By David Baldwin for Mr. Will Wong

Awards Season is in full swing, and if you have been following the buzz, chances are you have been reading or hearing all about THE BRUTALIST. The Film has been on the tip of many filmgoers’ tongues since its World Premiere at this year’s Venice Film Festival where its Co-Writer/Director Brady Corbet won the Silver Lion. The Film had its North American premiere at TIFF (read our Nicholas Porteous’ capsule coverage here) and is finally landing in Canadian theatres starting this week.

The Film centers on László Tóth (Oscar-winner Adrien Brody in one of his finest performances), a brilliant Hungarian-Jewish architect who has fled Europe for America following WWII. When he is tasked with building a community centre for wealthy industrialist Harrison Van Buren (the impeccable Guy Pearce), László envisions achieving the American Dream and the start of a new legacy. But as conflicts and competing egos arise, he quickly realizes there may not be any room for him or his art in his new country.

We had the incredible privilege of speaking to Corbet during a Zoom junket the day after he presented the film in 70mm at an Advance Screening at the TIFF Lightbox mid-December. Here are some of the things we learned during our candid and fascinating conversation:

What is your process or organizing principle when writing your Screenplays?

Corbet: I always start a project with themes as opposed to starting with characters. For me, each character is emblematic of an idea [or] is a mouthpiece for that idea. I think that that my wife [Co-Writer Mona Fastvold] and I write intuitively. We usually have spoken about a project for at least a year, if not two years before sitting down to execute a draft, so we know it very well. But before we put pen to paper…I’m constantly thinking about the defining events of an epoch. And all of my films are virtual histories and they’re concerned primarily with American culpability.

My first film, The Childhood of a Leader, is about how Woodrow Wilson and his team inadvertently paved the way for fascist uprising with their participation in in the Paris Peace Conference and the signing of the Treaty of Versailles. Of course, Vox [Lux] is a film that is about 9/11 and Columbine being the sort of jumping-off point for the new Millennium [and how] the last twenty-five years having really been defined by those two events. And then [THE BRUTALIST] is a film about the post-war generation, which is a period of time [where] Conservatives in the US really romanticize[d] this 1950s Americana, when of course, everyone was processing the events of the 1940s [which] almost everyone in the world was affected by one way or another.

I think that I struggle a lot with Biographies, and I certainly struggle with most Biopics because they often represent history as being something linear. It’s a series of dates and figures. It’s cause and effect, cause and effect. Whereas I’m more interested in a sort of ambient tyranny. You know what is in the air? What’s in the water? What’s in the atmosphere that, you know is all contributing to these defining historical events and happenings?

How challenging was it to get THE BRUTALIST into production?

Corbet: I remember when we finished the Screenplay with this line from Zsófia as an adult saying, “In fact it is the destination, not the journey;” it dawned on us back in 2017, or whenever we first started, that it would probably be a long road. It was longer than we expected mostly because of Covid and the shutdowns. We were originally meant to shoot the film in Poland and the very day that my Crew was supposed to arrive to start pre-production, Poland shut their borders. And then the tax credit for a period of time became unstable a year later because of Russia’s invasion of Ukraine. And so, we had to pivot and shoot the Film in Hungary…Finally we arrived at the top of 2022 and shot the Film in March. Then I was in post-production for two years. Primarily, because of the length of the picture. Also, for financial reasons.

How much did THE BRUTALIST cost to produce and did the budget cause any issues during post-production?

Corbet: We were continuing to raise money throughout the entire [production] because we actually started the Film with a budget of closer to $8-million. And it really didn’t fit inside of that box. I mean, you know $10-million was really the minimum and the maximum that the market would allow it to be made for…[The budgetary restrictions] mostly just affected our quality of life while we were making the Film. I believe it would have been the same Film [even] if we had an additional one and a half or two million dollars, I really do. But we wouldn’t have had to work seven days a week. We wouldn’t have had to work twenty-hour days. I mean, there was literally one day in the mix that was like twenty-three-hours long…I wouldn’t have wanted more [money] because with more money would have come more voices. More checks, more voices, more people – you know, more cooks in the kitchen.

And for me, when I pick up a novel, I don’t want to read a book that was written by twenty-four people. I certainly don’t want to read a book that was that was written by twenty-four executives at a streamer…A singular vision or singular point of view matters, and it’s something that we should encourage and foster culturally. Audiences actually do speak up. It seems to happen a lot in the world of these superhero films, where people hear about a Director’s Cut and start beating on a drum about it. But in fact, everyone should be beating on a drum for the Director’s Cut of absolutely every film.

The Film has more sexual content than many of its contemporary American brethren. Was that always the case, and has there been any pressure to remove any of it?

Corbet: Well, the Film was finally rated R, but I think it was kind of on the bubble for an NC-17. And you know, I just think it’s preposterous. I don’t know where [this Puritanism] comes from. It’s 2024 for Christ’s sake. And I mean this is how we all got here, so I find it odd to condemn the human body. I mean, you walk around a museum, and you know everyone’s fucking in every single painting.

I think that there’s a few things that are very important for this Film in particular, which is that this Movie is about a character that is trying to reclaim his body of work and about him reclaiming his body. We understand in the first ten minutes that he’s impotent following the war, and that even when he and his wife reconnect, it takes them a long time to physically reconnect. Imagine being away from your partner for seven to ten years – of course it’s like touching a stranger! You don’t know how to interface anymore. And so, it was very important to me to portray two survivors that are trying to reclaim their bodies for themselves again. Because they’ve been used and abused for over a decade at that point in the story. So yeah, I don’t know. I just don’t have…my wife is Norwegian and my in-laws are always skinnydipping and stuff during the holidays. I just I don’t think anything of it. It didn’t even occur to me that this Film might get an NC-17. And I’m very glad that finally it didn’t, because I never would have changed anything anyway. I don’t give a fuck.

This interview has been condensed and edited.

Stay tuned for our full review!

Elevation Pictures release THE BRUTALIST exclusively in Toronto on
Wednesday, December 25, 2024 and throughout Canada starting in January 2025.

Who would’ve known all this beauty was just 90 minutes outside the City? Elora is a true treasure and they have the most charming, festive Christmas Market showcasing local vendors and their artisinal delights – whether it be houseware, ornaments, clothing, food, drink and more!

We had the pleasure of dining at Elora’s finest, the Elora Mill which in a previous life, was a gristmill built in 1832, producing wood, cereal and flour primarily. Today is is a four-star hotel with a scenic view, spa and world-class dining. We are still in awe at the view we took-in. I would definitely come back again just to relax.

At the center of the Christmas Market is a picturesque Greenspace, perfect for photo ops with your loved ones. Needless to say, you really have to visit after sunset for maximum effect.

Such a joy doing a bit of shopping around town. Some of our favourite vendors include TERREBLEU which sells all things lavender. Getting the Instagram generation, there are even aesthetic photos ops inside. DAR’S COUNTY MARKET sells all things local including cured meats, cheeses, jams, snacks and baked goods among others. We couldn’t stop filling our basket. And SEASONS HOME & GIFT was an explosion of Christmas, filled with beautiful handcrafted houseware, gift ideas, confections and condiments. A good excuse to go warm up. These are just a few.

Elora was definitely lit during my visit. The Christmas Market crammed with visitors looking to experience that holiday magic before it is too late.

The Christmas Market runs only till December 29th. More here.

Highlights here:

(Photo/video credit: Mr. Will Wong)

SONIC THE HEDGEHOG 3 opens with a stellar $70.5 million from 3,761 theatres for Paramount Pictures pre-Christmas weekend. The Series’ best opening belongs to 2022’s SONIC THE HEDGEHOG 2 with $72.1 million. This installment gets 85% on the Tomatometer.

MUFASA: THE LION KING debuts in second with $38 million from 4,100 theatres for Disney. By contrast, its 2019 predecessor debuted with $191 million. The origins story gets 57% on the Tomatometer.

MOANA 2 gets third $16 million from 3,600 theatres in its fifth weekend, totalling $360 million domestically, for Disney.

Fourth goes to WICKED with $14 million from 3,296 theatres, a total run of $384 million for Universal Pictures.

Angel Studios’ HOMESTEAD gets $5.5 million in its debut from 1,886 theatres. This gets 40% on the Tomatometer.

Following the success of its 2019 predecessor, MUFASA: THE LION KING opens in theatres today! The origins story to The Lion King, is projected to make a solid $50 million in its debut pre-Christmas weekend.

In-town to promote the Film by Academy Award winner Barry Jenkins (Moonlight), whcih features music by Lin-Manuel Miranda, are its two leads Aaron Pierre, who voices the titular character, and Kelvin Harrison Jr. who plays Taka.

Though Toronto isn’t new for Pierre, who filmed Clement Virgo‘s BROTHER here, and also Harrison, who has had multiple films premiere at TIFF over the years, this was a much-needed boost in starpower in the City which has seen a waning amount of red carpets this year.

Both stars were an absolute delight, doing the rounds early this morning including Breakfast Television, The Morning Show and a stop at SiriusXM Canada, among others.

Our snaps with beanie, the Lion Queen!

Walt Disney Studios Canada release MUFASA: THE LION KING, now in theatres. Our Amanda Gilmore‘s glowing review here.

(Photo/video credit: Disney/Mr. Will Wong)

Toronto got a very special treat this past week with an Advance Screening, with Q&A, of Oscar contender THE BRUTALIST by Actor/Writer/Director Brady Corbet (pronounced “cor-bay”) in 70mm at TIFF Lightbox. One of the few places which can support the format.

This sweeping epic of a film, despite being three-and-a-half hours plus intermission, certainly doesn’t feel its length.

Corbet, who also has starred in acclaimed films like The Clouds of Sils-Maria, Martha Marcy May Marlene and Melancholia, crafts a sublime feast for the senses, visually and sonically.

Academy Award winner Adrien Brody taps into soul of a Hungarian architect named László Tóth and the sacrifices he made rebuilding his life in America, escaping war and being separated from his wife.

The Film is an unfiltered look at the relationship between art and its consumers, and extremes of compromise in committing to one’s artistic vision.

The Film showcases a brilliant ensemble including a ferocious Guy Pearce as Tóth’s patron, Felicity Jones as Tóth‘s wife Erzsebet and Alessandro Nivola as Tóth’s cousin.

THE BRUTALIST opens in theatres Christmas Day in Toronto and everywhere January 2025.

Highlights from the night:

(Photo/video credit: Mr. Will Wong/Elevation Pictures)

Goodbye, You.

Today, Netflix announced that Joe Goldberg will officially be returning in 2025 for his killer finale.

In the epic fifth and final season, Joe Goldberg returns to New York to enjoy his happily ever after… until his perfect life is threatened by the ghosts of his past and his own dark desires.

Showrunners/Executive Producers/Writers: Michael Foley and Justin Lo
Executive Producers: Greg Berlanti, Sera Gamble, Penn Badgley, Sarah Schechter, Leigh London Redman, Leslie Morgenstein, Gina Girolamo, Marcos Siega, Neil Reynolds
Studio: Warner Bros. Television
Cast: Penn Badgley, Charlotte Richie, Madeline Brewer, Anna Camp and Griffin Matthews

We kindly ask that you please link back to netflix.com/you in your coverage.

X (formerly Twitter): https://x.com/YouNetflix
Instagram: https://www.instagram.com/younetflix

How very exciting! A new Teaser Trailer dropped at 9 AM ET for eagerly-awaited SUPERMAN! Warner Bros. Pictures Canada release July 11, 2025.

About the Film:

“Superman,” DC Studios’ first feature film to hit the big screen, is set to soar into theatres worldwide this summer from Warner Bros. Pictures. In his signature style, James Gunn takes on the original superhero in the newly imagined DC universe with a singular blend of epic action, humor and heart, delivering a Superman who’s driven by compassion and an inherent belief in the goodness of humankind.

DC Studios heads Peter Safran and Gunn are producing the film, which Gunn directs from his own screenplay, based on characters from DC, Superman created by Jerry Siegel and Joe Shuster.

The film stars David Corenswet (“Twisters,” “Hollywood”) in the dual role of Superman/Clark Kent, Rachel Brosnahan (“The Marvelous Mrs. Maisel”) as Lois Lane and Nicholas Hoult (the “X-Men” movies, “Juror #2”) as Lex Luthor. The film also stars Edi Gathegi (“For All Mankind”), Anthony Carrigan (“Barry,” “Gotham”), Nathan Fillion (the “Guardians of the Galaxy” films, “The Suicide Squad”), Isabela Merced (“Alien Romulus”), Skyler Gisondo (“Licorice Pizza,” “Booksmart”), Sara Sampaio (“At Midnight”), María Gabriela de Faría (“The Moodys”), Wendell Pierce (“Selma,” “Tom Clancy’s Jack Ryan”), Alan Tudyk (“Andor”), Pruitt Taylor Vince (“Bird Box”) and Neva Howell (“Greedy People”).

“Superman” is executive produced by Nikolas Korda, Chantal Nong Vo and Lars Winther. Behind the camera, Gunn is joined by frequent collaborators, including director of photography Henry Braham, production designer Beth Mickle, costume designer Judianna Makovsky and composer John Murphy, along with editors Craig Alpert (“Deadpool 2,” “Blue Beetle”), Jason Ballantine (the “IT” films, “The Flash”) and William Hoy (“The Batman”).

“Superman” will be in theatres and IMAX nationwide on July 11, 2025, and internationally beginning 9 July 2025, distributed by Warner Bros. Pictures.

Hollywood Suite rings in 2025 with a killer collection of films and TV premiering exclusively on the service this January. With season two of Irish mob drama Kin, the ghost hunter comedy Don’t F**k With Ghosts, killer jeans (literally) slasher film Slaxx, and an apocalyptic premiere of a new episode of the Hollywood Suite original documentary series Cinema A to Z, the new year will kick off with some scary good times. These titles and hundreds more will be available on Hollywood Suite On Demand beginning January 1, 2025, with the first episode of season two of Kin available on January 4, 2025.

“We couldn’t be more excited to bring a creepy collection of Canadian films to our platform and start the new year championing homegrown talent,” said Suzanne Marshall, Hollywood Suite Programming Manager. “We are also thrilled to be back with a new episode of Cinema A to Z, with our favourite experts delving into world-ending films that are sure to delight cinephiles and genre fans alike.”

The award-winning Irish crime drama Kin (2021), returns with the exclusive Canadian broadcast premiere of the second season on January 4 at 9pm ET. Starring Charlie Cox (Daredevil), the new season sees the Kinsella family thriving in the wake of a death when a new threat rears its head from within – in the shape of a ruthless, bullying, agent of chaos. Viewers can catch up on season one on Hollywood Suite On Demand now.

Hollywood Suite’s Cinema A to Z is back with a new episode premiering on January 1 at 9pm ET. Cinema A to Z: The Apocalypse brings together Hollywood Suite’s favourite movie experts to talk the end of the world with movies ranging from the first nuclear apocalypse on film with Five (1951), to the eerie aliens of Invasion of the Body Snatchers (1978) and the totally wild and unexpected apocalypses from Nicolas Cage and Sean Connery in Knowing (2009) and Zardoz (1974).

Premiering January 3 at 9pm ET, is Canadian horror comedy Don’t F**k With Ghosts (2024) from writers, producers and stars Adam Rodness (Hemlock Grove, Shazam!) and Stu Stone (Donnie Darko, Faking A Murderer) and executive produced by Kevin Hart’s Hartbeat Productions. Shot in Winnipeg, Manitoba, the film follows a filmmaking duo who are convinced they need to capitalize on the next paranormal phenomenon by attempting to prove that ghosts are real. The film will premiere alongside a night of programming curated by Adam and Stu, which will include their other titles Vandits (2022) and Faking A Murderer (2020).

Deadly, demonic denim is in style for 2025 with Montreal-born director Elza Kephart’s Slaxx (2020), premiering January 14 at 9pm ET. When a possessed pair of jeans begins to kill the staff of a trendy clothing store, it is up to an idealistic young sales clerk to stop its bloody rampage. Filmed in the remote North Shore region of Québec, the film stars Montreal native Romane Denis (The G).

With 21 film premieres, exciting exclusives and returning fan favourites, Hollywood Suite is starting the year off with a bang! Special programming includes a showcase celebrating the work of animator and special effects pioneer Ray Harryhausen with Earth Vs. The Flying Saucers (1956) and Jason and The Argonauts (1963).

Find more sci-fi and horror highlights below:

King Kong (1933)

Attack of the 50 Foot Woman (1958)

Fantastic Voyage (1966)

The Omega Man (1971)

Captain Kronos: Vampire Hunter (1974)

The Man Who Fell to Earth (1976)

Logan’s Run (1976)

Close Encounters of the Third Kind (1977)

Videodrome (1983)

A Nightmare on Elm Street (1984)

Ghostbusters (1984)

D.A.R.Y.L. (1985)

Critters (1986)

The Fly (1986)

Beetlejuice (1988)

Critters II: The Main Course (1988)

Earth Girls Are Easy (1988)

Ghostbusters II (1989)

The Abyss (1989)

Total Recall (1990)

Teenage Mutant Ninja Turtles (1990)

The Witches (1990)

Buffy the Vampire Slayer (1992)

Interview With The Vampire (1994)

Tales from the Crypt: Demon Knight (1995)

Men in Black (1997)

Bride of Chucky (1998)

Donnie Darko (2001)

The Mummy Returns (2001)

Blade II (2002)

Dawn of the Dead (2004)

The Day After Tomorrow (2004)

Tim Burton’s Corpse Bride (2005)

30 Days of Night (2007)

Jennifer’s Body (2009)

Daybreakers (2010)

Edge of Tomorrow (2014)

Godzilla (2014)

Kong: Skull Island (2017)

VVS Films release DEATH OF A UNICORN, coming Spring 2025! Today we get a new Trailer.

Cast: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, and Richard E. Grant.

Synopsis: A father (Paul Rudd) and daughter (Jenna Ortega) accidentally hit and kill a unicorn while en route to a weekend retreat, where his billionaire boss (Richard E. Grant) seeks to exploit the creature’s miraculous curative properties.

(Photo/video credit: VVS Films)

Paramount+ released December 23rd as the global premiere date for QUEEN WOO, the brand-new period drama series from South Korea, which will be available exclusively on the service in Canada, the U.S., U.K., Australia, Latin America, Brazil, Italy, Germany, Switzerland, Austria and France.

The series is licensed by Paramount Global Content Distribution outside of Korea, Japan and Taiwan.
It’s the Goguryeo era of imperial rule in Korea, and the heirless King Go-guk-cheon (Ji Chang-wook) is dead. Without a son to inherit the king’s throne, the five tribes across the land fiercely battle for power. It falls on the newly-widowed Queen Woo (Jeon Jong-seo) to establish a new king—and ensure her people’s survival—by marrying one of the king’s power-hungry brothers in the next 24 hours. If the five tribes hear of the king’s death, a similar fate awaits Queen Woo. Can she find the right suitor in time to prevent the collapse of the Goguryeo Kingdom?

QUEEN WOO is directed by Jung Se-kyo (“Oh! My Gran”) and written by Lee Byoung-hak (“The Royal Tailor”). Julie Choi, Ha Yong-soo, Ken Oh, John Yoo, Kwon Oh-hyun and Song Eun-ju serve as Executive Producers. The series is produced by CJ ENM Studios, Andmarq and Compass Pictures.

Series credit line: ⓒ 2024 Tving Co.,Ltd All Rights Reserved