David Harbour stars in VIOLENT NIGHT. Christmas like you’ve never seen it! Here’s new Poster for this upcoming December release.

Synopsis:

From 87North, the bare-knuckle producers of Nobody, John Wick, Atomic Blonde, Deadpool 2 and Fast & Furious Presents: Hobbs & Shaw comes a coal-dark holiday thriller that says you should always bet on red.

When a team of mercenaries breaks into a wealthy family compound on Christmas Eve, taking everyone inside hostage, the team isn’t prepared for a surprise combatant: Santa Claus (David Harbour, Black Widow, Stranger Things series) is on the grounds, and he’s about to show why this Nick is no saint.

The film also stars Emmy winner John Leguizamo (John Wick), Edi Patterson (The Righteous Gemstones), Cam Gigandet (Without Remorse), Alex Hassell (Cowboy Bebop), Alexis Louder (The Tomorrow War) and Beverly D’Angelo (National Lampoon’s Vacation franchise)

Directed by razor-edged Norwegian director Tommy Wirkola (Hansel & Gretel: Witch Hunters, Dead Snow franchise), Violent Night is produced by 87North’s Kelly McCormick, David Leitch and Guy Danella. The original screenplay is by Pat Casey and Josh Miller, the writers of Sonic the Hedgehog.

Universal Pictures Canada release December 2, 2022.

(Photo credit: Universal Pictures Canada)

By David Baldwin

Ensign Jesse Brown (Jonathan Majors, the future big bad of the MCU) is an outsanding pilot and the US Navy’s first black Aviator in history. Sadly, the racist troops around him do not think much of this incredible achievement. Enter Lieutenant Tom Hudner (Glen Powell) who joins Brown’s squadron just before they are deployed to fight in the Korean War. Hudner wants to get close to his new Wingman, but Brown is suspicious of his motivations.

The true story of Brown and what happened to him before, during and after Korea is incredible. That story is the beating heart of DEVOTION, and is the exact reason why the Film feels so disappointing and uninteresting. It merely goes through the motions telling the story and embellishing facts along the way, never really stopping for any moments of introspection or even reactions to some of the tragic things that happen. It is not given the love and attention it needs, and feels so callously put together rather than being a powerful story of Heroism and the strength of the human spirit. This is a story that deserves to be told, yet feels like it could and should have been done better. The flight scenes are great (even if they will unfavourably be compared to the ones in Top Gun: Maverick), the sound is top-notch as is the look of the Film. But if we are not really caring about the characters or the story, then why do any of these technical achievements matter?

All of that said, Majors is very good in the role of Brown. He feels a little stifled in some scenes, yet still manages to do an admirable job carrying the film under the weight of the lackluster script. Powell is wonderful as always, and supporting turns from Thomas Sadoski, Joseph Cross, Joe Jonas and especially Christina Jackson (playing Brown’s firecracker of a wife Daisy) are all well-done. I just wish they were all in a better movie.

DEVOTION screens as follows at TIFF ’22:

Mon, Sep 12 IN-PERSON Cinesphere IMAX Theatre 6:00pm

Wed, Sep 14 IN-PERSON Cinesphere IMAX Theatre 9:00pm

Thu, Sep 15 IN-PERSON Cinesphere IMAX Theatre 5:30pm

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)

By Amanda Gilmore

Writer-Director Martin McDonagh’s latest is set on the fictional island of Inisherin, just off Ireland’s west coast. Pádraic (Colin Farrell delivering a knockout performance) and Colm (a hilarious Brendan Gleeson) have been lifelong friends, well until now. Out of nowhere, Colm tells Pádraic that he doesn’t want to be friends anymore. For the life of him, Pádraic cannot figure out why.

This pitch-black, pitch-perfect comedic fable is McDonagh at his best. It touches on wounded friendship and grievances that lead to shocking consequences, fittingly set during the Irish Civil War in 1923. Just like in true McDonagh fashion, his Script is laced with brutally honest characters. Farrell and Gleeson reunite with McDonagh after their 2008 smash hit In Bruges to give us the two nuanced, distinctive characters.

At first, Pádraic can’t understand why Colm doesn’t want to be his friend anymore. And neither can the audience. However, we soon see that Colm just wants to leave an indelible mark on the world with his music. And he doesn’t think he can achieve that by spending all his time with Pádraic. Yet, it’s Pádraic’s refusal to accept the end of their friendship that leads Colm to make a gruesome ultimatum. It’s one that is so absurd, it’s hilarious.

Just like in many small towns, this feud between lifelong friends becomes everyone’s business. The most impacted is Pádraic’s sister Siobhan (Kerry Condon). She must deal with the depression her brother falls into over the feud. Condon is outstanding as the smart Siobhan. Then there’s the young, often daft, Dominic (Barry Keoghan). Dominic isn’t the brightest guy in town, but he’s the nicest guy with the biggest heart. Keoghan leaves a lasting impact.

Overall, McDonagh delivers a hilarious narrative that makes us think about forgiving our past grievances. All the laughs make us consume the heavy themes of the Film. Primarily that fact that feuds tend to grow bigger and lead to more serious, often violent, outcomes. This is shown in the intimate story of their wounded friendship and the war seen across the bay. The entire Cast knock it out of the park. It’s truly one of the greatest Films of the year.

The Banshees of Inisherin screens as follows at TIFF ’22:

Mon, Sep 12 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 6:30 pm

Tue, Sep 13 IN-PERSON at Royal Alexandra Theatre at 1:30 pm

Thu, Sep 15 IN-PERSON at Scotiabank Theatre at 9:00 pm

Sat, Sep 17 IN-PERSON at Real Alexandra Theatre at 8:30 pm

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