Character posters from “Amsterdam,” the latest film from acclaimed writer/director David O. Russell, are now available. The 15 posters feature characters brought to life on screen by Academy Award® winner Christian Bale, two-time Oscar® nominee Margot Robbie, John David Washington, Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Oscar nominee Michael Shannon, Timothy Olyphant, Andrea Riseborough, Taylor Swift, Matthias Schoenaerts, Alessandro Nivola, with Oscar winner Rami Malek and two-time Academy Award winner Robert De Niro. “Amsterdam” opens exclusively in theatres October 7, 2022.

From 20th Century Studios, New Regency, and acclaimed filmmaker David O. Russell comes “Amsterdam,” an original crime epic about three close friends who find themselves at the center of one of the most shocking secret plots in American history. A fascinating and richly intricate tale that brilliantly weaves historical fact with fiction for a timely, cinematic experience, the film Written and directed by five-time Oscar® nominee David O. Russell, “Amsterdam” is produced by Arnon Milchan, Matthew Budman, p.g.a., Anthony Katagas, p.g.a., David O. Russell, p.g.a., and Christian Bale, with Yariv Milchan, Michael Schaefer, Sam Hanson, Drake, and Adel “Future” Nur serving as executive producers.

(Photo credit: 20th Century Studios Canada)

Taking place last night at the Fairmont Royal York Hotel, the TIFF Tribute Gala honored those who made a significant impact through their work in the Festival this year. Honorees range in tenure and stature and it was a star-studded affair!

2022 TIFF Tribute Award recipients:

Ensemble My Policeman
TIFF Tribute Award for Performance presented by Polestar

Sam Mendes
TIFF Ebert Director Award

Brendan Fraser
TIFF Tribute Award for Performance presented by IMDbPro

Hildur Guðnadóttir
TIFF Variety Artisan Award

Sally El Hosaini
TIFF Emerging Talent Award presented by MGM

Michelle Yeoh
TIFF Share Her Journey Groundbreaker Award presented by BVLGARI

Buffy Sainte-Marie

Jeff Skoll Award in Impact Media presented by Participant

(Photo/video credit: TIFF)

By Amanda Gilmore

My Policeman follows Tom (Harry Styles) a young policeman who has conformed to the social expectations of 1950s Britain. When he meets Schoolteacher Marion (Emma Corrin) she is immediately smitten with him and the two begin a relationship. However, their world changes when they meet museum curator Patrick (David Dawson). Tom and Patrick fall in love during a time when it was forbidden to do so. Decades later, in 1999, the three (Linus Roache, Gina McKee, and Rupert Everett) must confront their painful past to move toward their future.

The Film works best as a study on memory and wasted time. Screenwriter Ron Nyswaner weaves the story of the three through their twenties and then meets them again decades later. In 1999, we get to see the guilt that Marion (McKee) and Tom (Roache) have carried with them. This guilt has kept them tied unhappily together. Through this, we witness that it’s never too late to forgive yourself and start a life that will make you happy.

Further, it’s through the weaving of the time frames that we see this forbidden love through changing social conventions. When Tom and Patrick meet, their love is illegal. They have no choice but to hide. Therefore, we understand where Tom’s mixed emotions of anger, passion, sadness and regret come from. It’s a performance that shows the range Styles has. While Patrick, an outstanding Dawson, longs to have a future where he doesn’t have to share Tom. Then there’s Corrin who gives a stellar performance as Marion who tries to hold onto the life she’s only ever imagined for herself. We see their wants and desires back in the ‘50s and why Tom and Patrick couldn’t be together. Then we are brought to 1999 when things began changing for the Community. We see the changing views reflected in the adult characters.

My Policeman is a touching story of love, memory and time.

My Policeman screens as follows at TIFF ’22:

Sun, Sep 11 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 6:30 pm

Mon, Sep 12 IN-PERSON at Scotiabank Theatre at 12:00 pm

Fri, Sep 16 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 2:00 pm

Sat, Sep 17 IN-PERSON at Royal Alexandra Theatre at 1:30 pm

By David Baldwin

Chef Slowik (Ralph Fiennes) is a world-renowned chef who runs the ultra-exclusive Hawthorne restaurant that is located on its own island with a tasting menu that runs $1,250 per person. Among the guests is Tyler (Nicholas Hoult), a huge foodie, who has invited Margot (Anya Taylor-Joy) last minute to join him for the evening.

Spoiling what comes next would ruin the outrageous fun and bleak, biting Satire that courses through the veins of THE MENU. It takes jabs at the low-hanging fruit of the 1% and sets its sights on a number of other targets we know all too well. Of course, this is before things start going completely off the rails into directions and material you will never expect. Some may find many of the stops the Film makes to be shocking or in bad taste, but it is clear that Emmy-winning Director Mark Mylod intended on making a provocative piece of cinematic decadence – as well as a Film that will leave you incredibly hungry.

At the centre of it all is Taylor-Joy, who walks the tight rope of tonal absurdity with razor-sharp precision. She is our gateway into the madness of THE MENU, and she relishes in alternating between having the time of her life and being frightened for her life. And who knew she could be so witty? Just solid work all-around for one of our greatest talents. Equally solid is Hong Chau (also at the Festival with The Whale), who plays Slowik’s assistant Elsa. She gets many of the Film’s best lines and moments, each one delivered more deliciously wicked than the last. Hoult plays obnoxious weasel well and a whole slew of recognizable Character Actors do their very best keeping up the Film’s momentum.

These great elements would be completely meaningless though if it was not for Fiennes. He brings a next-level energy to his certifiably deranged performance, reveling in being astute and well spoken in one breath and batshit crazy in the next. There is an additive quality to his work here, packing-in as much poignancy as he does poisonous barbs. I would even go so far as to call this his best performance ever; one that is substantially more terrifyingly unhinged than even his legendary work as Lord Voldermort.

THE MENU screens as follows at TIFF ’22:

Sat, Sep 10 IN-PERSON Royal Alexandra Theatre 8:30pm

Mon, Sep 12 IN-PERSON Scotiabank Theatre 9:00pm

Thu, Sep 15 IN-PERSON Scotiabank Theatre 3:00pm

We don’t believe we’ve almost made it out the most hectic part of the Festival and usually after the Monday, things begin to calm down a tad. Let me tell you how excited to just relax and watch some Movies! Day Four was an incredible day with two of the Festival’s biggest Films premiering. I’ll let the starpower do the talking on this one.

MY POLICEMAN

THE WHALE

EMPIRE OF LIGHT

THE FABELMANS

GLASS ONION: A KNIVES OUT MYSTERY

DEVOTION

CATHERINE CALLED BIRDY

SANCTUARY

CHEVALIER

THE ETERNAL DAUGHTER

CAUSEWAY

Though we didn’t get a chance to see Jennifer Lawrence on this visit for her comeback film, CAUSEWAY but we did spot the amazing Bryan Tyree Henry who’s getting Supporting Actor buzz for this title!

HAYDEN CHRISTENSEN BACK IN TOWN

Also, so honoured to be invited to AppleTV+‘s Appreciation Bash today held at Clio. This past week has been intense with long days, so nice to have a moment for myself to catch-up with friends and try the delicious nibbles at this members-only club. Thrilled to hear the likes of Oprah Winfrey, Jennifer Lawrence and both Hillary & Chelsea Clinton passed through the space.

It’s 2 AM as I post this, and yet another early day tomorrow! Can’t wait to see who we see! Thanks for following along our adventures!

(Photo/video credit: Mr. Will Wong)

By Amanda Gilmore

The deeply-moving The Swearing Jar follows married couple Carey (Adelaide Clemens) and Simon (Patrick J. Adams) who are expecting their first child. However, when Carey meets bookstore clerk Owen (Douglas Smith) she finds herself falling in love with him.

Director Lindsay MacKay and Screenwriter Kate Hewlett have brought us an enchanting journey through love and forgiveness. Carey and Simon are deeply in love. However, there are secrets the two are keeping from each other. Carey’s secret is about her falling for Owen, while Simon’s secret revolves around a terminal illness he has. Their relationship is a beautiful examination of love, secrets and forgiveness.

When a twist happens in the middle, The Swearing Jar goes even deeper to examine grief. Carey is burdened by her secret and Simon’s. She must learn to forgive herself and him if she is to move on and be the best she can be for their daughter. This is when Owen comes back into her life. Here, the Film evokes complex questions about love. There is no easy answer which makes The Swearing Jar all the more intriguing.

The steadfast direction from MacKay and the enchanting script by Hewlett is matched by an impactful ensemble. The main trip of actors, Clemens, Adams and Smith, give nuanced performances that show their desires and regrets.

The Swearing Jar screens as follows at TIFF ’22:

Sun. Sep 11 IN-PERSON at Scoiabank Theatre at 9:30 pm

Thu, Sep 15 IN-PERSON at TIFF Bell Lightbox at 4:00 pm

By Mr. Will Wong

Carly Stone (The New Romantic) directs this adaptation of Cea Sunrise Person’s Memoir of the same name and at the center of the story is Cea (played as a child by River Price-Maenpaa and as a teen by Amanda Fix) and her young mother Michelle (Sarah Gadon). Together, they embark on a nomadic life through Western Canada, breaking apart from Cea‘s grandparents.

Cea is beautiful, young and aspires to be a model, but time and again is caught-up in her mother’s revolving door of romances. Michelle insists that she needs the security of a man and this causes strain not only on their mother-daughter relationship, but spills over to many other aspects of Cea‘s life.

NORTH OF NORMAL explores how the cycle of multi-generational toxicity can feed itself over and again. Grandpa Dick (Robert Carlyle) makes many irresponsible choices, as does Michelle and we wonder if Cea will break the cycle. But at the same time, the Fillm explores the bonds that tie this dysfunctional family together.

The Film possesses a maturity, though some of its central characters are on the contrary and unaware. Gadon transforms completely going against-type as Michelle and does so well, but the breakout performance here is from Fix, who currently is in-town filming Orphan Black: Echoes next – a name to look-out for.

NORTH OF NORMAL screens at TIFF ’22 as follows:

Sun, Sep 11 IN-PERSON TIFF Bell Lightbox 6:45pm

Tue, Sep 13 IN-PERSON Scotiabank Theatre Toronto 11:30am

By Mr. Will Wong

Darren Aronofsky‘s THE WHALE is as hefty in heart as its tragic hero, Charlie, played to masterful perfection in a performance of a lifetime by comeback kid Brendan Fraser.

Charlie is an online professor whom after losing his partner, has spiraled into obsessive eating and severe obesity. With just days left to live, he is out to reconcile his relationship with estranged daughter Ellie (Sadie Sink). Ellie harbours deep anger and resentment towards her dad and agrees only to meet him on the condition of a financial incentive and help with her failing grades.

Through the arrival of a stranger at his door in Thomas (Ty Simpkins) and best friend/caretaker Liz (Hong Chau), we get glimpses into Charlie‘s heartbreaking grief, answering questions for us how he has gotten to his present state and why he left behind his wife and daughter.  As Charlie’s health continues to deteriorate quickly, he needs to know that he’s done one thing right and that he lived authentically, which seems improbable with everything around and within him crumbling.

Aronofsky once again delivers a compelling, visceral story that tapes right into the core and essence of what our hero truly is. THE WHALE tore us apart and left us in tears.  Not enough can be said about Fraser‘s precise performance. Every wheeze, arduous plop on the couch and attempt to get up off the couch, or struggle to reach things, feel all so real. Beneath all that, we feel the race against time and his urgency to make sense of his tortured life. Simply put, Fraser is unforgettable and he helps us reach a deep level of connection with Charlie that helps us see past the “disgusting”.

The Film assembles a sublime Ensemble and we were floored by Sink‘s commanding presence, serving two dashes of cruelty per every bit of pain in Ellie. Academy Award nominee Chau is every bit as important a part of the story, defeated in her attempts to save Charlie but still unconditionally loving of him and protective of him.

THE WHALE changed us and maybe ruined us for any other Films we still have to see at the Festival or the rest of the year. It screens at TIFF ’22 as follows:

Sun, Sep 11 IN-PERSON Royal Alexandra Theatre 5:30pm

Mon, Sep 12 IN-PERSON Scotiabank Theatre Toronto 11:30am

By David Baldwin

Once Sammy Fabelman (Canada’s own Gabriel LaBelle) watched The Greatest Show on Earth, his life was changed forever. He was going to become a filmmaker and spent every moment he could afterwards filming his own movies, actively employing neighbourhood kids and his own sisters to act and assist with special effects. While his Mother (played by Michelle Williams) encouraged Sammy’s behaviour, his Father saw it as more of a hobby. And with the family consistently on the move due to his Father’s jobs, it is going to become increasingly difficult for Sammy to maintain his love for film.

If you have not heard already, THE FABELMANS is the semiautobiographical new film from legendary Co-Writer/Director Steven Spielberg. That alone brings more than the typical enormous attaché case of expectation and speculation that surround each new film from the Oscar-winner. I was initially worried about both of those elements overpowering the beautiful narrative. Except this is Spielberg we are talking about. And you should never bet against Spielberg.

Why?

Well, because he tends to knock each of his projects clear out of the park. THE FABELMANS is no different and it may just be the best work he has delivered in over a decade. All of the faces in front and behind the camera are firing on all cylinders, effectively toying the line between wonder, sadness and joy. The script is heartfelt and wonderful. Supporting turns from the likes of Seth Rogen, Judd Hirsch and David Lynch – whose scene here is an immediate all-timer – are terrific and the work from Dano and Williams is spectacular. Williams gets to do much of the emotional heavy lifting and never misses a beat. The true revelation is the young LaBelle however. He is absolutely perfect as Sammy, embodying the anxiety, angst and indecision his character feels perfectly. The wonder in his eyes and his overactive imagination are captured splendidly, and the way he holds his own against the rest of the cast is a thing of beauty.

All of that said, THE FABELMANS is at its best when we are watching the family spend time together and when we watch Sammy and his friends film and screen their short films in front of large audiences. The sheer level of care put into every frame is staggering, and the production design, cinematography and exquisite John Williams score are just magnificent additions that really make the film soar. There is no other real way to describe them, nor the beautiful filmmaking scenes that play on your memories and nostalgia. It meant a lot to me to see scenes like that projected on screen. Can only imagine how younger people having their own Greatest Show on Earth moment will feel watching this masterpiece unfold.

THE FABELMANS screens as follows at TIFF ’22:

Sat, Sep 10 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:15pm

Sun, Sep 11 IN-PERSON Roy Thomson Hall 11:30am

Wed, Sep 14 IN-PERSON Roy Thomson Hall 9:00pm

Fri, Sep 16 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 5:30pm

Sat, Sep 17 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 11:00am

By David Baldwin

The pandemic is raging and Benoit Blanc (Daniel Craig) finds himself in Greece, ready to board the yacht of billionaire Miles Bron (Edward Norton). Bron has brought together his closest friends for a weekend getaway at his island, promising a murder mystery and more. Of course, not anything is what it seems and it is up to Blanc to crack the case.

GLASS ONION: A KNIVES OUT MYSTERY is just as fun and wildly entertaining as its Oscar-nominated predecessor. Rather than redo the same beats as that film with winking nods, Writer/Director Rian Johnson has composed a Sequel with minimal similarities. Yes, it deals again with spoiled American socialites and is still a lovingly made whodunit with the wild Kentucky Fried Detective Benoit Blanc front and centre. That is where the similarities end though, because this eclectic cast of supporting characters (including the likes of Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Kate Hudson and the positively luminous Janelle Monáe) all have varying agendas and stakes in the larger plot – and their circumstances are all very different than any members of the Thrombey Clan. And the wild cameos are simply amazing.

Where GLASS ONION falters is in its pacing and chaotic structure. It feels about 20 minutes too long and could have benefitted from a number of scenes being tightened up. The entire opening sequence, introducing all of the new players, is well done and very funny, but it comes at the expense of not getting to the main plotline as quickly as it should. Thankfully Johnson’s sharp and witty writing is still just as fine-tuned as before, so the rapid-fire laughs and twists keep the film moving even when it stops dead in its tracks. I still managed to enjoy the Film immensely despite these squabbles, yet know it could have been even stronger had it not been so loose and breezy.

And to no one’s surprise, Craig is fabulous as Benoit Blanc. The accent and his impeccable timing have only grown since his last go-round, and some of the ridiculous things Johnson gets him to say are simply incredible. He is nearly shown up by Monáe (who absolutely slays from start to finish), yet somehow manages to hold his own I hope Johnson and Craig are true to their word and never stop making Benoit Blanc adventures. The man is a gifted comedic performer and to see that talent go to waste would be simply unforgiveable.

GLASS ONION: A KNIVES OUT MYSTERY screens as follows at TIFF ’22:

Sat, Sep 10 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 6:00pm

Sun, Sep 11 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:00am

Mon, Sep 12 IN-PERSON Scotiabank Theatre 9:30pm

Tue, Sep 13 IN-PERSON Cinesphere IMAX Theatre 6:00pm

Thu, Sep 15 IN-PERSON Cinesphere IMAX Theatre 9:30pm

Sat, Sep 17 IN-PERSON TIFF Bell Lightbox 9:00pm