We don’t believe we’ve almost made it out the most hectic part of the Festival and usually after the Monday, things begin to calm down a tad. Let me tell you how excited to just relax and watch some Movies! Day Four was an incredible day with two of the Festival’s biggest Films premiering. I’ll let the starpower do the talking on this one.

MY POLICEMAN

THE WHALE

EMPIRE OF LIGHT

THE FABELMANS

GLASS ONION: A KNIVES OUT MYSTERY

DEVOTION

CATHERINE CALLED BIRDY

SANCTUARY

CHEVALIER

THE ETERNAL DAUGHTER

CAUSEWAY

Though we didn’t get a chance to see Jennifer Lawrence on this visit for her comeback film, CAUSEWAY but we did spot the amazing Bryan Tyree Henry who’s getting Supporting Actor buzz for this title!

HAYDEN CHRISTENSEN BACK IN TOWN

Also, so honoured to be invited to AppleTV+‘s Appreciation Bash today held at Clio. This past week has been intense with long days, so nice to have a moment for myself to catch-up with friends and try the delicious nibbles at this members-only club. Thrilled to hear the likes of Oprah Winfrey, Jennifer Lawrence and both Hillary & Chelsea Clinton passed through the space.

It’s 2 AM as I post this, and yet another early day tomorrow! Can’t wait to see who we see! Thanks for following along our adventures!

(Photo/video credit: Mr. Will Wong)

By Amanda Gilmore

The deeply-moving The Swearing Jar follows married couple Carey (Adelaide Clemens) and Simon (Patrick J. Adams) who are expecting their first child. However, when Carey meets bookstore clerk Owen (Douglas Smith) she finds herself falling in love with him.

Director Lindsay MacKay and Screenwriter Kate Hewlett have brought us an enchanting journey through love and forgiveness. Carey and Simon are deeply in love. However, there are secrets the two are keeping from each other. Carey’s secret is about her falling for Owen, while Simon’s secret revolves around a terminal illness he has. Their relationship is a beautiful examination of love, secrets and forgiveness.

When a twist happens in the middle, The Swearing Jar goes even deeper to examine grief. Carey is burdened by her secret and Simon’s. She must learn to forgive herself and him if she is to move on and be the best she can be for their daughter. This is when Owen comes back into her life. Here, the Film evokes complex questions about love. There is no easy answer which makes The Swearing Jar all the more intriguing.

The steadfast direction from MacKay and the enchanting script by Hewlett is matched by an impactful ensemble. The main trip of actors, Clemens, Adams and Smith, give nuanced performances that show their desires and regrets.

The Swearing Jar screens as follows at TIFF ’22:

Sun. Sep 11 IN-PERSON at Scoiabank Theatre at 9:30 pm

Thu, Sep 15 IN-PERSON at TIFF Bell Lightbox at 4:00 pm

By Mr. Will Wong

Carly Stone (The New Romantic) directs this adaptation of Cea Sunrise Person’s Memoir of the same name and at the center of the story is Cea (played as a child by River Price-Maenpaa and as a teen by Amanda Fix) and her young mother Michelle (Sarah Gadon). Together, they embark on a nomadic life through Western Canada, breaking apart from Cea‘s grandparents.

Cea is beautiful, young and aspires to be a model, but time and again is caught-up in her mother’s revolving door of romances. Michelle insists that she needs the security of a man and this causes strain not only on their mother-daughter relationship, but spills over to many other aspects of Cea‘s life.

NORTH OF NORMAL explores how the cycle of multi-generational toxicity can feed itself over and again. Grandpa Dick (Robert Carlyle) makes many irresponsible choices, as does Michelle and we wonder if Cea will break the cycle. But at the same time, the Fillm explores the bonds that tie this dysfunctional family together.

The Film possesses a maturity, though some of its central characters are on the contrary and unaware. Gadon transforms completely going against-type as Michelle and does so well, but the breakout performance here is from Fix, who currently is in-town filming Orphan Black: Echoes next – a name to look-out for.

NORTH OF NORMAL screens at TIFF ’22 as follows:

Sun, Sep 11 IN-PERSON TIFF Bell Lightbox 6:45pm

Tue, Sep 13 IN-PERSON Scotiabank Theatre Toronto 11:30am

By Mr. Will Wong

Darren Aronofsky‘s THE WHALE is as hefty in heart as its tragic hero, Charlie, played to masterful perfection in a performance of a lifetime by comeback kid Brendan Fraser.

Charlie is an online professor whom after losing his partner, has spiraled into obsessive eating and severe obesity. With just days left to live, he is out to reconcile his relationship with estranged daughter Ellie (Sadie Sink). Ellie harbours deep anger and resentment towards her dad and agrees only to meet him on the condition of a financial incentive and help with her failing grades.

Through the arrival of a stranger at his door in Thomas (Ty Simpkins) and best friend/caretaker Liz (Hong Chau), we get glimpses into Charlie‘s heartbreaking grief, answering questions for us how he has gotten to his present state and why he left behind his wife and daughter.  As Charlie’s health continues to deteriorate quickly, he needs to know that he’s done one thing right and that he lived authentically, which seems improbable with everything around and within him crumbling.

Aronofsky once again delivers a compelling, visceral story that tapes right into the core and essence of what our hero truly is. THE WHALE tore us apart and left us in tears.  Not enough can be said about Fraser‘s precise performance. Every wheeze, arduous plop on the couch and attempt to get up off the couch, or struggle to reach things, feel all so real. Beneath all that, we feel the race against time and his urgency to make sense of his tortured life. Simply put, Fraser is unforgettable and he helps us reach a deep level of connection with Charlie that helps us see past the “disgusting”.

The Film assembles a sublime Ensemble and we were floored by Sink‘s commanding presence, serving two dashes of cruelty per every bit of pain in Ellie. Academy Award nominee Chau is every bit as important a part of the story, defeated in her attempts to save Charlie but still unconditionally loving of him and protective of him.

THE WHALE changed us and maybe ruined us for any other Films we still have to see at the Festival or the rest of the year. It screens at TIFF ’22 as follows:

Sun, Sep 11 IN-PERSON Royal Alexandra Theatre 5:30pm

Mon, Sep 12 IN-PERSON Scotiabank Theatre Toronto 11:30am

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)