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
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
By David Baldwin
On January 8, 2020, Ukraine International Airlines Flight 752 was shot down just as it left Iranian air space. Everyone on board died, including the wife and young daughter of Newmarket Dentist Hamed Esmaeilion. Devastated, he immediately flies to Iran to claim their remains and after witnessing a partial cover-up first hand, Hamed begins a quest for justice and the truth as to why this tragedy occurred at all.
752 IS NOT A NUMBER is harrowing and frustrating. The answers do not come easy – if at all – and the way Filmmaker Babak Payami portrays Hamed’s grief is consistently heartbreaking. It is not an easy watch, especially when he cuts in candid family footage from happier times. Yet the Film feels absolutely necessary in how it captures government priorities and corruption. In case you forgot, the Pandemic was starting to heat up at the exact same time this tragedy took place (a fact that is acknowledged but thankfully not dwelled on), so uncovering Iran’s reasoning for shooting down the plane was more challenging than it should have been.
While 752 IS NOT A NUMBER could have been tightened in certain areas, Payami’s film remains compelling from start to finish. Just do not expect any catharsis at the end for Hamed and all of the other families affected by this tragedy.
752 IS NOT A NUMBER screens as follows at TIFF ’22 as follows:
Sun, Sep 11 IN-PERSON Scotiabank Theatre 3:15pm
Sat, Sep 17 IN-PERSON Scotiabank Theatre 12:50pm
By Justin Waldman
The issue with Anthologies is that there is always a weak link or two in an otherwise strong chain. Sometimes the Anthologies get to overcome that curse, and others they fall victim to the tragedy of this circumstance. We Are Still Here shares nine Directors and ten Writers that help tell the stories spanning 250 years, sometimes even in the future, about a celebration of native land being colonized and the native inhabitants being invaded.
There is a lot to love and appreciate throughout the ninety minutes of We Are Still Here, including some brilliant animation and stop motion. However, on the same note there are segments of the Anthology that unfortunately fall drastically short and go on a little too long and lose the intensity that the Movie has set up for it. There are eight stories that are interweaved, all focusing on the colonization that started 250 years ago from Captain James Cook unwanted arrival in the South Pacific. Each story tries to convey its message in a variety of mediums, some more successful than others.
The largest issue with We Are Still Here, and Anthologies as a whole is when something that isn’t as captivating as the other stories get just as much screen time if not more, and they’re the least captivating parts. The Animation and Stop Motion animated segments were truly the highlights of the entire Anthology and starting off with a stop motion that sets up the entire Anthology as an overarching story of Colonialism has a very jarring and provocative way to get that across. We Are Still Here gives a voice to the indigenous filmmaking community to express the challenges of their past and present.
WE ARE STILL HERE screens at TIFF ’22 as follows:
Sunday September 11th at 3:45 pm at Scotiabank theatre
Wednesday September 14th at 8:30 pm at Scotiabank theatre
Thursday September 15th at 10 am on TIFF Digital at home
Sunday September 18th at 3:35 pm at Scotiabank theatre
By David Baldwin
Mr. Williams (Bill Nighy) is dying. He has been given six months to live, nine if he is lucky. More than enough time to get affairs in order, but what does Williams need to figure out? He is a widower, he is estranged from his son and daughter-in-law (despite their living in his home), he has no friends or confidants, and his only joy is going to the Pictures on Tuesdays. Williams, filled with grief and regret, decides immediately to make some changes – and start living instead of simply going through the motions.
Nighy, a brilliant Character Actor who rarely gets his due, is outstanding from the very moment he appears on-screen in LIVING right through until the bittersweet ending. His cadence and charisma is unparalleled and his delightfully dry wit had the audience around me laughing aloud. That same audience hung on every tragic word and moment Nighy delivers, where he does not command the screen so much as he burns a hole in the centre, practically daring the supporting cast to try to make a stronger impression on the Film. They are all uniformly good (especially Aimee Lou Wood of Sex Education), though they are well aware that they cannot match up to Nighy’s powerful turn.
And while the sumptuous art design and booming score are exquisite, I wish LIVING was slightly less episodic in nature. Worse, its real issue is the final 20-30 minutes of the Film. It lands on multiple perfect ending moments, only to pivot and move onto something else. Frustrating to say the least, though the tradeoff is more time for Nighy to light up the screen in his own magical, mythical way.
LIVING screens as follows at TIFF ’22:
Sun, Sep 11 IN-PERSON TIFF Bell Lightbox 3:45pm
Mon, Sep 12 IN-PERSON Scotiabank Theatre 6:30pm
Fri, Sep 16 IN-PERSON TIFF Bell Lightbox 12:15pm
By David Baldwin
With the kids away at camp for the week, Josh (Jonas Chernick) and Emma (Schitt’s Creek’s Emily Hampshire) have the house to themselves. Initially unsure of what to do next, they quickly land on recapturing the sexual energy of their youth. Except that spark is not there anymore, just a never-ending routine of going through the motions. Dissatisfied, the pair come up with different ways to spice up their marriage – each more wild than the next.
THE END OF SEX is a sweet little Canadian romp that is just as charming as it is raunchy and cringe inducing. I laughed, I shrieked and I stared wide-eyed in bewilderment at some of the situations this couple finds themselves in. And just when you think it could not get any more mortifying, Colin Mochrie drops in for an extended bit you will not forget anytime soon.
While Chernick’s writing is nothing spectacular, the tonal pivoting honesty he brings to his performance as Josh is wonderful, as is Hampshire’s as Emma. They have a winning chemistry and a shared history that enriches the backstory we are only given precious few details of. The Comedy here is some of the most awkward you will see this year, yet it comes from a place of love and truth. I just wish the terrific supporting players like Lily Gao, Gray Powell and Melanie Scrofano were given so much more to do. They get many of the best and wildest lines in the Film, but their character development rings hollow.
And as a Hamilton boy, I loved seeing the way the city is portrayed here. Minus that terrifying moment when the Film turned a bar I used to frequent into a sex club.
THE END OF SEX screens as follows at TIFF ’22 as follows:
Sat, Sep 10 IN-PERSON Scotiabank Theatre 7:30pm
Wed, Sep 14 DIGITAL digital TIFF Bell Lightbox 10:00am
Wed, Sep 14 IN-PERSON Scotiabank Theatre 2:00pm
By Amanda Gilmore
Bones of Crows is important, powerful and necessary while also being incredibly well-made.
This powerful Film tells the story of Cree matriarch Aline Spears (played at different ages by Summer Testawich, Grace Dove, and Carla Rae) who was born in Canada in the 1920s. It follows her from her childhood, being taken away from her family and thrust into the residential school system, her time in the military during WWII, and her inspiring determination to bring her oppressors’ crimes to light.
It’s through Spears’ story that Writer-Director Marie Clements highlights the centuries of abuse and oppression by the Canadian Government and Institutions. The Canadian Residential School System has been a topic on our news a lot recently. However, Clements brings you to this heinous place. This, and other scenes, make for a tough viewing experience, but an essential one.
Bones of Crows tells an important story, while stunning to watch. The Cinematography by Vince Arvidson captivates and works seamlessly with Clements’ direction. And the Cast of women who bring Spears to the screen gives affecting performances.
Warning: Bones of Crows does come with a warning both before the Film and on the TIFF website. It reads, “This programme contains scenes that may distress some viewers, especially those who have experienced harm, abuse, violence, and/or intergenerational trauma due to colonial practices.”
Bones of Crows screens as follows at TIFF ’22:
Sat, Sep 10 IN-PERSON at Scotiabank Theatre at 5:45 pm
Thu, Sep 15 IN-PERSON at TIFF Bell Lightbox at 11:00 am
By Amanda Gilmore
Ren (Carmen Madonia) reluctantly joins her younger sister Siena (Paige Evans) and her parents on a family summer vacation. Throughout the week-long holiday, the family butt heads over many things. But mostly because no one seems remotely interested in spending quality time together other than the matriarch, Mona (Ramona Milano). Ren spends the majority of her days vaping and scrolling social media. Siena’s always out with her vacation fling partying until the early hours of the morning. And the girls’ father Guido (Joey Parro) constantly has his eyes glued to the television in their room.
Something You Said Last Night captures an intimate family portrait. Immediately, Writer-Director Luis De Fillippis introduces us to the nuanced characters while on their car ride to their accommodation. From that point forward, we understand who each of them is. They are all flawed and lovable at the same time. There is something special about De Fillippis’ ability to write such rich characters which allows us to see each situation from all four points of view.
These characters are brought to the screen with a talented Cast. The chemistry between all four is strong. Particularly between the sisters played by Madonia and Evans. They weave between nurturing one another to using words like daggers. The standout in the Cast is Milano who plays the worrying, caring, sometimes overbearing Mona. While her family sits in utter silence either looking at their phones or the television, she’s talking to her parents or her son back home. When she’s not doing this, she’s trying her hardest to start a conversation with her family or get them to do something together. Even in Mona’s harsh bluntness, Milano’s endearing personality allows the audience to sympathize with her.
There’s a nostalgia for a summertime beachside vacation that De Fillippis creates. We are taken to the beach with this family and to the carpark where Siena spends her late nights and early mornings partying. Although there isn’t a major buildup or climax in Something You Said Last Night’s climax is a quiet one, much like the film as a whole. But the Film works because of the lovable, nuanced characters and intimate look at a family that resonates.
SOMETHING YOU SAID LAST NIGHT screens as follows at TIFF ’22:
Sat, Sep 10 IN-PERSON at TIFF Bell Lightbox at 12:30pm
Tue, Sep 13 IN-PERSON at Scotiabank Theatre at 7:30pm
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