Review by David Baldwin
A wildfire is raging through Los Angeles and police officer Joe Bayler (Jake Gyllenhaal) is winding down the clock on his shift at the 911-dispatch centre. He has a court date in the morning for something that happened while he is on the job and is ducking calls from a persistent LA Times Reporter. While the shift has been hectic and trying for his Asthma, it gets a whole lot worse when Joe gets a call from Emily (Riley Keough). She pretends to be talking to her young daughter when really she is telling Joe that her ex-husband has abducted her. Going into fight or flight mode, Joe takes down the few details she gives him and sets out to save her – all while staying behind the desk and on the phone with LA law enforcement.
While there are a few other actors on-screen during THE GUILTY (an Americanized remake of a Danish film from 2018), the majority of the Film focuses squarely on Gyllenhaal’s increasingly manic and psychologically distressing performance as he communicates entirely with the ensemble Supporting Cast (which includes the likes of Keough, Ethan Hawke, Peter Sarsgaard and Paul Dano) over a device. That may not sound exciting, but THE GUILTY ends up feeling like one of the most intense, white-knuckle Thrillers of the year. Director Antoine Fuqua (last at TIFF with 2016’s Opening Night film The Magnificent Seven) gradually ratchets-up the tension to unbearable heights, moving the story in equally shocking and terrifying terrains – all while never leaving the call centre. Fuqua creates a breathless atmosphere that rarely slows down and makes scenes of Gyllenhaal dialing on a keypad be more nerve shredding than you might have ever thought possible.
The Supporting Cast on the phone is great, yet they never have a chance to compete with Gyllenhaal, who is positively electric throughout THE GUILTY’s 90-minute running time. His desperation is palpable and the way he screams into a phone is enough to leave you shaken for days. He says so much with his bloodshot, emotionally dominant eyes and consistently reminds you exactly why he is one of the very best actors working in the business today. He commands the screen no matter what he is doing, and where others might overact their way through this kind of performance, Gyllenhaal pivots to something more nuanced and measured that quickly becomes positively spellbinding. I was sweating and clutching my seat every second I watched him on-screen, and may have been broken some blood vessels in my face during some of the unspeakable twists. It may get a bit outrageous and unrealistic, but the combination of Fuqua and Gyllenhaal here make for a gripping picture you will not soon forget.
THE GUILTY screens at TIFF ’21:
Sat, Sep 11 Princess of Wales 9:00 PM
Sun, Sep 12 digital TIFF Bell Lightbox 3:00 PM
Mon, Sep 13 RBC Lakeside Drive-In at Ontario Place 9:00 PM
Sat, Sep 18 digital TIFF Bell Lightbox 7:00 PM
By Amanda Gilmore
Montana Story follows Cal Thorne (Owen Teague) who is drawn back to the family ranch to be with his ailing father, Wade. He joins nurse, Ace (Gilbert Owuor) and longtime employee Valentina (Kimberly Guerrero) as Ace cares for Wade and Valentina manages the vast property. To Cal’s surprise, he also becomes reunited with his estranged sister Erin (Haley Lu Richardson) who continues to carry her pain over past family abuse. Her decision to quickly leave is halted when she finds out what they are planning on doing to her beloved horse.
Filmmakers Scott McGehee and David Siegel have created an empathetic Film about confronting past family trauma in the face of losing the one that inflated the harm. It’s beautifully-shot and set in the vast, mountainous landscape of this Montana ranch. Anchored in its bond between brother and sister, it’s a quiet film that slowly creeps up on you. Family abuse is exposed through each sibling, showing the effects of those abused and those who keep quiet. McGehee and Siegel’s steady camerawork allows for the characters to drive the story and the actors to shine.
Richardson certifies herself as one of the strongest up-and-coming Actresses of her generation. She carries Erin’s pain and resentment for her abuse while showing compassion for the ill father who inflicted it. In one prominent scene, Erin confronts Cal for standing by as the abuse took place. Richardson exposes the anguish she feels but also the catharsis for finally letting out what she’s been swallowing her entire life.
Additionally, this scene allows Teague to show the guilt Cal has been carrying. Cal not only kept quiet but left his sister to continue receiving the abuse. Teague physically shows the guilt in this scene as we watch Cal crumble, finally being able to apologize. In turn, forgiving himself and releasing that guilt. The two of them are a perfect match in every scene.
Montana Story screens at TIFF ’21:
Sat, Sep 11 at 4:30 PM at TIFF Bell Lightbox
Sat, Sep 11 at 9 PM on Digital TIFF Bell Lightbox
Wed, Sep 15 at 5 PM on Digital TIFF Bell Lightbox
Thu, Sep 16 at 4 PM at Cinesphere IMAX Theatre
Review by Amanda Gilmore
This heartbreaking animated feature tells the remarkable true story of Charlotte Salomon (voiced by Keira Knightley), a young German-Jewish artist who painted a masterpiece she titled Life? or Theatre? during World War II.
What makes Charlotte stand out is it’s a World War II story centred on the life of an individual and her artistic work. Screenwriters Erik Rutherford and David Bezmozgis follow Charlotte over the course of 10 years, from the time she was 16, experiencing the rise of Nazi Germany, to 26, when she died in Auschwitz. In doing so, they have shown one woman’s heartbreaking story that also depicts living during this time. She was refused her education, had to flee Germany and lost those she loved. Along the way, we are taken on Charlotte’s discovery of her family’s history and the impact it had on her decision to paint Life? or Theatre?.
All of this is brought to life with beautiful animation from Canadian filmmakers Eric Warin and Tahir Rana. They make the strong decision to show Charlotte’s life as an animated feature. In doing so, they are able to show her work and depict her short life in a similar art form to the one she loved. Additionally, the choice of animation results in this Film being a World War II story accessible to children. There are some scenes that skew more to adult viewing, but overall, there is a lot to learn from Charlotte for children and adults alike.
Knightley brings Charlotte’s compassion and determination in her voice work for the English version (Marion Cotillard voices the French version). They are joined by a star-studded cast consisting of Brenda Blethyn, Jim Broadbent, Sam Claflin, Henry Czerny, Eddie Marsan, Helen McCrory, Sophie Okonedo and Mark Strong.
Overall, Charlotte is a beautifully animated feature that tells the heartbreaking story of its subject. It depicts Charlotte’s talent, resilience, determination and compassion while being a study on familial mental health and living during World War II.
Charlotte screens at TIFF ’21:
Mon, Sep 13 at Princess of Wales at 6 pm
Mon, Sep 13 on the digital TIFF Bell Lightbox at 9 pm
Mon, Sep 13 for its Canadian Satellite Screening at Galaxy Cinemas Moose Jaw at 9 pm
Fri, Sep 17 at TIFF Bell Lightbox at 11 am
Fri, Sep 17 on the digital TIFF Bell Lightbox at 3 pm
By Mr. Will Wong
Director Michael Showalter (The Lovebirds, The Big Sick) is back with THE EYES OF TAMMY FAYE, based on the 2000 Documentary of the same name. Centering on the rise and fall of Television Evangelists Jim and Tammy Bakker (Andrew Garfield and Jessica Chastain), the subject matter is sensational – but so are the performances!
Showalter and Screenwriter Abe Sylvia create something rather magical here and while on paper, our main subject might be misunderstood, having been so closely-tied to the fraud committed by her convict husband, what we get here actually is a sympathetic portrait of Tammy Faye Baker. We see the lack of privilege from which she is brought-up, to becoming a beloved Television Personality and Singer. She is the woman behind the successful man, and when he stops loving her, all she hopes is that he will love her back, all while living a life of ridiculous extravagance. The Film recounts her downward spiral, which includes addiction to prescription pills as she navigates life through a loveless marriage.
Chastain has gifted us with a phenomenal body of work over the years, however this stands as her finest performance. She captures so perfectly Tammy Faye Baker‘s pain and wounds, as well as her unwavering love of God so beautifully that it is impossible not to be affected by her work. She delivers a real tour-de-force in the Film’s final musical number. And seeing her take a stand for those living with AIDS truly is a visceral moment evincing her true understanding of Tammy Faye Bakker‘s essence. Chastain acts as a vessel for Baker‘s pure soul, and while the subject’s legacy may have been one of embarrassment to many, this performance makes us see exactly why it is so many people around the world were enamoured by her. We were left trembling.
Above this, Garfield truly shows his range here, giving us what it is that made Jim Bakker tick – power and money, sometimes kind and gentle, other times curt and vile. His work here is a true revelation.
Admittedly, the Film feels a bit long at times as we go back and forth on the excesses that filled the world of The Bakkers, but Showalter certainly makes it a fun ride. Without a doubt, we will be hearing a lot about this Film this coming Awards Season and expect the phenomenal Chastain to be front and center.
THE EYES OF TAMMY FAYE screens at TIFF ’21:
Mon, Sep 13 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox Availability: Canada 5:00pm
Mon, Sep 13 IN-PERSON Visa Skyline Drive-In at Ontario Place 8:00pm
Sat, Sep 18 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox Premium Availability: Canada 5:00pm
By Amanda Gilmore
Writer-Director Kenneth Branagh makes his most personal Film yet with the semi-autobiographical Belfast.
This deeply-affecting coming-of-age Film is set during the troubles in 1969 Belfast. It follows young Buddy (Jude Hill) as he witnesses familial hardships, cultural changes, and Northern Ireland’s Civil War. His father, Pa (Jamie Dornan), fears for his family’s life and starts making plans to move them out of Belfast. However, Buddy and his Ma (Caitríona Balfe) desire to stay in their hometown with Buddy’s grandparents (Ciarán Hinds and Judi Dench).
From the beginning, Branagh shows us the uncertainty of living in late-1960s Belfast. A street filled with laughter, children and neighbourly conversation is swiftly thrown into chaos. Branagh’s camera circles Buddy, mirroring his confusion at witnessing the mob set fire and wreak havoc on his home’s street. By telling this story from a child’s point of view, the heavy themes have an innocence to them. For example, the horrific sectarian violence is shown with the gravity it deserves. However, levity comes when Buddy speaks about the two religions and makes a funny comment about why he wants to be Catholic rather than Protestant.
Branagh and Cinematographer Haris Zambarloukos make each black and white frame of Belfast breathtaking. The choice of music perfectly captures the resilience of the Northern Irish people in the face of hardship and uncertainty. Branagh’s decision to focus on one family, with each distinct member, creates an intimate and rounded view into the struggles of those who decided to leave and those who chose to stay.
The family is cast perfectly with a breakout performance from their young leader Hill. He shows Buddy’s confusion, frustration and fear at the war. Additionally, he shines as a young boy yearning for his first crush. It’s wonderful watching Hill and Hinds, who gives a delightful performance as Pop, concoct plans to get him closer to his crush. Dornan gives a charismatic performance as Pa, a man desperate to give his family safety. Balfe encapsulates Ma’s restraint to leave the only home she’s ever known while displaying worry as the war continues. And Dench gives a touching performance has the hardy matriarch, Granny.
Belfast screens at TIFF ’21:
Sun, Sep 12 at 5:30 PM at Roy Thompson Hall
Mon, Sep 13 at 3 PM on Digital TIFF Bell Lightbox
Thu, Sep 16 at 12 PM at TIFF Bell Lightbox
Today is the final day most major trade publications have their pop-ups, so it’s one last hurrah for star sightings before things quiet down significantly for the remainder of TIFF ’21. Which is wonderful for us as we can take a breath finally, and focus on seeing Films.
Causing the most commotion around town were BELFAST Director/Writer Sir Kenneth Branagh and its star Jamie Dornan, who did the rounds today. They premiered the Film at Roy Thomson Hall, receiving a standing ovation. The story is said to be deeply-personal to Branagh who grew-up in the titular city during the ’60s, and Dornan is receiving accolades for his work here. So thrilled to catch Dornan and Branagh out and about at different points in the day! Dornan was so kind to stop for a snap with beanie and I, whom I brought out with me on my travels. Her first TIFF and also tomorrow is her first birthday! What better way to celebrate than by her meeting Dornan?
So happy also to get an invite from Variety Magazine and Canada Goose to check-out their lounge, which hosted several A-Listers the past few days at the Festival including Rebecca Ferguson, Jessica Chastain, Benedict Cumberbatch and more. Today we saw Dornan and Branagh in the lounge, picking-out some new outerwear. Branagh is a huge fan of Canada Goose and we heard that he still has a parka he’s been wearing for over ten years!
Can I saw how cool it was meeting Kenny G? The legendary Saxophonist helping propel Smooth Jazz to a wider audience, was in town for Director Penny Lane’s Documentary, LISTENING TO KENNY G. The Film premiered today at Scotiabank Theatre.
And last but not least, we were so happy to see stunning Jessica Chastain as she head-off to the Premiere of highly-buzzed THE EYES OF TAMMY FAYE, which has her portraying Evangelist Tammy Faye Bakker. She was so smitten by beanie!
Totally dozing-off but will be up and at it early with a few screenings tomorrow including THE EYES OF TAMMY FAYE and BELFAST! Can’t wait to share my thoughts!
(Photo credit: Mr. Will Wong)
By Amanda Gilmore
Wealthy couple David (Ralph Fiennes) and Jo (Jessica Chastain) are making their way to friend Richard’s (Matt Smith) lavish weekend party deep in the Moroccan Desert. On their drive, high-functioning alcoholic David hits a young Moroccan boy with his car, killing him. They arrive at the party with the boy’s dead body unsure of what to do. Soon, David finds himself with the boy’s father, on the way to the burial. While Jo and the rest of the privileged Western guests spend the weekend continuing to party, David is forced to confront his sins.
The Forgiven is a dark British Comedy with something to say. Writer-Director John Michael McDonagh creates laughs in the bleakest moments. This mostly excels due to the outstanding performance from Fiennes who delivers lines in a hilariously dry way. The Comedy has a purpose: to make the darker themes about privilege, Neocolonialism, forgiveness and judgement easier to swallow. For example, ignorant dialogue is said by Western characters about the Moroccan people. The comedy lands and the point gets across due to the powerhouse ensemble McDonagh has assembled.
The Cast is led by Fiennes who revels in playing pompous David. While David is on his journey to the burial he’s faced the truth of his sin and the pain it inflicted on the family. Chastain is great as the unhappy Jo who gets carried away at the party and commits a sin of her own. The talented Christopher Abbott, who plays flirtatious Tom, spends most of his time trying to seduce the intelligent Jo. These scenes are wonderful to watch because of the witty rhetoric and the chemistry they share. Rounding off the Cast is Smith who delights in playing lavishly wealthy Richard and Caleb Landry Jones who gives a memorable performance as Richard’s party-enthusiast boyfriend, Dally.
The Forgiven screens at TIFF ’21:
Sat, Sep 11 at 5:30 PM at Roy Thompson Hall
Sat, Sep 11 at 9 PM on Digital TIFF Bell Lightbox
Wed, Sep 15 at 7 PM on Digital TIFF Bell Lightbox
Wed, Sep 15 at 9 PM at RBC Lakeside Drive-In at Ontario Place
We’ve hit peak starpower at TIFF ’21 and even with Red Carpets and talent scaled back there’s still plenty enough to keep us busy!
The 2021 TIFF Tribute Gala took place earlier today at Roy Thomson Hall with this year’s Honourees taking the stage to accept their awards. Those in attendance included:
Jessica Chastain — TIFF Tribute Actor Award supported by the Tory Family
Benedict Cumberbatch — TIFF Tribute Actor Award
Denis Villeneuve — TIFF Ebert Director Award
Alanis Obomsawin — Jeff Skoll Award in Impact Media supported by Participant Media
Ari Wegner — TIFF Variety Artisan Award
Danis Goulet — TIFF Emerging Talent Award presented by L’Oréal Paris and supported by MGM
Dionne Warwick — TIFF Special Tribute Award
We caught some special moments as the stars arrived and we even saw Benedict Cumberbatch and Dionne Warwick share an embrace. R&B Legend Warwick, here for Documentary DON’T MAKE ME OVER, shared that she admittedly was a little starstruck seeing Cumberbatch, whom she admires for her work on SHERLOCK, which she was obsessed with streaming during the Pandemic! Cumberbatch is receiving tons of Oscar buzz for his work in Jane Campion‘s THE POWER OF THE DOG. Review here.
Chastain and Villeneuve, both busy with Press Days today for their respective films THE FORGIVEN and DUNE, made time to walk over to the fans, snapping Selfies and signing autographs. Chastain was stunning in a colour block Moschino outfit!
The Awards air Saturday, September 18, 2021 at 7pm ET on CTV, CTV.ca and the CTV app in Canada.
Some Snaps:
Several other Premieres took place across the City including MONTANA STORY which stars Owen Teague and Haley Lu Richardson, which many are commending for its heart and compassion. We spotted the stars and Co-Directors Scott McGehee and David Siegel, Ubering about with the Film’s stars earlier. Review to come shortly.
One of our greatest highlights finally is a moment with Rebecca Ferguson, whom we admire so deeply. This chameleon of an Actress has won acclaim for her work on the Mission: Impossible Franchise, The White Queen and more popularly, The Greatest Showman. Oh yeah, her! Ferguson stars in DUNE, which premiered at Ontario Place‘s Cinesphere and will be busy with Villeneuve with a day of press in support of the hotly-anticipated October 22, 2021 release. Review here.
One parting note, I attended a screening of Edgar Wright‘s LAST NIGHT IN SOHO and it was incredible! My thoughts below…
How amazing Wright even threw me a “like”!
We decided to take it easy tonight, wrapping early. Tomorrow will be pretty much the last day we’ll be out snapping content with more of a focus on the Films after Monday. Who knows, I might even have a little special sidekick out with me tomorrow!
(Photo credit: Mr. Will Wong)
Review by David Baldwin
After years of anticipation and fan hype, Co-Writer/Director Denis Villeneuve’s take on DUNE has finally arrived. The tale of warring house factions and the native Fremen people over spice on the planet Arrakis is dense to say the least, but fans and novices like myself will equally find something to enjoy in this science fiction epic for the ages.
Long thought unfilmable (though there have been a few attempts to differing results), Villeneuve has taken everything he has learned as a Filmmaker over the past decade and has created something truly breathtaking. The world (or worlds in this case) are fully realized through incredible Production Design and Cinematography. The Visual Effects are spectacular, as are the Makeup Effects and Costuming. Hans Zimmer’s Score is legendary. I do not even have words to describe the sound design; it really is that great. Every single detail is precise, specific and may find you losing focus on the story just to take in everything Villeneuve has packed into the frame. This is not actors playing dress up in front of a green screen – this is next level filmmaking on a grand scale with everyone behind the scenes firing on all cylinders.
While I soaked in every single minute of Villeneuve’s take on DUNE, I found myself held back from truly adoring it because it is only half a story. People who have been following its development will not be surprised to see it called DUNE Part 1 in the opening reel, though some casual audience members may not be particularly pleased to see the Film end on a cliffhanger (nor the multiple false stopping points that make up the Film’s last half hour). I found myself increasingly annoyed by the prophetic visions lead character Paul Atreides (Timothée Chalamet) because I knew I would need to wait until Part 2 in order to see them come to fruition. Moreover, being only half a story takes away from the magnificent performances given by the entire cast because they are not fully formed whatsoever. Zendaya is very clearly pivotal to this story, yet only hovers in the background as an enigmatic presence for the majority of the Film.
All of that may sound like a pan, but it is actually quite the opposite. I was so taken by the story of DUNE and what Villeneuve created that I really did not want to see it end. I wanted to see the next part of the story immediately and genuinely hope the film finds its audience in order to make Part 2 become a reality. Like every great artist, Villeneuve left me wanting more. So believe the hype. DUNE is everything you hoped it would be. Villeneuve is at the top of his game here and this just might be his finest hour.
DUNE screens at TIFF ’21:
Sat, Sep 11 Ontario Place Cinesphere 7:15 PM
Sun, Sep 12 Ontario Place Cinesphere 7:30 PM
Mon, Sep 13 Scotiabank 12 8:00 PM
Sat, Sep 18 Ontario Place Cinesphere 8:00 PM
Review by David Baldwin
Cattle ranchers George and Phil Burbank (Jesse Plemons and Benedict Cumberbatch) have made a successful enterprise for themselves in Montana circa 1925. Phil rules the men they employ with an iron fist, while George is a bit more wholesome and understanding. George takes to widow Rose (Kristen Dunst) after meeting her at a restaurant stop and quickly marries her much to Phil’s chagrin. When she and her son Peter (Kodi Smit-McPhee) move into the Burbank family home however, Phil starts making things difficult for everyone.
Academy Award-winning Co-Writer/Director Jane Campion return to feature filmmaking after a decade long hiatus is a methodical and deliberately paced take on a Western. I would not call it revisionist as others have, yet it does very much feel like a deconstruction of a classic American genre. There are no real heroes and villains here – just troubled individuals trying their best to get on with their lives and not doing a great job of it. Campion’s pacing varies throughout the Film, with some scenes being particular zippy and others slowed to a crawl. She captures the intimacy and heartache of the old West (with gorgeous New Zealand vistas subbing in for Montana) but is more interested in the feelings of her characters than she is in anything else. I would never call THE POWER OF THE DOG boring, though will admit that it may be a great challenge for some viewers to get through.
The Production Design and costuming are sumptuous and Jonny Greenwood’s brooding score is absolutely brilliant, morphing from something soft and sweet to horrific and overbearing faster than you can snap your fingers. Plemons and Smit-McPhee are great in their roles, though they end up getting lost in the margins of some sections. Red hot Thomasin McKenzie (also at TIFF ’21 with Edgar Wright’s Last Night in Soho) pops-up as a house servant, yet really has no bearing on the story. And while Dunst gives it her all, transforming into a desperate and anxious alcoholic over the course of the Film’s running time, THE POWER OF THE DOG belongs entirely to Cumberbatch. Never have I hated a character so thoroughly and viscerally within seconds of seeing him pop up on screen. He is an absolute monster here, spewing acidic and vile remarks carelessly and genuinely toxifying everything around him just by being present. Cumberbatch’s performance feels lived-in, with even his most tender moments still coming off as repulsive. This is easily a career best performance for the Oscar-nominated thespian, whom Doctor Strange fans will not recognize whatsoever. Do not be surprised if he becomes the front-runner for Best Actor.
THE POWER OF THE DOG screens at TIFF’ 21:
Fri, Sep 10 Princess of Wales 5:00 PM
Fri, Sep 10 VISA Skyline Drive-In at Ontario Place 8:30 PM
Fri, Sep 10 digital TIFF Bell Lightbox 9:00 PM
Fri, Sep 17 digital TIFF Bell Lightbox 1:00 PM
Sat, Sep 18 TIFF Bell Lightbox 1 3:00 PM
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