By Nicholas Porteous

Brady Corbet’s ginormous, 215-minute period epic The Brutalist tells the story of Laszlo Toth--played Adrien Brody, who is phenomenal in the role. Toth was a legendary architect who escaped the holocaust and literally cemented his legacy with a series of glorious buildings. One might imagine the hyperextended 3.5+ hour runtime would have to begin at the very beginning–Toth in the womb or thereabouts, but Corbet opens instead with his arrival in New York. A rebirth, of sorts. Starting from zero, and building his way to greatness largely via a complicated relationship with a wealthy patron, Harry Lee Van Buren, played with great vigour by Guy Pearce.

The Brutalist has quite a reputation. It’s poised to win The Golden Bear in Berlin, and is already considered a strong contender for best picture at the Oscars. The word “masterpiece” has come up more than once. Let me try to temper your expectations before they get impossibly high: The Brutalist is a great movie with a stunning performance at its center, and without saying too much, a less satisfying final act. It’s constructed very much in parallel with Toth’s architectural philosophy–sturdy and bold, simple yet elegant. There are countless scenes that play out in more or less one shot that are undeniably “Best Actor” clip heroin for Brody, and I say this without a shred of irony. Corbet‘s Screenplay leans heavily on Brody’s performance to convey a world of history and pain that we never see, and Brody completely enveloped me in that history, often with his eyes alone. It’s truly stunning stuff. The arguable flaw in the design of The Brutalist is that its audience is also expected to connect the dots and make leaps into how Toth’s experiences in Europe, which–again–we never see–influenced his art. Corbet presumes a familiarity with Toth that I doubt most will bring into the movie–myself included. It’s only at the very, very end that we’re treated to some perspective on his contributions to the world, and the culmination of this sprawling story feels a bit out of nowhere–at least relative to the amount of time spent building towards it.

Overall, The Brutalist is so impressive it barely feels its extreme length (thanks partly to a built-in intermission. YES. BRING THEM BACK!) It is very much worth a big chunk of your day, and will probably be nominated at the very least for some key awards. Just don’t expect a full-on religious awakening.

The Brutalist screens at TIFF ’24:

Tuesday, September 10th at 8:00 PM at TIFF Lightbox

Thursday, September 12th at 8:00 PM at TIFF Lightbox

By Amanda Gilmore

Director Luca Guadagnino returns to TIFF with this beautiful tale of how desire and love can become addictive and lead to obsession in this adaptation of William S. Burroughs’ novel of the same name.

Burroughs’ work is known to be unadaptable. So rather than do a straight adaptation, Queer is a film about the man himself. We’re first introduced to Lee (Daniel Craig) in Mexico while searching for men to take to bed. But his repeated flings come to a halt when he meets Allerton (Drew Starkey). He quickly finds himself enamoured by Allerton and wants to always have him by his side.

Queer is a mesmerizing journey through love, addiction, and obsession. These heavy, beautiful themes are executed with precision thanks to Guadagnino’s excellent pacing and steady direction, along with the insurmountable performances from Craig and Starkey. The two have vibrant chemistry and give everything they have to their characters. Craig revels in Lee’s addictive personality that leads to a need to control. And Starkey delivers a star-making performance.

The Film’s hypnotic music by legendary musicians Trent Reznor and Atticus Ross and the dreamy Cinematography by Sayombhu Mukdeeprom is the icing on top of these indelible performances. In the third chapter, Guadagnino brings surrealist imagery to finalize this love affair. This will work for some and not others. But none can deny the beauty of it all.

Queer screens at TIFF ’24:

Mon, Sept 9 at 9:45 PM at VISA Screening Room at the Princess of Wales Theatre

Tues, Sept 10 at 3 PM at TIFF Lightbox

Fri, Sept 13 at 9:15 AM at Scotiabank Theatre Toronto

Sat, Sept 14 at 4 PM at Scotiabank Theatre Toronto

Sun, Sept 15 at 5:45 PM at Scotiabank Theatre Toronto

By Nicholas Porteous

Crimes of the Future, David Cronenberg’s daring and mysterious last work, established “surgery is the new sex”. His follow-up, The Shrouds, posits something along the lines of “death is the new exposition dump”. Vincent Cassel runs a cutting edge graveyard complete with 3D live feeds of all the lucky corpses. With that trademark grey coif, Cassel appears to be doubling for Cronenberg himself. They’re virtually indistinguishable when he’s wearing sunglasses. Cassel is also processing his wife’s passing (while maintaining an odd friendship with her identical sister), and  he’s obsessed with disintegrating bodies. When an unknown group attacks his cemetery, our lead is roped into a world of espionage, conspiracies, and counter-intelligence, unravelling everything he thought he knew about the nature of his business, and the love of his life. It sounds pretty fun, eh? The unfortunate thing about The Shrouds is it’s not nearly as cinematic as that summary might suggest.

Much of the runtime in this peculiar neo-noir involves following Cassel through conflicting dialogues. One character will provide a tip or speculation about the other, contradicted by the next, flipped again by the following. A framework of unreliable narrators and double crosses comes into focus. And I continue to make this all sound way more entertaining than it really is. Cronenberg has always had a knack for hilariously weird and engrossing dialogue, but in spite of a few chuckles and provocations here and there, this movie–which leans so heavily on its interchanges–has the least to offer out of his last few projects, the majority of which this particular critic has loved. There’s way too much explaining and expositing, not enough compelling characterization. The performances are uniformly detached to the point that there’s not much to distinguish the living from the dead. There’s a good chance that’s part of the point, but The Shrouds doesn’t do nearly enough to make me feel invested in deciphering that point. It’s physically and dramatically inert. Being such an obviously personal project, I would say this one’s for Cronenberg obsessives only. But even then, watch your step.

The Shrouds screens at TIFF ’24:

Wednesday, September 11th at 9:30 PM at Roy Thompson Hall

Thursday, September 12th at 2:30 PM at Royal Alexandra Theatre

By Nicholas Porteous

At their annual summit, the G7 world leaders are tasked with writing a provisional statement in a cozy gazebo in the middle of the woods, but everything goes haywire and they become lost in a forest full of zombies and a giant pulsating brain. Y’know, standard TIFF fare. This is Guy Maddin, Evan Johnson and Galen Johnson‘s Rumours–a surprisingly vague title for such a specifically wacky film.

“This isn’t Summer Camp” notes the British Prime Minister (Nikki Amuka Bird) as a reminder to our Canadian leader (Roy Dupuis), but you’d be very much forgiven for confusing these elected officials with a gang of unruly teens. As one should expect from Maddin and the Johnsons, these supposed adults are–to put it mildly–very silly. Caught-up in their own personal affairs (mainly surrounding the inescapably troubled but undeniably sexy Canadian Prime Minister), existential angst, and–yes—rumours! Cate Blanchett is exceedingly hilarious as the German Chancellor, alongside a buffoonish Rolando Ravello, representing Italy in a particularly unflattering light of aloofness. Charles Dance gives a solid turn as the American President who wants nothing more than to die–although his unwavering British accent had me scratching my head. The Movie makes a winking reference to the odd choice, but never justifies it in a satisfying way, which feels like a missed opportunity.

Rumours is very funny, and I found myself howling more than once at the evergreen comic premise of world leaders behaving like children, but as a feature there’s not much more to it than that. It’s a well-acted, whimsical, 118-minute sketch. Without any real stakes or a compelling dramatic engine, the movie feels more than a bit meandering as a narrative, and its climax does little to distinguish itself from the rest of the proceedings. Does it have a point beyond “world leaders are, at their core, self-obsessed, goofy children just like you and me and we’re all doomed”? If it does, I didn’t see it. But if you enjoy the madcap fever dreams that Maddin and the Johnsons are known for, and you’re willing to bask in that for two hours–arguably an hour beyond its expiration time–Rumours has that energy in spades.

Rumours screens at TIFF ’24:

Monday, September 9 at 8:30 PM at The Royal Alexandra Theatre

Tuesday, September 10 at 4:30 PM at Scotiabank Theatre

By Amanda Gilmore

In his first venture into television, beloved film Writer-Director Alfonso Cuarón tells an intelligent, savage tale of a woman’s past coming back to bite her.

Based on the Novel by Renée Knight, Disclaimer tells the story of celebrated journalist Catherine (Cate Blanchett) who begins reading a novel that was mysteriously delivered to her. To her horror, the novel is about her and the awful secret she’s kept for two decades.

TIFF is screening the first two episodes of this Limited Series. Over those episodes, Cuarón slowly unravels the story. The first episode brings us to two time periods. It’s clear the people in each are connected in some way. But what way and why? That’s where Cuarón excels. In keeping the mystery of these people and their connection a secret until the final frame.

Once we’re given the context of who’s who and how people have met, we’re brought to episode two. This is where the tension rises. The book has been delivered to Catherine’s son Nicholas (Kodi Smit-McPhee) and her husband Robert (a pitch-perfect Sasha Baron Cohen). Nicholas hasn’t connected the character to his mother, but Robert sure has. The confrontation between the two at the end of the episode is masterfully written and acted. 

Blanchett, as always, is flawless. This time delivering a complex character with many faults and a dark moment in her past, yet gives her a charm that allows us to root for her.

Disclaimer screens at TIFF ’24:

Mon, Sept 9 at 4 PM at Royal Alexandra Theatre

Wed, Sept 11 at 2 PM at Scotiabank Theatre

Sun, Sept 15 at 11:45 AM at Scotiabank Theatre

By Nicholas Porteous

The pope is dead and Ralph Fiennes must find his successor amongst an ever-shrinking field of candidates in Edward Berger‘s Conclave, based on the historical fiction novel by Robert Harris. This is Berger‘s followup to his Oscar-winning All Quiet On the Western Front, and it’s not hard to see the cinematic parallels. 

Conclave is brimming with painterly compositions, a sweeping dramatic scope about as large as Saint Peter’s Basilica, and a great Ensemble Cast featuring Fiennes, Stanley Tucci, John Lithgow, as well as a small but memorable turn from Isabella Rossellini. It’s fascinating to see inside the democratic process to decide who holds the power of the church until the end of their days, and this particular race is by no means straightforward. Not all potential (or rather, popetential) cardinals are free of sin, and some do a better job of hiding their indiscretions than others. There’s a Survivor/Hunger Games vibe to the proceedings, with various players scheming, forging alliances and counter alliances, votes cast and renegotiated, and cutthroat eliminations that ripple across the popelitical landscape as the next round of voting begins.

I found myself invested in the proceedings of this twisty-turny plot, but I’d wager Conclave had a significantly smaller impact on me than anyone bringing in their own personal connection to the Catholic Church. While I can understand the political gravity of a new pope in the abstract, the outcome has almost no influence on my life, so I can’t say Conclave’s urgency broke through on a personal level. The drama of the movie can also feel a bit room-temperature just months before the US election. It feels otherworldly to witness people vying for power who are actually held accountable for past behaviour. There is a touch of prescience in Conclave, and some solid universal observations, but at the end of the day, in 2024 I felt more disconnected than I’d like from what is, in spite of its twists, a relatively straightforward work of political fiction. Well-shot, well-acted, well sure–but I don’t see Conclave amassing the same critical and awards momentum as Berger‘s more gripping previous work.

Conclave screens at TIFF ’24:

Monday, September 9th at 3:00 PM at The Princess of Wales Theatre

Tuesday, September 10th at 8:30 PM at Scotiabank Theatre

By Amanda Gilmore

Hugh Grant gives a formidable performance in this cat-and-mouse chamber-thriller about our beliefs in religion.

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are part of the Latter-Day Saints. They’re currently knocking on the doors of people who’ve noted an interest to learn more about their church. That’s when they are introduced to Mr. Reed (Grant). He invites the two in with a promise that his wife is cooking the best blueberry pie one could have. But soon, all signs point to something more sinister behind Mr. Reed’s charming demeanour.

Co-Screenwriters and Directors Scott Beck and Bryan Woods (who also co-wrote The Quiet Place) have created a successful Horror film that has something to say. Heretic may include two Sisters of the LDS but it doesn’t only question that religion. It questions all religious beliefs. But most importantly, it questions the reasoning of why we believe what we believe. One scene has Mr. Reed make references to board games and songs and revealing which are the true originals. This one pivotal scene alone proves that Heretic is a cerebral film concerned with making its audience confront their beliefs.

As Grant has said many times now, he’s in his freaks and monsters era. Mr. Reed follows in that category of character that he has now found himself playing decades into his career. And frankly, he’s never been better. In Heretic, his natural charm allows the audience and the Sisters to trust Mr. Reed. Grant is impeccable at playing his charm with the chilling rhetoric Mr. Reed delivers. Resulting in an eerie performance that will stand as one of his most memorable.

Heretic primarily takes place in one location: Mr. Reed’s home. It’s difficult to make a single setting horror entertaining. Yet, it is. This is due to the steady direction and pacing, the cinematography by Chung-Hoon Chung, and the performance from its three cast members.

Heretic screens at TIFF ’24:

Sun, Sept 8 at 9:30 PM at VISA Screening Room at the Princess of Wales Theatre

Mon, Sept 9 at 9 PM at Scotiabank Theatre Toronto

Cannot believe how great our day went and this will go down as the day we finally met the great Cate! So many new core memories created!

It was an explosive Day Four of TIFF ’24 including:

•Angelina Jolie at Premiere of WITHOUT BLOOD after being honoured at TIFF Tribute Awards Gala
•Sydney Sweeney and Ana de Armas at TIFF ’24 for EDEN.
•Sam Worthington at TIFF ’24 for RELAY
•Jude Law, Tye Sheridan, Teresa Palmer, Nicholas Hoult, Jurnee Smollett at TIFF ’24 for THE ORDER
•Malala at TIFF ’24 for LAST OF THE SEA WOMEN
•Alfonso Cuáron at TIFF ’24 for DISCLAIMER.
•Cate Blanchett being honoured at TIFF Tribute Awards tonight. Here with DISCLAIMER and RUMOURS
•Isabella Rosselini at TIFF ’24 for CONCLAVE
•Alicia Vikander and Himesh Patel at TIFF ’24 for THE ASSESSMENT
•Paul Rudd at TIFF ’24 for FRIENDSHIP
•Mikey Madison, Sean Baker, Karren Karagulian, Yura Borisov and Vache Tovmasyan of ANORA
•John David Washington and Malcolm Washington at TIFF ’24 for THE PIANO LESSON

See our Day Four highlights!

Angelina Jolie‘s exciting arrival with son Pax at WITHOUT BLOOD Premiere

Some highlights from Cate Blanchett’s In-Conversation:

(Photo/video credit: Mr. Will Wong)

This was by far the most the most hectic.of the Festival and we are thrilled at the names we spotted out and about today! Totally exhausting, but so rewarding!

Some of the names we saw:

•Jennifer Lopez and Jharrel Jerome for UNSTOPPABLE

•Margaret Qualley for THE SUBSTANCE

•Ron Howard, Daniel Brühl, Vanessa Kirby, Sydney Sweeney and Ana de Armas for EDEN

•Brett Goldstein for ALL OF YOU

•Mena Suvari and Brandom Routh for ICK

•Rebecca Hall for THE LISTENERS

•Barry Keoghan for BRING THEM DOWN and BIRD

Jessica Matten, Amber Midthunder and Kauchani Bratt for REZ BALL

•Manuel Garcia Rulfo and Tenoch Huerta for PEDRO PARAMO

•Jacob Elordi, Daisy Edgar-Jones, Diego Will Poulter for ON SWIFT HORSES

•Mikey Madison for ANORA

•Jason Reitman for SATURDAY NIGHT

Some highlights from today:

(Photo/video credit: Mr. Will Wong)

By Nicholas Porteous

After Gerald’s Game and Doctor Sleep, Mike Flanagan teams-up with Stephen King once again, but The Life of Chuck is not a spooky spool to make you crawl under the sheets and cover your eyes. On the contrary. It’s a movie about embracing the entirety of your existence. Even if you aren’t Tom Hiddleston. And it’s as much an end-of-the-world story as it is a toe-tapping dance picture. Our story begins with “Act Three”, as the world appears to be coming to an end. Don’t worry–acts two and one are next! Chiwetel Ejiofor and Karen Gillan are forced to reckon with an existential dread reminiscent of the pandemic, but infinitely worse. On top of this, a mysterious, unknown entity–“Chuck” (Tom Hiddleston) has been popping up all over town. Does he have anything to do with the apocalypse? I won’t say another word, but the answer may surprise you in the best possible way. In this particular narrative climate, we’ve been conditioned to expect some kind of Damon Lindelof-esque, clever unraveling of all the threads that a mystery box story might present up front. The Life of Chuck is a warm, welcome counterpoint to this kind of storytelling.

Acts one and two are all about Chuck, and his connection to the ‘ending’. Were you aware Tom Hiddleston can dance? The spoiler I can’t resist blowing: he’s as good at dancing as he is at being Loki. If I can levy any criticism toward Chuck, I’d say it is occasionally guilty of sentimentality, and using obvious music cues. The movie knows how moving it is from the jump, and it’s not wrong, but I would have appreciated less tipping of those delicate emotional scales. 

Chuck will almost certainly reward multiple viewings, if only for its Where’s Waldo-like smattering of hidden cues and messages that all wrap around and breathe meaning into its profound message. The more I think about it, the better it gets.

The Life of Chuck screens at TIFF ’24:

Friday, September 13th at 12:35 PM at Scotiabank Theatre

Saturday, September 14th at 6:15 PM at TIFF Lightbox

Sunday, September 15th at 6:30 PM at Scotiabank Theatre