By Amanda Gilmore
Dicks: The Musical is an instant Cult Classic.
Based on the off-Broadway musical Fucking Identical Twins by Josh Sharp and Aaron Jackson (who also co-write and star here), you better believe there has never been a film quite like this before. It’s an uproarious Musical-Comedy riff off of The Parent Trap that needs to be seen to be believed.Â
It follows identical twin brothers Craig (Sharp) and Trevor (Jackson) who’ve never met each other. One was raised by their mother, Evelyn (Megan Mullally) the other by their father Harris (Nathan Lane). When they show up to work one day, they realize they are identical twin brothers. They concoct a plan to get their parents to fall madly in love with each other again. Unfortunately for them, their dad is gay and their mom’s vagina — literally — ran away.
The Co-Writers adapt their off-Broadway Musical into a cinematic experience that’s proudly, gloriously and unapologetically queer. Director Larry Charles (who also Directed Curb Your Enthusiasm and Borat) brings comedic genius into every musical number and scene. Most importantly, he trusts in the outstanding comedy legends he’s cast. Lane and Mullally are brilliantly cast as the oddball parents. These legendary comedic actors are fully committed to their characters and jump in head first to all the mayhem that ensues.
Dicks: The Musical is sure to be divisive. There are moments that some will find strange and the more conservative viewer will find gross (SPOILER ALERT: there’s a vagina with eyes that flies in the air). Yet, the musical-comedy will be loved by those who go in with an open mind and allow themselves to be swept up in the riotous ride. Even if the ending may make you scratch your head.
Dicks: The Musical screens at TIFF ’23:
Thursday, September 7 at 11:59 PM at Royal Alexandra Theatre
Friday, September 8 at 8 PM at Scotiabank Theatre Toronto
Saturday, September 16 at 9:30 PM at Visa Screening Room at the Princess of Wales Theatre
By Amanda Gilmore
Ethan Hawke returns to the Director’s chair to explore the life and art of American Author Flannery O’Connor, who’s stunningly portrayed by his own daughter Maya Hawke.
Hawke and Co-Writer Shelby Gaines’s Script focuses on O’Connor’s life when she left New York City in 1950 and returned home to live with her mother Regina (a dazzling Laura Linney). It was here that she was diagnosed with lupus. At the time, getting this diagnosis felt like a death sentence. And that’s how O’Connor took it. Thus, she believed her time was limited to making the lasting mark she desired. Maya Hawke captivates as the Author grapples with her identity and her artistry.
Just like Hawke’s prior directorial ventures, Wildcat examines the artist’s way. He achieves this by blending O’Connor’s life with visual tellings of her short stories. He places her mother and those parts of her real life in the visual recreations of her stories. This creates the connection between life and art that O’Connor always claimed.
A highlight of Wildcat is the examination of the relationship O’Connor has with her faith. The Screenwriters spend significant time connecting the Author’s religion with the harsh judgement she places on herself for her dark imagination. The Filmmakers imply that this judgement halted the young author’s career early on. As the ending comes, O’Connor finally accepts her imagination for what it is and separates it from her relationship with God. She went on to become one of the most prominent writers of her generation.
Wildcat screens at TIFF ’23:
Monday, September 11 at 8:45 PM at Royal Alexandra Theatre
Wednesday, September 13 at 7:30 PM at Scotiabank Theatre Toronto
Saturday, September 16 at 11:30 AM at Scotiabank Theatre Toronto
By Amanda Gilmore
Chloe Domont makes an assured, bold feature debut with the riveting Fair Play.
It follows couple Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) who live and work together, leading them to live double lives. In their private life, they are madly in love and share a cosy apartment. In their work life, their relationship is strictly platonic as it is a violation of company policy at their firm. Their love becomes tested when Emily earns a promotion the pair thought Luke would be given.
Appropriately set in the cut-throat world of Wall Street hedge fund firms, Fair Play is a merciless examination of love, power and gender dynamics. Emily and Luke recently got engaged but both are married to their careers. When Emily hears a rumour that Luke will be given the promotion she is elated for him. When that turns out to be untrue and Emily’s the one levelling up the celebration isn’t reciprocated.Â
Rather, Luke’s fragile ego gets the best of him. He can’t understand why he wasn’t given the promotion. Ehrenreich gives a meticulous performance as the enchanting turned cruel Luke. He’s cast perfectly as his natural charm allows the audience to understand his pain and yearning to advance in the firm.Â
As the story progresses, Luke’s resentment grows and he becomes vindictive and condescending towards Emily. However, Emily restrains herself and does her best to reassure Luke that he’ll get his turn. But eventually, Luke’s spiteful remarks cut like stab wounds and Emily’s controlled pain and resentment unleashes. Dynevor is a revelation as a woman achieving her dream while having to downplay this triumph. The chemistry between the two is palpable making for the most captivating pair of the year, especially in the raw arguments this couple has.
Fair Play is diligently crafted. Domont’s Script is paced to perfection, enticing us from start to finish. As the power shifts and resentment unleashes, Domont along with her two leads importantly remind us how in love these two are. Therefore, we’re constantly on the edge of our seats wondering where this relationship will go. And you’ll never see the most satisfying ending coming.
Fair Play screens at TIFF ’23:
Wednesday, September 13 at 5:30 PM at Roy Thompson Hall
Thursday, September 14 at 8:30 PM at TIFF Bell Lightbox
Friday, September 15 at 6 PM at TIFF Bell Lightbox
By George Kozera
EZRA opens with stand-up comedian Max Bernal (Bobby Cannavale) as he regales the audience at a comedy club with funny and insightful observations, some of which include his being a father of an autistic son named Ezra (William Fitzgerald), who lives with his soon-to-be ex-wife Jenna (Rose Byrne). Max, who was once a successful comedy writer, now lives with his father Stan (Robert De Niro), a no nonsense, pugilistic individual who had been fired from many high-profile establishments as a chef due to his aggressive personality and is now a hotel doorman.
Ezra is a highly-intelligent young boy, and he has a few triggering moments (hugs, metal cutlery, bananas) but his latest outburst at school, potentially putting other students in jeopardy may put his time at the school in jeopardy. Rather than being expelled, Max and Jenna agree to take him to be diagnosed by a doctor, who recommends that not only Ezra be enrolled into a special needs school, he needs to start taking Risperdal, an antipsychotic and Jenna supports this plan of action. Max wholeheartedly disagrees and after seeing his son overly medicated and somnambulistic at the schoolyard during recess, he hatches a rather not fully conceived plan and abducts Ezra in the middle of the night and the two drive off in Stan’s classic convertible. While on the road, Max hears from his agent (Whoopi Goldberg) that she successfully booked him to be on the Jimmy Kimmel Show the following Friday and then discovers that an Amber Alert has been summoned to find the father and son.
There are numerous reasons I fell in love with EZRA starting with the impeccable performance from Cannavale. Always memorable in feature film supporting roles, in this movie he shows how genuinely talented and dynamic he is an actor, both dramatically and comedically. Newcomer William Fitzgerald brings authenticity and subtlety in a tour de force performance. This is Robert De Niro’s finest supporting work in some time, namely “Silver Linings Playbook”. Being a fan of Rose Byrne, she effortlessly portrays the many emotions her character is going through. It is evident that Director Tony Goldwyn (also in the Movie playing Jenna’s new boyfriend) loves and respects the acting craft and allows Rainn Wilson (The Office) and Vera Farmiga (Oscar-nominated for “Up in the Air”) to shine in their pivotal supporting turns.
The Cinematography is glorious, and I truly appreciated that. That being said, it did not pull at the emotional strings that leaves one weeping. It was just right. Fun fact: Screenwriter Tony Spiradakis used his own challenges with parenting an autistic son as inspiration for the movie.
EZRA screens at TIFF ’23:
Thursday, September 14, 9:30PM, TIFF Bell Lightbox
By Amanda Gilmore
The latest from Writer-Director Kaouther Ben Hania, who was the Co-Winner of the Cannes ’23 Golden Eye Award, tells a heartbreaking story through a hybrid Documentary and Drama model.
It tells the true story of Olfa Hamrouni and her four daughters. Documenting the story of how her two eldest daughters, Ghofrane and Rahma, disappeared in 2015 (aged 16 and 15) and how that shaped and emotionally affected the lives of Olfa and her two youngest daughters, Eya and Tayssir (aged 10 and 12).
Olfa’s story could be told through as a whole Documentary or Drama but this hybrid model adds a layer of cinematic dynamism. Ben Hania patiently allows Olfa and her youngest daughters as they tell their story to the Actors, who play Olfa and her eldest daughters. The stories Olfa, Eya and Tayssir share with the Actors give an unflinching glimpse into the pain they live with. We watch as they confront their grief in a different way through this process and uncover how they’ve moved forward, yet in some regards remained, still since the disappearance.
Four Daughters is a captivating portrait of the pain that accompanies familial love. An honest look at the kind of love that never fades no matter the decisions they make.
Four Daughters screens at TIFF ’23:
Wednesday, September 13 at 2 PM at TIFF Bell Lightbox
Thursday, September 14 at 9:45 PM at Scotiabank Theatre Toronto
By Mr. Will Wong
Christos Nikou makes his English feature directorial debut in Toronto-filmed FINGERNAILS. It’s quirky, cute and will make you squeamish. All of that in one sitting.
Though the Film dons a nostalgia to it, it is set in the future. Couples now have the ability to test if in fact their love is true at an institute specializing in finger nail tests, putting couples through intimacy-enhancing activities. Anna (Jessie Buckley) lands a job at the institute after testing “positive” for true love with her partner Ryan (Jeremy Allen White). Something doesn’t sit right still. She takes on this job secretly, telling Ryan she’s teaching at an elementary school. Anna works with Amir and while working with the institute’s clientele, they form a bond that has Anna questioning if her true “positive” with Ryan is in fact real.
Nikou tells an age old love triangle story through a new lens, opting for 35mm which together with the styling and soundtrack of the Film, make us feel we’re in the past, even though we’re in the future. His commentary on society’s dependence on technology doing the thinking for us makes this a biting satire, but with a unique mixture of grotesque (yes, these fingernail pulling will have you covering your eyes!), yet charming at once.
Buckley and Ahmed have a believable chemistry, while White isn’t given quite as much to work with, painting the mundane backdrop whereby Anna‘s life is set against. Nikou crafts something thought-provoking though it takes a different route to get there.
FINGERNAILS screens at TIFF ’23 as follows:
Tuesday, September 12
Visa Screening Room at the Princess of Wales Theatre
Premium, Descriptive Sound
Wednesday, September 13
TIFF Bell Lightbox
Closed Captioning
As TIFF ’23 begins to wind down, we enjoyed a much more leisurely pace today. Any time Jessica Chastain comes to town, we show up just like she always shows up for her fans. Despite only having four minutes to greet her fans, who lined the street outside Royal Alexandra Theatre for Michel Franco‘s MEMORY, she made the most of it, walking the line interacting with everyone. She is just absolutely lovely and still despite her stature and success, THE NICEST CELEBRITY ON THE PLANET. Her care and compassion for her supporters is unparalleled and we hope she never changes. Exemplary.
Was great seeing her Co-Star Peter Sarsgaard, fresh off his win in Venice for his performance in the Film for Best Actor, which sees two high school friends reunited, with things take a concerning turn when Sarsgaard‘s character follows Chastain‘s character home.
The Cast and Director head over to Margo on King West for post-premiere celebrations. The newly-launched hotspot situated inside members-only club, Clio.
Another high-profile film to premiere tonight was John Carney’s FLORA AND SON which won raves earlier this year in Sundance. The Film centers on a single mother looking to bond with her son over music lessons. In town for the debut at Roy Thomson Hall were Carney his one of the Film’s breakout stars, Oren Kinlan.
Filmed right here in Toronto, Director/Writer Christos Nikou’s FINGERNAILS got a full circle moment at Princess of Wales Theatre where the Sci-Fi Romance premiered. He dedicated the Premiere in memory of his friend, late TIFF Programmer Ravi Srninivasan, who generously gave him his Raptors season tickets while filming in the City. Both this and Flora and Son arrive later this year on Apple TV+, both getting celebrated with a pre-party at Ace Hotel.
We’re pretty much wrapping-up our star sighting content and look forward to quite a few screenings these next few days! Keep checking back for our Team’s reviews!
(Photo/video credit: Mr. Will Wong)
By Amanda Gilmore
Flora and Son is the feel-good film of the year.
Dubliner Flora (Eve Hewson) is a young mother struggling to connect with her teenage son Max (OrĂ©n Kinlan). Max has stolen and been caught one too many times. If caught again he’ll be sent to juvie. Knowing Max has an interest in music, Flora brings home an acoustic guitar with the hopes it’ll keep him out of trouble. Unfortunately, Max doesn’t take the bait. Stuck with the guitar, Flora decides to learn it and takes online lessons from Jeff (Joseph Gordon-Levitt), a soft-spoken teacher and mildly talented musician who lives in Los Angeles. Slowly, Flora and Jeff begin to fall for each other with each lesson.
No stranger to the musical genre, Writer-Director John Carney is in top form delivering a film about the power of music. Flora and Son stands out from his prior work because it focuses on the touching relationship between mother and son. Hewson is a revelation and gives a star-making performance as the direct, caring and angry Flora. As Flora learns the guitar, Max begins exposing his own musical talents to her. Music breaks down the walls between the two and becomes the bridge that connects them.
Carney furthers the theme of music connecting each of us through Flora’s relationship with Jeff. The two are on different continents, with an 8-hour time difference between them. However, the music they make together creates an intimate and deep connection. One Flora — possibly — has never experienced romantically before. Carney shows this connection smartly by removing the laptop Jeff is on and placing him in the room with Flora.
Overall, Flora and Son is funny, affecting and uplifting. An instant classic.
Flora and Son screens at TIFF ’23:
Tuesday, September 12 at 9:30 PM at Roy Thompson Hall
Wednesday, September 13 at 9 PM at Scotiabank Theatre Toronto
Saturday, September 16 at 2:45 PM at Scotiabank Theatre Toronto
By Amanda Gilmore
Australian auteur Ivan Sen delivers a slow-burning Crime Drama that plays as a commentary on the justice system.
Detective Travis Hurley (Simon Baker) arrives in the Southern Australian mining town of Limbo to investigate the 20-year-old cold case of Charlotte, a local Indigenous girl. Travis has a hunch that the killer may still live locally.
Charlotte’s murder was met with apathy by the investigating officers and the non-Indigenous townsfolk at the time…and still 20 years later. The girl’s siblings Emma (Natasha Wanganeen) and Charlie (Rob Collins) have lost hope in justice. So when Travis arrives and claims he’s there to help find the killer, they both doubt he’ll solve the case. Especially since there’s little evidence and there appears to be little — if any — community support.
Limbo is beautifully-shot with black-and-white Cinematography and works as an important critique of the failures of colonial law enforcement and judicial systems in serving Indigenous peoples. Baker turns in a strong performance as the drug-addicted detective determined to close the case. Although, the Film does lag at times.
Limbo screens at TIFF ’23:
Tuesday, September 12 at 5:45 PM at Scotiabank Theatre Toronto
Wednesday, September 13 at 3:45 PM at Scotiabank Theatre Toronto
By George Kozera
Germany’s official entry for Best International Feature for the 2023 Academy Awards, THE TEACHERS LOUNGE is an extraordinary movie that tackles issues as diverse as racism, teenage rebellion, and misinterpreted events or comments with aplomb and startling finesse. Due to a series of thefts at a high school, a seventh-grade Turkish student is interrogated by school executives, where new math teacher Carla Nowak (Leonie Benesch in a hypnotic performance) is an unwilling participant. Believing the young boy’s parents’ explanation of why there was a large amount of cash found in his wallet, Carta is on a mission to discover who the actual thief is. She sets up a “sting” in the teachers’ lounge and it appears that the school’s administrator may be the thief. Ironically, this person is also the mother of Oscar (Leo Stettnisch, a performance so accomplished, it belies his young age), a student that Carla has taken a special interest in.
THE TEACHERS’ LOUNGE genuinely made me feel off-kilter. Exceptionally well-written with nary a false note, Director and Co-Writer Biker Catak plays with and manipulates the cinematic Thriller genre with her own incomparable vision. I strongly urge everyone to see this remarkable piece of art.
THE TEACHERS’ LOUNGE screens at TIFF ’23:
Tuesday Sept. 12-3:30 pm-Scotiabank 4 Wednesday-Sept. 13-9:45 pm-Scotiabank 14
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