By David Baldwin

A group of aliens disguised in human bodies and clad in leather biker jackets and 1950s era apparel land on Earth and are prepped to invade, but they start having second thoughts when they discover emotions and the beauty of the human experience.

That is the general gist of ALPHA GANG, the latest from Writer-Director duo David and Nathan Zellner (whose last film was the absolutely batshit Sasquatch Sunset) and it is odd to say the least. The film uses the most abstract and absurdist level of humour to get its points about humanity and observations about nature across, and then layers a chaotic level of violent gun play on top of it. To wit, there is an entire scene of the titular gang trying to mow down a colony of ants by using the most bullets and grenades necessary. That’s the kind of film this is. And while the entire aesthetic of ALPHA GANG is stylish as hell, with the costumes, makeup and soundtrack being particularly notable, it does take awhile to get on the film’s wavelength. Even then, you may still find yourself unable to fully commit to the insane vision the Zellners have crafted. ALPHA GANG is certainly not going to be for everyone, but it is certainly a unique vision and is never boring.

The cast the Zellners have assembled here is almost as ludicrous as the film itself. Léa Seydoux, Dave Bautista, Lily-Rose Depp, Riley Keough,Kelvin Harrison Jr. and Doona Bae make up the main cast, each committing fully to the deranged level of theatrics asked of them and often in hilarious fashion. Oscar-winner Cate Blanchett even shows up in a bit part in the third act that is unhinged and must be seen to be believed. Yet for all of those committed performances, none can match the sheer reckless energy of Chris Pine, who makes a seismic impact on the film that starts from his first frame on-screen and never dissipates. You will not be able to take your eyes off him.

ALPHA GANG screens at TIFF ‘26:

Sun. Sept 13 at 9:30 PM at VISA Screening Room at the Princess of Wales Theatre

Mon. Sept 14 at 5:30 PM at Scotiabank Theatre

Thurs. Sept 17 at 2:00 PM at VISA Screening Room at the Princess of Wales Theatre

Sun. Sept 20 at 5:00 PM at Scotiabank Theatre

By Amanda Gilmore

Girl Group feels like a spirited sequel to Pitch Perfect.

Tassie Young (Rebel Wilson who also Directs and Co-Writes) is a pop star who left her girl group, Gurlfriends, years ago to go solo. However, her ill-advised choices and obvious alcohol dependency has resulted in her being known as a burntout has-been. Fresh off her DUI, she is forced to do community service at a school and becomes a reluctant mentor to a group of girls starting their own group. When a competition to find the newest girl group rolls into town, Tassie enrols the girls and a glimmer of the life she once loved get reignited.

Girl Group includes that famous Hollywood formula that should make it a hit. We’ve got a down-and-out star trying to make a name for herself again. A group of young woman chasing their dreams. It’s funny, although some of the jokes fall a bit flat, and it’s got a killer soundtrack of nostalgic throwbacks and recent pop hits. Most importantly, Wilson’s heart is always in the right place. That being said, this is a very formulaic narrative we’ve seen before. Those looking for something new won’t find it here.

There is a strong comedic cast led by Wilson who brings empathy to the spirited Tassie. The group of young women in the girl group give memorable performances, however, these characters feel a lot like those we’ve already cared for in Pitch Perfect. The real comedic showstopper is Nicole Scherzinger who plays Tassie’s replacement when Gurlfriends decides to do a reunion tour. She leans fully into the absurdity of her character with great results.

Girl Group delivers an important message about how the music industry moulds its female pop-stars. Wilson doesn’t shy away from how girl groups were depicted in the media back in the 90s and drawing parallels to how they are today. There is always an emphasis on their external ‘beauty’ and the sexualization of them, regardless of how talented they are.

Girl Group screens at TIFF ’26:

Fri. Sept 11 @ 5:30 PM at Roy Thompson Hall

Sat. Sept 12 @ 6:45 PM at Scotiabank Theatre Toronto

Thur. Sept 17 @ 9:40 PM at Scotiabank Theatre Toronto

Sat. Sept 19 @ 7:30 PM at Scotiabank Theatre Toronto

On Wednesday, September 16, 2026, CBC original feature documentary Neil Peart: No One’s Disciple received its world premiere at the 2026 Toronto International Film Festival.

Directed by Scot McFadyen and Sam Dunn and produced by Banger Films and Elevation Pictures, Neil Peart: No One’s Disciple explores the artistry and enduring influence of Rush’s enigmatic drummer and lyricist.

Special guests in attendance included Rush founding members Geddy Lee and Alex Lifeson, Red Hot Chili Peppers drummer Chad Smith, Rush drummer Anika Nilles, and film directors Scot McFadyen and Sam Dunn.

Neil Peart: No One’s Disciple will have its broadcast premiere as part of CBC’s The Passionate Eye, Wednesday September 23 at 8 pm (8:30 NT) on CBC and CBC Gem.

(Photo credit: Shawn Goldberg)

By Amanda Gilmore

The winner of this year’s uBest Actress at the Venice International Film Festival is an unflinching thriller set in post-war Copenhagen.

The citizens of Copenhagen are eager to reclaim their city after 5 years of Nazi occupation. However, Dane’s with previous ties to the occupiers live in terror because their fellow citizens are seeking retribution. This form of mob justice is worse for women who have been accused of past involvement with Germans. They are brought into the street and viciously humiliated.

Woman Unknown follows Marie (Mathilde Arcel), a young maid who is working her way through social stations by marrying Christian (Carsten Bjørnlund), a wealthy widower who’s also her employer. However, this life she’s been building becomes jeopardized when she has a chance encounter with a man from her past. He threatens to tell everyone about her previous pregnancy by a German solider. This sends Marie on an increasingly desperate quest to keep her past unknown, at any cost.

Filmmaker May el-Toukhy delivers a raw and heartbreaking film loaded with tension. Nearly all scenes are shot with a quiet intensity, except those of women being degraded. Resulting in these scenes being more traumatizing.

el-Toukhy has nothing but empathy for her protagonist, even in her darkest actions. We’re shown the heinous acts done to these women. Their hair is cut off, and a swatzika is painted on their naked bodies for all to see. These harrowing scenes show us what we need to understand why Marie will go to any length to keep her secret. Arcel is tremendous as Marie whose subtle performance is one of the finest of the year.

Woman Unknown is a harrowing piece of filmmaking about the darkest parts of humanity in the remnants of war.

Woman Unknown screens at TIFF ’26:

Tues. Sept 15 @ 2:30 PM at TIFF Lightbox

Thur. Sept 17 @ 8:30 PM at TIFF Lightbox

Sun. Sept 20 @ 4:35 PM at Scotiabank Theatre Toronto

By Amanda Gilmore

Chris Rock’s latest feature is a raw look at Hollywood and showcases a powerhouse performance from Rosalind Eleazar.

We follow Misty Green (Eleazar) whose attempting to make a comeback after losing a big project years ago helmed by director Jordan (Chris Rock). But he’s ready to give her another chance on his next project: a remake of Dreamgirls. This is everything Misty has wished for, but will she be able to finally stop being her worst enemy?

Rock thrusts us into today’s Hollywood with all its twisted glitz and glamour and follows a character who consistently gets in her own way. Misty lives in the apartment of her deceased flame. His widow finds her and, reluctantly, allows her to stay a little while longer. Even when she has important auditions the following morning, she’ll go out the night before with her former flame (Adam Driver) doing coke. She seems to find a way to sabotage all her best opportunities. 

It’s a very difficult part for any actor. Eleazar knocks it out of the park with a career-making performance that allows deep empathy for Misty. Even though we are enthralled by the Hollywood story about a star getting her comeback, it’s really the familial storyline here that feels the most impactful. When Misty’s bipolar brother (an outstanding Daniel Kaluuya) shows up we feel even more invested. 

Rock has crafted a strong character study and a raw look at Hollywood. But we can’t help feeling like Misty Green keeps building toward something that never fully arrives in the end. We appreciate Rock not succumbing to a traditional Hollywood ending, but we wish we had just a little longer with Misty and her brother to wrap things up.

Misty Green screens at TIFF ’26:

Sat. Sept 12 @ 9:30 PM at Roy Thompson Hall

Sun. Sept 13 @ 9 PM at Scotiabank Theatre Toronto

Fri. Sept 18 @ 12:10 PM at Scotiabank Theatre Toronto

Sat. Sept 19 @ 3 PM at TIFF Lightbox

Following its tiff ’26 premiere, we get a new Trailer for ALL OF A SUDDEN.

Directed by: Ryusuke Hamaguchi
Starring: Virginie Efira, Tao Okamato, Kyōzō Nagatsuka, Kodai Kurosaki, Jean-Charles Clichet, Marie Bunel
 

Director of a care facility for the elderly, Marie-Lou strives to introduce an innovative care philosophy based on listening and respecting residents’ dignity, despite resistance from part of her staff. Her encounter with Mari, a Japanese theater director battling cancer, will profoundly reshape her path. By forming a deep, supportive friendship, the two women join forces in a shared struggle to “make the impossible possible.”

Review by David Baldwin

Harry (John Turturro) is an old-school pickpocket working the streets and subways in New York City. He sells the wares to his long time pawnbroker friend Ben (Steve Buscemi) and then heads home to take care of his ailing wife Rosie (Karina Arroyave). One evening he steals a bag from a souped up car and unbeknownst to him, it belongs to Dylan (Will Price), a young member of one of New York’s prominent crime families. And they want the bag’s contents back before the end of the day – contents Harry already sold or got rid of.

I have a smile on my face just thinking of THE ONLY LIVING PICKPOCKET IN NEW YORK, the latest from Rian Johnson protege Noah Segan. Despite taking place in contemporary times, the film feels like it was plucked out of the 1970s in its look, feel and general vibe. It has a vibrant jazz heavy score that serenades through every second of the lean 88-minute running time and a frantic, thrilling pace that rarely lets up for air. I would be hesitant to compare it to Uncut Gems since Segan is trying to emulate the style of conspiracy thrillers that you would have found the likes of Robert Redford, Gene Hackman, and Al Pacino running around in their formative years, but that is the kind of sandbox Segan sticks Turturro in here. I kind of wish the ending was a little tighter and cleaner.

And for the most part, the brilliant character actor thrives, commanding each and every scene he appears in. He gives each interaction a quiet, longing intimacy and is just as funny as he is devastating. Turturro has always been best remembered as playing wildly over-the-topcharacters, but his turn here as Harry might be his strongest and most memorable yet. Supporting turns from Buscemi, Price and Giancarlo Esposito are all rock solid, yet they all pale in comparison to Canada’s own Tatiana Maslany, who plays Harry’s estranged daughter Kelly. She is absolutely ferocious in only two scenes, taking hold of every ounce of emotion she can and blasting it out on-screen. She scorches the earth, drops the mic and never looks back.

THE ONLY LIVING PICKPOCKET IN NEW YORKscreens at TIFF ‘26:

Wed. Sept 16 at 5:30 PM at Roy Thomson Hall

By David Baldwin

It is the late 1960s and Rupert Murdoch (Oscar-nominee Guy Pierce) has just acquired the British newspaper The Sun. He recruits Larry Lamb (Jack O’Connell) to be the editor, with the goal of turning his acquisition into the highest circulated paper in the country. But what is going to set The Sun apart from the other papers, and how many lines is Lamb willing to cross to become #1?

That is the pitch for INK, Oscar-winning Director Danny Boyle’s latest film, adapted by James Graham from his own stage play. For at least the first half, the film is a compelling take on the rise of tabloid journalism and where the infamous Murdoch media empire began. We get to watch Lamb poach reporters and build his staff, watch as they fight against the established order, and how they changed the game. Boyle brings a stylish punk-rock flourish to these scenes, filling some moments with horny excess and others with dutch angles and more artsier elements (not to mention a few choice needle drops). INK has such a great, propulsive momentum through these moments that it is frankly disappointing to see it screech to a halt to highlight specific controversial events in its dragged out second half. Why does the inception of Page Three feel like such a tacked on after thought? Why is the push to be more Conservative leaning feel like a mere whisper? These might also be issues inherent to the original play as well, though I still feel like they are worth mentioning if you are taking on this period of history and its importance in Murdoch’s story.

Then there is the AI of it all, which has been commanding headlines for the past few weeks. The jankiness is noticeable and distracting, completely taking you out of whatever is happening on-screen. There is something about the ending montage that struck me as odd as well – though I am not certain whether that is because of the way it looks or because it does not really fit with the rest of the film’s vibe.

All of this said, O’Connell is absolutely terrific as Lamb, doing an excellent job balancing being a likeable bloke who just wants to sell newspapers with being an unforgivable douchebag who does not care who he hurts along the way. I wish there was a bit more emphasis on his family life, but think what is here still manages to make for another deliciously twisted and unmissable turn from this rising talent. Pierce is great as Murdoch in his smaller but equally important role, and Claire Foy brings a needed warmth to the debaucherous proceedings. The film could have only benefited from using her more often.

INK screens at TIFF ‘26:

Tues. Sept 15 at 2:30 PM at VISA Screening Room at the Princess of Wales Theatre

Fri. Sept 18 at 9:00 PM at TIFF Lightbox

By David Baldwin

Detective Lieutenant Yabuki (Shun Oguri) once had connections with the Yakuza before they were forced underground. Now he is haunted by old memories, addicted to drugs and gambling and his wife just packed up the kids and bailed. Yabuki gets paired off with an FBI Agent (Lilly James to find the missing daughter of a Vice President hopeful, and in the process, gets mixed up with a serial killer from his past.

For such an intricate description, it pains me to say that BAD LIEUTENANT: TOKYO is a bit of a drag. Following in the footsteps of previous TIFF entries Bad Lieutenant and Bad Lieutenant: Port of Call – New Orleans, prolific Director Takashi Miike takes on the loosely connected series by adding his signature neon panaches and extreme graphic violence. But outside of a few action sequences including a really odd, sexually charged fight scene in a club, the film moves from one moment to the next with no real sense of urgency, propelled by endless exposition, backstory and the titular BAD LIEUTENANT getting high or receiving blowjobs from a pair of late night paramours (who bafflingly factor into a pretty big plot point in the third act). I was intrigued by some of the places it goes, though I wish it was a hell of a lot more exciting.

Oguri does what he can to make Yabuki as sleazy and deplorable of a garbage human being as possible. He succeeds often, yet we never really understand how he got to the point he is at or why he does some of the things he does. He just sort of does them. And though I did not dislike her as much as others, it is clear from the jump that James is out of her comfort zone here. Her Southern drawl is certainly a choice, as is the way she smokes a literal ton of cigarettes. That said, I thought she did fine in the part, if a little rough around the edges. She continues to grow as an actress and I would rather see her try something wildly out of left field like this than stay stagnant. Hopefully she will break bad again soon.

BAD LIEUTENANT: TOKYO screens at TIFF ‘26:

Mon. Sept 14 at 8:30 PM at Royal Alexandra Theatre

Tues. Sept 15 at 9:40 PM at Scotiabank Theatre

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On Sunday, September 13, 2026, Amazon MGM Studios celebrated the world premiere of Love Of Your Life at the Royal Alexandra Theater in Toronto for the International Film Festival.

Talent in attendance included director Rachel Morrison and cast members Margaret Qualley, Aaron Pierre, Patrick Schwarzenegger, Gabriel Basso, and Catherine Keener; screenplay writer Julia Cox; and producer Jessie Henderson.

Following the premiere screening, guests attended the post-premiere celebration at Soho House Toronto. Love Of Your Life will be in select theaters October 7, 2026, and streaming globally on Prime Video October 14, 2026.

Directed by Rachel Morrison (The Fire Inside), LOVE OF YOUR LIFE follows Maya (Margaret Qualley), whose chance encounter with Charlie (Gabriel Basso) sets in motion a sweeping romance and a future beyond anything she had imagined. When that future is suddenly upended, Maya is sent hurtling toward an unexpected new life—one that will force her to reckon with who she is, what she wants, and how to love again.

Directed by: Rachel Morrison

Screenplay by: Julia Cox

Cast: Margaret Qualley, Aaron Pierre, Patrick Schwarzenegger, Gabriel Basso, Catherine Keener, Tamara Lawrance, and Corey Johnson

Produced by: Ryan Gosling, Jessie Henderson

Music by: Dustin O’Halloran

Costume Designer: Jill Taylor

Editor: Jennifer Vecchiarello

Production Designer: Laura Ellis Cricks

Director of Photography: Todd Banhazl

About Prime Video

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All customers, with or without Prime, can also access 100+ add-on streaming subscriptions (Apple TV+, BritBox, Crave, Citytv+, Hayu, Paramount+, RDS, Sportsnet, STACKTV, STARZ, Super Channel, TSN, TVA Sports, and more), and the largest selection of titles available to rent or buy.

Prime Video is one of many benefits included with a Prime membership, which bundles savings, convenience, and entertainment. Prime members can share benefits, including Prime Video, through Amazon Family.

For more information on Prime Video, visit www.primevideo.ca.