By David Baldwin

Once Sammy Fabelman (Canada’s own Gabriel LaBelle) watched The Greatest Show on Earth, his life was changed forever. He was going to become a filmmaker and spent every moment he could afterwards filming his own movies, actively employing neighbourhood kids and his own sisters to act and assist with special effects. While his Mother (played by Michelle Williams) encouraged Sammy’s behaviour, his Father saw it as more of a hobby. And with the family consistently on the move due to his Father’s jobs, it is going to become increasingly difficult for Sammy to maintain his love for film.

If you have not heard already, THE FABELMANS is the semiautobiographical new film from legendary Co-Writer/Director Steven Spielberg. That alone brings more than the typical enormous attaché case of expectation and speculation that surround each new film from the Oscar-winner. I was initially worried about both of those elements overpowering the beautiful narrative. Except this is Spielberg we are talking about. And you should never bet against Spielberg.

Why?

Well, because he tends to knock each of his projects clear out of the park. THE FABELMANS is no different and it may just be the best work he has delivered in over a decade. All of the faces in front and behind the camera are firing on all cylinders, effectively toying the line between wonder, sadness and joy. The script is heartfelt and wonderful. Supporting turns from the likes of Seth Rogen, Judd Hirsch and David Lynch – whose scene here is an immediate all-timer – are terrific and the work from Dano and Williams is spectacular. Williams gets to do much of the emotional heavy lifting and never misses a beat. The true revelation is the young LaBelle however. He is absolutely perfect as Sammy, embodying the anxiety, angst and indecision his character feels perfectly. The wonder in his eyes and his overactive imagination are captured splendidly, and the way he holds his own against the rest of the cast is a thing of beauty.

All of that said, THE FABELMANS is at its best when we are watching the family spend time together and when we watch Sammy and his friends film and screen their short films in front of large audiences. The sheer level of care put into every frame is staggering, and the production design, cinematography and exquisite John Williams score are just magnificent additions that really make the film soar. There is no other real way to describe them, nor the beautiful filmmaking scenes that play on your memories and nostalgia. It meant a lot to me to see scenes like that projected on screen. Can only imagine how younger people having their own Greatest Show on Earth moment will feel watching this masterpiece unfold.

THE FABELMANS screens as follows at TIFF ’22:

Sat, Sep 10 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:15pm

Sun, Sep 11 IN-PERSON Roy Thomson Hall 11:30am

Wed, Sep 14 IN-PERSON Roy Thomson Hall 9:00pm

Fri, Sep 16 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 5:30pm

Sat, Sep 17 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 11:00am

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 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 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

Now that’s more like it! Day Three of TIFF ’22 was crammed with goodness, and this isn’t even all of it! We are rolling into Sunday with some very terrific Premieres scheduled to take place!

Some Cast sightings on TIFF ‘22 Day Three.

THE GOOD NURSE

HILLARY & CHELSEA CLINTON IN-CONVERSATION WITH

BROS

BIOSPHERE

NANNY

BUTCHER’S CROSSING

DOCUMENTARY NOW

CARMEN – the directorial debut by Benjamin Millepied, whom you might know as Natalie Portman’s husband.

BLACK ICE

SUSIE SEARCHES

WHAT’S LOVE GOT TO DO WITH IT

LIVING

A JAZZMAN’S BLUES

ONE FINE MORNING

HOW TO BLOW UP A PIPELINE

We managed to make it home before midnight after a few late nights in a row! Relieved. Can’t excited to see who we spot tomorrow, Day Four!

(Photo/video credit: Mr. Will Wong)

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

It was an incredibly star-studded second day of TIFF ’22 with various Premieres kicking-off around the City ahead of what will be a busy weekend with mega-watt power at the Festival. See who spotted around town premiering their Films and doing their rounds!

We started out day early with an appearance on CP24 Breakfast with Sonia Mangat! Sbe actually has a Short Film premering at the Festival! So amazing! Thanks to those who tuned-in and sent their supportive messages!

THE WOMAN KING

Such an honour being invited to this event in celebration of Gina Prince-Blythewood‘s film. The Cast really brought home the message of the importance of supporting this black female-led Action Film starring Viola Davis, on its opening weekend, at the #TakeUpSpace event presented by Twitter at Mademoiselle.

TAYLOR SWIFT – IN-CONVERSATION

BROTHER

EMILY

BUTCHER’S CROSSING

ON THE COME UP

THE INSPECTION

BROS

While we’re expecting to see more of the Cast tomorrow, how cool is this moment between Comedy icons Seth Rogen and Judd Apatow? Rogen is here for THE FABELMANS and reunited with his Knocked Up collaborator Apatow at this Premiere for BROS. So happy we met Joel Kim-Booster, who was seen this past Summer in FIRE ISLAND!

It’s 3 AM, time for bed and yet another early rise tomorrow! We were a little slow to start and hoping to get into our rhythm finally on Day Three. I know this sounds a little absurd since we had so many sightings but trust me, this even is a little off our usual pace. See you again in a few hours!

(Photo/video credit: Mr. Will Wong)