By David Baldwin
Al Yankovic’s (Daniel Radcliffe – yes, him) ambition in life is to make parody songs scored to the beat and style of existing hits. Fame will not come easy for Al though, and neither will the drugs, alcohol and excess that come with it.
If you know anything about Yankovic’s history as a performer, forget all of it before you sit down to watch WEIRD: THE AL YANKOVIC STORY. Rather than being a conventional biopic that goes through the tumultuous ups and downs of a performer’s career, Co-Writer/Director Eric Appel and Yankovic himself turn the entire genre upside down and inject as much ridiculousness and timeline perversion into the Film as they could. It sends up every convention we know and understand from decades of biopics and exposes them for the by-the-numbers, stereotypically fluffy nonsense that we all know them to be. Others have already favourly compared the Film to the cult classic Walk Hard, yet WEIRD feels more disjointed, more outrageous and more weird than it does anything else.
How else to explain Al needing to rescue his girlfriend Madonna (an uproarious Evan Rachel Wood) from Pablo Escobar (Arturo Castro)? Or Michael Jackson copying the beat from Yankovic’s “Eat It” when he wrote and recorded “Beat It”, rather than the other way around? Or well, just about anything else that happens in this outrageous movie?
I laughed as hard as I could throughout WEIRD, even if the seams of the Film being based off a three-minute fake trailer sketch start showing far too early. There are some incredible cameos and sight gags littered throughout, and this is easily (though you might not believe me) Radcliffe’s best performance this side of Harry Potter. He commits willingly to every outlandish thing Appel and Yankovic throw at him, commands the screen at every turn and does an incredible job depicting the Hard Rock lifestyle the Film purports actually happened to the real Weird Al. Hysterical stuff. And God willing, Yankovic himself will be nominated for an Oscar for that end credits song that is…brilliant?
WEIRD: THE AL YANKOVIC STORY screens as follows at TIFF ’22:
Thu, Sep 8 IN-PERSON Royal Alexandra Theatre 11:59pm
Fri, Sep 9 IN-PERSON TIFF Bell Lightbox 12:15pm
Sun, Sep 18 IN-PERSON TIFF Bell Lightbox 9:00am
By David Baldwin
Peter (Hugh Jackman) has it all. He is a big shot attorney being courted by D.C. for a Senator’s election bid and his new wife Beth (Vanessa Kirby) has just given birth to a beautiful baby boy. Peter’s older son Nicholas (Zen McGrath) is not doing great though – he is not getting along with his Mom, Peter’s ex Kate (Laura Dern), is not going to school and is suffering from severe depression and anxiety. Hearing this, Peter agrees to let Nicholas live with him and his new family in the hopes that his mental health will improve. Except it does not, it just gets worse.
THE SON is easily the most divisive movie I have seen at TIFF ’22. The discourse, anger and debate this Movie has already sparked is not quite at the level of The Whale, but it is going to get so much more heated after its theatrical release this Fall. Your “enjoyment” (I used the term loosely because THE SON is not very fun to watch) will entirely hinge on your feelings around Mental Health, specifically when it involves a child. I do not want to spoil where the Film goes – the foreshadowing motifs sprinkled throughout are about as subtle as a fire alarm – rather, I want to note that it careens into bleak and unsettling territory.
What also works against the Film is the inevitable comparisons to The Father. That film, like THE SON, was adapted by Zeller and Christopher Hampton from Zeller’s play and both feature tremendously intricate Production Design and a tortured character at its centre. Whereas that film focused on Anthony Hopkins’ towering, extraordinary performance, this Film spends more time with Jackman than it does McGrath’s titular character. And when McGrath does show up, he is whiny, annoying, cold, distant, melodramatic and unrefined. Some have punched down and have suggested it as being laughably bad. While I myself did not think it is a great performance, I would caution before saying it was bad. McGrath plays Nicholas as a scared, anxious and confused teenager who does not understand the feelings he is experiencing nor the ability to process them, so it makes perfect sense why he is so melodramatic and all over the place.
Elsewhere, both Dern and Kirby are sidelined through far too much of the Film (though the latter still slays every time she appears) and an explosive two-scene cameo from Hopkins is so incendiary that the Film is never able to match its energy afterwards. Which is all to say, Jackman has a lot of heavy lifting to do. He is up to the task and delivers a very good, albeit aggravating performance. You will just want to reach out and shake him violently for his character’s arrogance and callousness towards his son’s precarious situation. Worse, his spectacular “Oscar” scene comes in the form of a 10-minute epilogue that does not really need to be there. Which is a hell of a shame.
THE SON screens as follows at TIFF ’22:
Mon, Sep 12 IN-PERSON Roy Thomson Hall 9:00pm
Tue, Sep 13 IN-PERSON TIFF Bell Lightbox 12:00pm
By David Baldwin
A serial killer believes he is cleansing the streets of corruption in the Iranian holy city Mashhad. His victims? Female sex workers and drug addicts who are all too willing to jump on the back of his motorbike when they see the cash he is carrying. Enter female Journalist Rahimi (Zar Amir-Ebrahimi), who is determined to investigate and uncover the identity of the killer before he has a chance to kill again. At the same time, we follow Saeed (Mehdi Bajestani), a blue-collar worker and war vet who is trying to do right by his family. Saeed also happens to be the killer.
That hook is what instantly drew me into the sordid web of HOLY SPIDER. Director/Co-Writer Ali Abbasi (who previously directed the Oscar-nominated Border) has crafted a film that takes no prisoners with its unrelenting intensity and is absolutely fearless when it comes to its depiction of misogyny and sexual violence (all inspired by a true story from the early 2000s). There are some genuinely disturbing and unsettling moments in this film that continue to sit with me – most related to the brutal ways Saeed murders his victims. If that sounds like a lot, that is because it is. Abbasi knows exactly how to get under the audience’s skin, and he revels in how vicious and unsettling he can make each scene more than the last.
Speaking of unsettling, we need to talk about Bajestani. The Actor is pure evil incarnate, reprehensibly twisting his cadence, vocabulary and body language at will. He delicately balances both of Saeed’s personas and watching him let loose in anger is more than enough reason for your bones to shake. Amir-Ebrahimi is just as terrific, precisely portraying the Journalist who will go to truly unconventional means in order to take this monster down. She reminded me a lot of Jodie Foster’s Clarice Starling from The Silence of the Lambs in how the male characters treat, dehumanize and underestimate her. It is brilliant, unfiltered work that was rightfully awarded the Best Actress award at Cannes back in May. She captures your gaze right from the start and it is incredibly difficult to look away from her afterwards.
And without getting too far into spoiler territory, I will note how revolting the ending is. In a film filled to the brim with disgusting, deplorable imagery, this extended bit is certainly going to sear into your brain.
HOLY SPIDER screens as follows at TIFF ’22:
Tue, Sep 13 IN-PERSON TIFF Bell Lightbox 9:45pm
Wed, Sep 14 IN-PERSON TIFF Bell Lightbox 3:00pm
It’s hard to believe the end is near of TIFF ’22 and that kicked-off a week ago already! We had some big stars in the City tonight including celebrated Thespian Brian Cox who is experiencing a career resurgence with his outstanding work as Logan Roy in HBO‘s Succession. Cox is here for The Prisoner’s Daughter, starring alongside Kate Beckinsale. Catherine Hardwicke directs this Drama about a father looking to reconnect with his daughter, though his violent past comes back to haunt them.
THE PRISONER’S DAUGHTER
BLACK ICE
ELEVATION PICTURES MAIN CHARACTER BASH
Elevation Pictures dominated the Festival this year withs ome amazing titles like Brother, The Son, Broker and The Whale (!!). So kind of them to invite us to their Main Character Bash! The Director, Producer and some Cast from BLACK ICE even visited.
(Photo credit: Mr. Will Wong)
As TIFF ’22 begins to wind-down, things are coming at a bit more manageable pace. But that doesn’t mean the talent and caliber of Films are any less as there’s still plenty to be excited about. So happy to have gotten a little bit more sleep today and look forward to actually seeing some movies back-to-back the next few days!
We spotted some pretty major talent today, including an icon!
MOVING ON
WOMEN TALKING (written/directed by our Sarah Polley)
TRIANGLE OF SADNESS
Our Reviews are coming begin to pile-in. Click here for more including our thoughts on TRIANGLE OF SADNESS, WOMEN TALKING and more.
(Photo/video credit: Mr. Will Wong)
By Nicholas Porteous
A group of vapid rich people and Social Media influencers go on an ill-fated cruise. This is Ruben Östlund‘s second Palme d’Or winner in a row, and all the things that make his work captivating are on full display: dynamic and inventive blocking, an absolutely lavish production, laugh-out-loud moments of excess, and an ensemble of grounded yet deliciously absurd performances across the board.
Unfortunately, his limitations as a Writer are also particularly sharp here. The dominant themes of rich and poor, skilled and inept, culture assigning value to those least deserving, and absolute power corrupting you know what… they’re all rather tired, which would be easier to swallow if the Movie wasn’t an hour longer than it should be.
Structurally, there are a number of odd choices–our presumably lead characters are introduced and fleshed out for the First Act, then basically forgotten for the pivotal middle section. Arguably, the most interesting character of the Film is kept out of the narrative until near the end, and while I understand Östlund might be making a statement by hiding them, it comes at the expense of what could have been a far richer story of personal transformation. He has a habit of leaving the most potentially interesting moments of character development off-camera.
While there is a lot to be enjoyed here–and I would still consider Triangle worthy of your attention–be aware that this lengthy journey out to sea is a shallow one.
TRIANGLE OF SADNESS screens as follows at TIFF ’22:
Tues, Sep 13 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:30pm
Wed, Sep 14 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 5:30pm
By Amanda Gilmore
This summertime coming-of-age tale follows 14-year-old Bastien (Joseph Engel) on his and his family’s getaway to a cottage in rural Quebec. They spend their days there with his mother’s best friend and her 16-year-old daughter, Chloé (Sara Montpetit). Soon, Bastien is beguiled by Sara’s moodiness and her tales of the ghost of a boy who drowned in the very lake they swim in.
Actress-turned-Director Charlotte Le Bon makes a splash with this Gothic Romance, her directorial debut. It’s a tale of summer love told through two nuanced characters. Bastien and Chloé are different from the other teenagers around. They spend their days speaking of the ghost and even posing for photos dressed in a white sheet. Oh, and they think it’s a fun game to bite down on the spot between their thumb and forefinger to see if they can penetrate the skin. Both Engel and Montpetit give textured performances and remind us of a time in our youth when everything seemed immediate.
Falcon Lake seeps into the atmosphere. One that balances the lightness of summertime vibes with the creepy tension of a Horror. These chilling moments are highlighted even more with a haunting score by Shida Shahabi and Wilhelm Brandl. Le Bon captures a moment in time with scenes of parties by a fire on a summer’s night. She contrasts these lively scenes with quiet, calm ones of Bastien or Sara in or by the lake, sometimes with an image of a ghost watching them.
Although this coming-of-age tale feels familiar, Falcon Lake masters its tone and atmosphere while delivering developed characters.
Falcon Lake screens at TIFF ’22 as follows:
Tue, Sep 13 IN-PERSON at Scotiabank Theatre at 6:30 pm
Wed, Sep 14 IN-PERSON at TIFF Bell Lightbox at 12:30 pm
By Amanda Gilmore
This exquisite Adaptation of Miriam Toews’ acclaimed novel follows a group of women in a Mennonite colony who have experienced generations of epidemic abuse. The men, who hold the power, have told the women that the sexual assaults inflicted on them were the cause of ghosts or their own imagination. But when one of the men is caught and names others as culprits, a group of women are tasked with deciding if they should stay and fight or leave.
Writer-Director Sarah Polley is back with this simple yet complex film. It’s straightforward in its narrative, however, it examines the intricate meanings of justice, forgiveness, and faith. Further, it shows women reconstructing the future they want for themselves and their children. Each character has a different perspective, which helps examine the many themes in Women Talking.
Salome (Claire Foy) seeks retribution for the evils inflicted on her and her fellow women. Level-headed and soon-to-be-mother Ona (Rooney Mara) hopes to leave the colony and pave a new life for her unborn child. Mariche (Jessie Buckley) can’t agree to stay or leave and bluntly questions each opinion that is given. The trios’ mothers, Greta (Sheila McCarthy) and Agata (Judith Ivey) symbolize the generations of silence that have led to the perpetuated abuse. An emotional knockout scene happens when Greta apologizes to Mariche for her part in the abuse.
The entire female Ensemble deliver top-tier performances that make it hard to pick a standout. Yet, Buckley is given the biggest character arch and gives an indelible performance as a woman grappling with the painful truth. Among these women is school teacher August (Ben Whishaw), who takes the minutes of the meeting. He symbolizes the men who support and care for women. Whishaw gives a heartbreaking performance.
In lesser hands, Women Talking would come off as stagey. However, Polley, along with Editors Christopher Donaldson and Rosyln Kalloomakes, make it cinematic. Polley uses imagery to convey the subtext and further the themes. Such as repetitive visuals of the women’s hair being braided. This shows them being tied in their experiences and banding together in their decision for a future. Additionally, the exceptional Direction from Polley effectively shows the violence while never being exploitative. She achieves this by showing the aftermath rather than the actual abuse.
Women Talking is one of the best films of the year.
Women Talking screens as follows at TIFF ’22:
Tue, Sep 13 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 6:30 pm
Wed, Sep 14 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 2:30 pm
Fri, Sep 16 IN-PERSON at Royal Alexandra Theatre at 8:30 pm
Sat, Sep 17 IN-PERSON at TIFF Bell Lightbox at 6:00 pm
By George Kozera
Acclaimed Japanese Director, Hirokazu Kore-eda, had graced TIFF with every movie he had directed since 1995 and with his latest, BROKER, he once again proves he is a master of his craft.
Sang-hyeon (Song Kang-ho) and Dong-soo (Gang Dong-won) steal babies from the Busan Family Church where there is a “baby box” for mothers to drop off infants that they cannot care for and the two men sell them on the adoption illegal black market. But when So-young (Lee Ji-eun) returns for her baby and discovers their illegal business, she decides to go with them on a road-trip to interview potential parents for her baby, all while two detectives, Soo-jin (Bae Doona) and Detective Lee (Lee Joo-young) investigate them. As back stories are revealed, BROKER expertly navigates many cinematic themes: not only is it heartfelt and heartbreaking with surprising bursts of humour, but it is also a murder mystery.
Song Kang-ho (“Parasite”) leads a letter-perfect cast as this movie touches on some of themes of family and repercussions of errors made which was explored brilliantly in the Director’s Shoplifters, but BROKER is an astonishing piece that will leave the audience invested to its very end.
BROKER screens at TIFF ’22 as follows:
Tue, Sep 13 IN-PERSON Royal Alexandra Theatre 5:30pm
Wed, Sep 14 IN-PERSON Royal Alexandra Theatre 8:30pm
By Amanda Gilmore
EO is a donkey who is part of a circus in Poland. His owner Kasandra (Sandra Drzymalska) and himself have a strong bond. She protects him even if he is being used by the circus for profit. However, when the circus gets shut down, EO is placed in a new home out of reach from Kasandra. After she pays him a visit one night, he breaks the farm gate in search of her. Instead, he meets good and bad people, experiences joy and pain, and endures the wheel of fortune randomly turning his luck into disaster.
This is a moving Film with a powerful message. We watch as EO is being mistreated by everyone he interacts with on his journey. As we watch the world through his eyes, we see how the world is a torturous place for him. Even at the start, Kasandra does what she can to protect her beloved EO but he still suffers from the Circus owners.
However, the level of cruelty to animals escalates and deescalates throughout. There is one particular moment when EO is beaten by a group that was previously celebrating him. Even though the abuse is off-screen, Writer-Director Jerzy Skolimowski makes sure that each painful hit is felt. This makes for a painful viewing experience, but a necessary one. Even in moments when EO isn’t being used, he is hurt in other ways. Near the end, EO ends up on an estate with a Countess (played perfectly by Isabel Huppert) and a young priest (Lorenzo Zurzolo). Although they don’t intentionally hurt him, they neglect him. He doesn’t have any other animal companions and they don’t respond to his cries.
The situations that EO finds himself in reflect the cruelty of humans to animals. Each situation plays out as a mini-chapter in EO’s journey. They almost feel like their own individual Short Films. Yet, Skolimowski ties them together into a hero’s journey for his Donkey protagonist. EO even gets a shot to fight back and aide fellow animals being abused.
Additionally, it’s one of the most visually stunning films of the year. The Cinematography by Michael Dymek thrusts us right into EO’s view of the world. We see it for all its natural beauty and brutality.
EO screens at TIFF ’22 as follows:
Tue, Sep 13 IN-PERSON Scotiabank Theatre Toronto 4:30pm
Wed, Sep 14 IN-PERSON Scotiabank Theatre Toronto 8:30pm
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