Well, that’s finally a wrap on the Toronto International Film Festival. We ran, fifty, count ’em, fifty reviews from the festival including world premieres of David Gordon Green‘s “Halloween” sequel, Barry Jenkins‘ “If Beale Street Could Talk,” Claire Denis‘ insane-sounding sci-fi film “High Life,” Steve McQueen’s arty thriller “Widows,” “Beautiful Boy” with Timothee Chalamet and Steve Carell, Jeremy Saulnier‘s “Hold The Dark,” Sebastian Lelio‘s “Gloria Bell” with Julianne Moore, and the winner of the coveted Audience Award Prize—which often goes on to win the Oscar for Best Picture—Peter Farrelly‘s “Green Book” with Mahershala Ali and Viggo Mortensen and dozens more (you can read all of our coverage and 50 reviews here). And we’ll remind you festival favorites like “First Man,” “A Star Is Born” and Alfonso Cuaron‘s much-loved “Roma” were already reviewed at the Venice Film Festival.
While some of us reviewed from afar, we had four writers on the ground at TIFF and we wanted them to offer a personal perspective on their favorites. Note, not all links in the film titles link to their reviews, so look closely at their individual thoughts on the films they’re writing about because in a sense, that’s their review (and you’ll definitely see a pattern of consensus; looks like many writers are on board the train of some similar films this year).
OK, that’s it. TIFF is in the rearview mirror and the fall film festival season is almost done (NYFF) next. Without further ado, the Best (and a little bit of worst, but not much) from the Toronto Film Festival as seen through the eyes of four writers who were there.
Playlist Editor-At-Large Gregory Ellwood. Follow him on Twitter here.
There was a hope that because so many high profile films skipped out at Cannes this year that Toronto would secure more impressive world premieres than it has for most of this decade. Traditionally, most of the high-profile premieres have segued to Venice and Telluride first. Granted, there were some very good films that made their debut north of the border (we’ll get to them in a minute), but it wasn’t the bounty many had hoped for. Instead, TIFF once again provided an overabundance of bad acquisition titles looking for a home. There was Sam Taylor-Johnson’s misguided “A Million Little Pieces.” A “Jeremiah Terminator LeRoy” that despite Laura Dern’s best efforts proved the fourth time wasn’t the charm for director Justin Kelly. Another Xavier Dolan movie, “The Death and Life of John F. Donovan,” proved another talented filmmaker needs a break (oh, too late). And did we mention the impossible flat tire that was “Driven” or your future Razzie winner, “Life Itself,” which already has a distributor but was worthy of a warning? So, yes, we took a few for the team and, frankly, you’re welcome. [All of Greg’s TIFF reviews can be found here]
Best: “If Beale Street Could Talk”
Barry Jenkins’ hypnotic adaptation of James Baldwin’s classic ’70s novel is a wonder that pointedly feels more contemporary than it should. The cast is superb (hello Regina King), but I’m still enamored by Caroline Eselin’s stunning costumes, James Laxton’s beautiful cinematography, and Nicholas Brittel’s gorgeous score.
Best: “Gloria Bell”
Hollywood remakes of international films rarely work these days, but when you have Sebastián Lelio behind the camera anything is possible. Lelio sticks to the same beats of his 2013 charmer “Gloria,” but it’s Julianne Moore who turns the movie into something that truly stands on its own.
Best: “Widows”
Despite being celebrated, somehow Viola Davis‘ performance in Steve McQueen’s follow up to “12 Years A Slave” is already underrated and Elizabeth Debicki’s transformation is arguably somehow more impressive. You wish McQueen had truncated the story a bit, but it’s a rare piece of stylish Hollywood entertainment where the social message works almost seamlessly into the overall narrative. And did we mention Viola?
Best: “Wild Rose”
You likely have never heard of Jessie Buckley yet, but if Neon can convince the filmmakers behind “Wild Rose” to dub the first 10-15 min of this crowd pleaser you absolutely will. Buckley gives an incredible performance as a 24 -year-old Glasglow woman who is already the mother of two and trying to restart her life after a stint in jail. She dreams of being a country star, but how seriously will anyone take her if she isn’t in Nashville and how will she ever get there? The movie features a great supporting turn by Julie Walters as Buckley’s mother and is impressively directed by Tom Harper. The issue is the Scottish accent by all the characters in the first portion of the film is so thick you literally can’t hear what they are saying. If they can fix it? Watch out.
Best: “A Star is Born”
Believe the hype, Bradley Cooper’s adaptation is the real thing. Lady Gaga sings her heart out. Sam Elliott gives a wonderfully impassioned performance and the songs (for the most part) are stellar. It’s gonna be a massive hit and you’ll see it at your local multiplex soon.