In a matter of just days, we’ve been inundated with films from the 2024 Venice Film Festival and the just-ended Telluride Film Festival. Still, there is absolutely no rest for the wicked this year as the Toronto International Film Festival (TIFF) kicks off today up north.

As is usually the case, TIFF is the largest festival of the fall film lineup, featuring over 100 films this year (thankfully down from previous years when the numbers were almost double that).

Continue reading TIFF 2024 Preview: 21 Must-See Films To Watch at The Playlist.

We are inching ever so close to the kickoff of fall film festival season, which means we’re starting to get a full picture of what films we can expect at the various events. The Toronto International Film Festival (TIFF), for example, has finally unveiled its full lineup for the Galas and Special Presentations sections, which, as you might expect, are star-studded.

READ MORE: ‘Nightbitch’ First Look: Marielle Heller’s Latest Starring Amy Adams Is “About Motherhood And Rage”

The Galas and Special Presentations sections include new films from filmmakers such as Jacques Audiard, Edward Berger, Gia Coppola, Mike Leigh, Morgan Neville, Walter Salles, Athina Rachel Tsangari, and Jia Zhang-Ke.

Continue reading TIFF 2024: Full Galas & Special Presentations Lineups Include Films Featuring Riz Ahmed, Salma Hayek, Barry Keoghan, & More at The Playlist.

David Gordon Green had a bit of a rough end to 2023, with his horror film, “The Exorcist: Believer,” bombing at the box office. Shortly after, he limped his way out of the horror genre and started making “Nutcrackers,” a family drama. Now, it appears “Nutcrackers” is ready to go and has landed the coveted Opening Night film slot in this year’s Toronto International Film Festival (TIFF). 

Continue reading TIFF 2024: David Gordon Green’s ‘Nutcrackers’ Chosen As Opening Night Film & Rebel Wilson’s ‘The Deb’ To Close at The Playlist.