By Mr. Will Wong

 Kate (Ruth Wilson) lives a mundane life as a Benefits claims worker. She encounters a former convict claimant (Tom Burke), whom she is seduced by into an all-consuming affair. Her world quickly unravels, finding herself obsessed with him completely. Unsure where she stands, we ride Kate‘s highs and lows waiting on his unpredictability. And through this affair, we see her really come to life as those around her discourage her from moving ahead with this mysterious stranger who can’t seem to give her stability.

Directed by Harry Wootliff, TRUE THINGS successfully captures the feeling and repercussions of lust so authentically. Wilson is a real revelation giving us pure vulnerability as a woman figuring out what she wants as she throws herself into something potentially catastrophic. And this is part of the Film’s allure, we want to see where this all leads even if it might not be clear in the end.

While the pace is languid at times, and we wish we get the clarity we desire through it all, such is life and Wootliff gives us a precise slice of it. Wilson‘s fantastic work is something that perhaps others in similar type relationships can take away and reflect on their own paths.

TRUE THINGS screens at TIFF ’21:

Tue, Sep 14 IN-PERSON TIFF Bell Lightbox 12:00pm

Wed, Sep 15 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox

Availability: Canada 9:00pm

Thu, Sep 16 N-PERSON TIFF Bell Lightbox 9:30 am

Fri, Sep 17 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox

Availability: Canada 5:00pm

By Amanda Gilmore

Kristen Stewart and Director Pablo Larraín do Princess Diana justice with Spencer.

It follows Diana over her final Christmas with the royal family. She arrives at the mansion willing to comply with the strenuous rules the family demand over the holidays. But as the long days and night tread on, Diana begins suffocating in the life she lives. Over the three days of Christmas Eve, Christmas Day and Boxing Day, Diana decides to break free. The Filmmakers have stated this Film is a mix of history and speculation. This is further clarified with the opening title cards that read the film is “A Fable of a True Tragedy.”

Screenwriter Steven Knight refreshingly puts the focus on Diana instead of the royal family and gives a rounded look at the Princess of Wales. There are difficult to watch scenes of Diana binge eating, purging, and self-harming. These are matched with heartfelt intimate moments of Diana with her sons, showing the immense love and bond they shared.

Ever the master of atmosphere, Larraín covers the mansion in a thick, dense fog that envelopes the grounds like dread. Like his previous film Jackie, long tracking shots follow Diana walking or running. It’s here we see the depth of the physical change in stature and stride Stewart has made to embody Diana. One beautiful moment comes in a montage of tracks that pays homage to Diana’s love for dance. Additionally, his close-ups mirror the claustrophobia, horror and immense pressure Diana felt. Diana’s inner world is further highlighted by one of the best Scores of the year from Radiohead’s Jonny Greenwood.

Yet, none of this would work if it wasn’t for Stewart. She embodies Diana while refreshingly making her, her own. She fully encapsulates the suffocation Diana felt, and expertly expresses both desire and fear in leaving. It’s truly one of the best performances of the year. She’s joined by Timothy Spall, who gives a textured performance as staff hired to keep an eye on Diana. And the charming Sally Hawkins, who plays a personal attendant to Diana, is delightful to watch. Particularly, in a scene towards the end, she shares with Stewart.

Overall, Spencer is a perfect balancing act of history and speculation, is impeccably shot, and showcases a top-tier performance from Stewart. Even if you take away the fact that it’s about Diana, this Film works as a story of a woman reclaiming control and agency over her life.

Spencer screens at TIFF ’21:

Wed, Sep 15 at 6 PM at Princess of Wales

Review by David Baldwin

Neil Bennett (Tim Roth) is vacationing with his family at a luxury resort in Acapulco. The wealthy travelers are thrown for a loop when they find out Neil’s Mother has passed away suddenly and need to return to London immediately. When they get to the airport however, Neil discovers that he has forgotten his passport at the hotel. He tells them to go on while he stays to look for it, but instead of heading back to the resort, he decides to check into a different hotel and does not seem intent on ever returning home.

Revealing anything more would be a disservice to Michel Franco’s SUNDOWN, which manages to remain moody and mysterious throughout its brisk 84-minute running time. I was hesitant to watch after being genuinely repulsed by Franco’s nihilistic film New Order at last year’s Festival, and was surprised by just how blown away I was at this Film’s simplicity and depth. We know something is holding Neil back from returning to his former life, yet Franco only gradually reveals the truth. Instead, he lets Roth drink beers on the gorgeous beach and spend time with a beautiful local woman named Berenice (Iazua Larios). All the while, Franco hints at class struggle and the benefits Neil’s family have over the less privileged Mexican people who surround him, and takes a few shocking turns to ensure that message is crystal clear for the audience.

Despite the breezy pacing, I found myself riveted by the journey Roth’s character Neil goes through. He speaks few words and rarely shows any emotion; rather he relies entirely on body language and the character’s melancholic demeanour to carry the Film. That may sound less than ideal on paper, but Roth’s performance is a masterclass in minimalism. He says and conveys everything he needs to in a way that few Actors can. He holds your gaze no matter the circumstance, breathing life into a character who some may despise and others might admire. He is not an inherently bad person per se – Franco just never makes it easy to sympathize with him or his repugnant actions. Roth uses that to his advantage and makes every frame of his performance more compelling than the last. Supporting work from Larios, Charlotte Gainsbourg and Henry Goodman are all solid, though they are difficult to notice whenever Roth is acting beside them. His towering work here makes SUNDOWN practically unmissable.

SUNDOWN screens at TIFF’ 21:

Sun, Sep 12 Scotiabank 2 7:30 PM

Mon, Sep 13 digital TIFF Bell Lightbox 3:00 PM

Fri, Sep 17 digital TIFF Bell Lightbox 5:00 PM

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

Ben Barnes has built a steady, but quality body of work over the years. Whether you know him from The Chronicles of Narnia, his more recent work in Netflix’s Shadow and Bone, or HBO‘s Westworld, it is easy to see why his career has shown longevity.

Barnes is in Toronto filming upcoming Guillermo del Toro Anthology Series CABINET OF CURIOSITIES. Barnes‘ episode also stars Crispin Glover, written by Lee Patterson and directed by Keith Thomas.

The Series stars several talented Actors including the likes of F. Murray Abraham, Tim Blake Nelson, Peter Weller and more, filming through February 2022.

We spotted Barnes in rehearsals a couple weeks back, prior to his episode filming around Baldwin Street. He was amazingly nice to make time to stop for a Snap before heading off to work!

He also is prepping the release of his EP SONGS FOR YOU. Check-out a quick Preview here for his Track 11:11:

(Photo/video credit: Mr. Will Wong/Ben Barnes)

We present the latest Trailer for WEST SIDE STORY, Steven Spielberg‘s adaptation of this classic hits theatres this December!

Synopsis:

Directed by Academy Award® winner Steven Spielberg, from a screenplay by Pulitzer Prize and Tony Award® winner Tony Kushner, “West Side Story” tells the classic tale of fierce rivalries and young love in 1957 New York City. This reimagining of the beloved musical stars Ansel Elgort (Tony); Rachel Zegler (María); Ariana DeBose (Anita); David Alvarez (Bernardo); Mike Faist (Riff); Josh Andrés Rivera (Chino); Ana Isabelle (Rosalía); Corey Stoll (Lieutenant Schrank); Brian d’Arcy James (Officer Krupke); and Rita Moreno (as Valentina, who owns the corner store in which Tony works). Moreno – one of only three artists to be honoured with Academy®, Emmy®, GRAMMY®, Tony® and Peabody Awards – also serves as one of the film’s executive producers.

20th Century Studios Canada release WEST SIDE STORY December 10, 2021.

(Photo/video credit: 20th Century Studios Canada)

The 86th edition of the Prince of Wales Stakes, the second leg of the Canadian Triple Crown, went off today at Fort Erie Racetrack as eight three-year-old horses squared-off in the 1 3/16 miles event with a purse of $400k.

With three entrants in the race, Trainer Kevin Attard took three out of the Top Four placings in the race with Owners/Breeders Al & Bill Ulwelling‘s HADDASSAH gamely fending-off stablemate HARLAN ESTATE to win by 1/2 a length. Canadian Racing Hall of Famer Gary Boulanger was aboard the win, rewarding bettors with a return of $15.50 from a $2.00 wager. Final time for the race was 1:56.1 minutes.

In his previous attempt, the winning son of Air Force Blue had finished eighth in the Queen’s Plate last month. His win was considered a bit of an upset in what was considered a very evenly-matched field. KEEP GRINDING, trained by Attard‘s father Tino and owned by his son Joshua, finished third.

Unlike last year, the race which is celebrated by locals in Fort Erie as their marquee event, spectators were allowed at limited capacity this year, registering online for spots.

Some Snaps from the day:

The final leg of the Canadian Triple Crown goes off on the turf at October 3, 2021 at Woodbine Racetrack.

(Photo credit: Mr. Will Wong)

LOCKE & KEY, filmed right here in Toronto, is set to launch its second season next month. Here is your first glimpse at the new season ahead.

Synopsis:

Official teaser for Locke and Key season 2, coming to Netflix on October 22, 2021. Locke & Key follows 3 siblings who, after the murder of their father, move to their ancestral home only to find the house has magical keys that give them a vast array of powers and abilities.

(Photo/video credit: Netflix)

Margaret Qualley stars in upcoming Series MAID. Here’s your first look at this adaptation of Stephanie Land‘s Memoir.

MAID arrives October 1, 2021 on Netflix.

(Photo/video credit: Netflix)

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