11 Days of Canadian and International Cinema
TIFF 2024 Volume 4
The 2024 Toronto International Film Festival delivered another unforgettable celebration of cinema, and I was thrilled to be a part of it for my second consecutive year. Over the course of the festival, I immersed myself in 61 films spanning genres, countries, and styles, each adding a unique thread to TIFF’s rich tapestry. Across six volumes, I’m excited to share my reviews, offering snapshots of these cinematic experiences with links to full analyses as they’re published.
As always, TIFF reminded me why I love movies—their power to transport, challenge, and connect us. From hidden gems to high-profile premieres, this year’s lineup didn’t disappoint. I’m grateful for the opportunity to take it all in, for the city of Toronto’s warmth and energy, and for the anticipation of returning in 2025 for TIFF’s 50th Anniversary. Until then, here’s a look at the films that made TIFF 2024 such a memorable journey
THE ASSESSMENT
In the near future where parenthood is strictly controlled, a couple's seven-day assessment for the right to have a child unravels into a psychological nightmare.
Continuing a TIFF trend of visionary music video directors making their feature film debuts, Fleur Fortuné‘s THE ASSESSMENT made its World Premiere today and, no surprise, it’s a visually stunning piece of sci fi that asks viewers to imagine a world where not everyone is deemed worthy to be a parent and who gets the privilege is placed in the hands of individuals with questionable intent.
Magnus Nordenhof Jønck’s cinematography is sparse and atmospheric and production designer Jan Houllevigue creates neo-futuristic spaces fortified by concrete and colorblocked stained glass that underline the strict order this world has implemented.
Scripted by John Connolly and the writing duo Mrs and Mr Thomas, it all feels a little bit Children of (Wo)Men-ish, yet through Fortuné evocative world view, fused to beyond committed performances from Elizabeth Olsen and especially Alicia Vikander (channeling major Ex Machina energy, but don’t read too far into that) this Amazon/MGM film becomes a sinister take on reproductive freedom and parenting.
HERETIC
Two young religious women are drawn into a game of cat-and-mouse in the house of a strange man.
I’d spent the last several weeks avoiding trailers and any spoilers for A24’s HERETIC because the little I did know, Mormon missionaries get trapped by a creepy Hugh Grant, was enough to put ME on a mission to be at the world premiere at TIFF.
And what a blessing it was to be the first audience to see this finely crafted thriller from writer/directors Scott Beck and Bryan Woods that grips you from the get-go and keeps squeezing and squeezing until you feel like your blood vessels are going to pop.
As they did with Haunt, Beck and Woods are masters of confining characters to small spaces and letting that claustrophobic tension spread out into the audience. Grant gleefully plays the heavy, applying the same golly-gee charm that made him a rom-com king to reveal a man driven by a different kind of blinding emotion. Sophie Thatcher and Chloe East are dynamite as Grant’s prey, who convincingly move through a dynamic arc throughout the film.
Expect the unexpected with this one; it’s got surprises in every nook and cranny.
Here is my full review of HERETIC, published post-TIFF for its general release.
FRIENDSHIP
When new neighbor Brian threatens his quiet life, Craig Waterman struggles to protect his family's security.
From the sound of it, I was the only one in the super duper hot ticket sold-out Midnight Madness screening world premiere of writer/director Andrew DeYoung FRIENDSHIP who wasn’t already familiar with comedian Tim Robinson.
For the purposes of this review, that’s a good thing, too, because only a newbie to Robinson’s brand of comedy (chaotic, absurd, loud) could honestly tell you that his feature acting debut is a legit laugh riot, a fall out of your chair while holding your sides sort of situation that only gets better as it goes.
Robinson co-stars with Paul Rudd as neighbors who buddy up only to have Rudd pull away, sending the friendless and awkward Robinson into a spiral in his work and personal relationships. Kate Mara is Robinson’s over it wife and is a solid, deadpan straight man, letting Robinson and Rudd do the comedy heavy lifting. DeYoung’s film plays like a mid-life version of the coming-of-age stories we’ve seen before, only given a consistently funny twist.
I have to see it again ASAP, mainly because so many lines were drowned out by roars of laughter from the crowd here at TIFF.
THE ORDER
A series of bank robberies and car heists frightened communities in the Pacific Northwest. A lone FBI agent believes that the crimes were not the work of financially motivated criminals, but rather a group of dangerous domestic terrorists.
Coming into TIFF, I had a few titles on my list that I promised myself I would move a mountain to see. THE ORDER, a historical crime drama based on a 1989 non-fiction bestseller, was one of them. Directed by Justin Kurzel, its centered on the FBI’s investigation into a white supremacist group in the Pacific Northwest during the early ‘80s.
What could have easily made for a compelling docu-series has instead been adapted by screenwriter Zach Baylin into a knuckle-cracking, intensely take-no-prisoners look into law enforcement as well as how hate groups with even more dangerous splinter cells seek to subvert the rule of this country, bending it to fit their ideals. Kurzel has directed enough excellent films by now that, as an audience member, I’ll follow wherever he leads. His passion for true crime affecting tightly knit communities or enforcement bodies is evident in his attention to detail and sensitivity to those affected.
Also appearing impressively at the festival with EDEN, Jude Law outdoes himself as an agent driven by a pursuit of justice, even if it means making personal and professional sacrifices. As the head of a hate group responsible for a series of bombings and bank robberies, Nicholas Hoult forever sheds his nice boy image as a bigot unafraid to shed blood as he gathers an army to take a stand. Good work pops up from Tye Sheridan, Jurnee Smollett, Alison Oliver, and Odessa Young. I’d be remiss if I didn’t mention the ghostly score from Kurzel’s brother, Jed, which feels like years of evil deeds rising to hunt for their revenge. This one’s a winner, folks! Keep your eyes out for it!
RIFF RAFF
A former criminal's ordinary life is turned upside down when his old family shows up for a long-awaited reunion.
On paper, RIFF RAFF is a no-brainer. I mean, you’d imagine a pitch-black comedy set around New Year’s involving hit men, bickering ex-spouses, and a teenager too mature for his years starring names like Jennifer Coolidge, Bill Murray, Ed Harris, Gabrielle Union, and Pete Davidson should sail into theaters with laughs aplenty, right?
Proving once more how even the strongest players can’t save a stinking script while watching the world premiere of director Dito Monteil’s film, you keep waiting for it to land its jokes, or any joke, during 103 very long minutes. John Pollono’s screenplay is heavy on clichés and profanity but lacks characters with charisma and dialogues with punchlines. Instead, Monteil relies on his cast to do all the heavy lifting. If you pay attention, you’ll see that nearly all the laughs generated are either from the comedic delivery of a poorly written line or the physicality offered by one of the actors.
I have a sneaking suspicion that the movie’s best parts were largely improvised. So, you can thank Coolidge, Murray, and brief turns by P.J. Byrne and Brooke Dillman for any yucks you chuckle if you decide to take this one home for the holidays.
CONCLAVE
When Cardinal Lawrence is tasked with leading one of the world's most secretive and ancient events, selecting a new Pope, he finds himself at the center of a conspiracy that could shake the very foundation of the Catholic Church.
Holy smokes! I’d heard nothing but raves about CONCLAVE after its premiere in Venice and from early screenings here at TIFF, but attending the official premiere confirmed that Oscar-winning director Edward Berger’s new film is indeed the sophisticated, high-wire thriller it was promised to be.
Adapted from Robert Harris’s 2016 novel, this fictional tale is pure class, from its starry cast (including a never-been-better Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, and Carlos Diehz) to a stunning production design and Volker Bertelmann’s pulse-racing script. The Pope has died and electing his successor turns out to be rife with political maneuverings and wicked double dealings for the Cardinals called to the Vatican to place their votes.
Fiennes (also at TIFF with the less successful THE RETURN) is in nearly every scene of the film and commands the screen CONCLAVE’s release for a few reasons. Not only is it an edge-of-your-seat thriller (rated PG no less!) with a finale that’s truly jaw-dropping but it asks audiences to see beyond religious lines to the larger impact of division and hate. I also think it’s a surefire awards contender that’s going to be a gigantic box office hit — another combo that’s hard to come by.
Here is my full review of CONCLAVE, published post-TIFF for its general release.
BETTER MAN
Gather round and witness the life of Robbie Williams unfold in a rather unorthodox way, to say the least.
I have to make a full disclosure before we get into the review of BETTER MAN, director Michael Gracey’s musical biopic on the life of singer Robbie Williams, which had its North American premiere at TIFF to a wildly enthusiastic audience who gave the film an extended standing ovation, moving the singer to tears. I have been and will continue to be, a Robbie Williams fan for life.
So I was excited to see what Gracey, a visual effects artist and music video director who made his feature debut with The Greatest Showman, would do with the tumultuous, much-publicized life of the singer who began his career at 15 in the boy band Take That. Gracey made the surprising choice to use a monkey (designed by Weta Workshop) to stand in for Williams throughout the years, from childhood to his triumphant concert at the Royal Albert Hall. You just went back and read that last sentence again, didn’t you? Yes, I said monkey.
It’s a strange idea, to be sure, but Williams has long eluded to the “monkey on his back,” and Gracey went literal when discussing the project with him. The resulting film may not work for most, but I found it a big swing homerun, the kind of bar-raising moviemaking most artists aren’t comfortable trying. Jonno Davies plays Williams as the motion-capture monkey, and while it occasionally looks like a Planet of the Apes musical, your mind eventually gets used to it. At least mine did.
I’d read a few reports claiming this was a “self-indulgent biopic,” which is an oxymoron…that’s what a biopic is. If you know Williams, you’d understand Gracey and Williams have turned in a film that perfectly represents their subject. Writing this one off as simply oddball just won’t cut it; it’s too well done to go quietly…like Williams.
QUEER
Gather round and witness the life of Robbie Williams unfold in a rather unorthodox way, to say the least.
Luca Guadagnino’s Challengers was set to have a festival run before its opening in the fall. Delayed until early 2024, that film remains close to the top of my Best of the Year list. So, when Guadagnino’s next film, QUEER, was announced for TIFF with the same writer (Justin Kuritzkes) and many of the same team behind the scenes, I knew I had to have a look.
Unfortunately, QUEER is, well, queer and not the film I feel we were led to believe it was, coming off as an overlong journey through the blank pages of a supposedly emotionally rich/resonant text. Based on the 1985 novel by Williams S. Burrougs, Daniel Craig plays an American in Mexico that falls for a younger man (Drew Starkey) who strings him along while feeding his drug habit. Told in three chapters and an epilogue, the opening half hour of the film shows great promise, with the score (once again by Trent Reznor and Atticus Ross) giving the film full body and energy.
However, it unravels rapidly and becomes a sticky, unwieldly mess, revealing itself to be but an empty vessel where emotions should be. Instead of feeling hollowed out by the devastating tale, I simply felt hollow from finding no connection whatsoever to any character. By the time the men have traveled from Mexico further south and meet up with Lesley Manville’s wild rainforest scientist character, QUEER had officially gone off the rails for me. It was quite disappointing for me, because Guadagnino directed Call Me by Your Name, one of the most heartbreaking gay romances in film.
EMILIA PEREZ
Emilia Pérez follows four remarkable women in Mexico, each pursuing their own happiness.
Coming into TIFF Hot Hot Hot after winning multiple awards at Cannes (including a shared Best Actress win for Zoe Saldaña, Selena Gomez, and Karla Sofía Gascón) EMILIA PÉREZ is director Jacques Audiard’s kinetic mix of music, (e)motion, identity, and lived experience that refuses to be defined by genre, gender, or generalization. It has to be seen not just to be believed but also to be understood for the level of accomplishment it reaches in framing storytelling craft in the medium as we know it.
Saldaña is finally getting her due as the quality actress she’s always been, throwing herself into a firestorm of a role that allows her to expose parts of herself far more Marvel-ous than ever. I’m not entirely as sold on Gomez here, who benefits from the strength of her co-stars, especially Gascón in an unforgettable performance, the kind that burns so bright and so fiercely that you won’t have recovered from by the time the lights come up. Audiences went wild for it in Cannes, and our crowd gave the cast an instant standing ovation. Let’s hope Netflix has a good Oscar campaign planned, and that we can figure out how to recognize the music/songs from Camille and Clément Ducol created for the film.
Here is my full review of EMILIA PÉREZ, published post-TIFF for its general release.
PIECE BY PIECE
A vibrant journey through the life of Pharrell Williams, told through the lens of LEGO animation.
A biopic-heavy TIFF continues with Oscar-winner Morgan Neville’s creatively staged PIECE BY PIECE, chronicling the life of the musically gifted multi-hyphenate Pharrell Williams. The hitmaking producer and all-around cool cat magnate gets LEGO-fied in an all-together pleasant film that’s part docudrama and part musical to connect the dots.
Learning how many now legendary artists grew up with Williams in Virginia Beach is staggering, and to see Williams’s process conveyed through animated bricks is colorful, fast-paced, and entertaining.
What puzzles me is who this film will be for when released wide in October. While very PG, it does not lay out any goals or adventure for children to latch onto, and the novelty of the LEGO world will only go so far for the adults who are longtime Williams fans. It is the perfect medium to illustrate the synesthesia Williams has openly discussed, giving Neville a billion color choices to choose from.
THE PIANO LESSON
Follows the lives of the Charles family as they deal with themes of family legacy and more, in deciding what to do with an heirloom, the family piano.
First adapted for television’s Hallmark Hall of Fame in 1985, August Wilson’s Pulitzer Prize-winning play THE PIANO LESSON from 1987 comes back to the screen via Netflix with many cast members from the recent 2023 Broadway revival. Produced by Denzel Washington and his daughter Katia, co-written and directed by son Malcolm, and starring son John David, this is about as fine a production of Wilson’s most familiar work as you could dream.
Beautifully realized as a film but retaining the majesty of Wilson’s text, Malcolm and co-screenwriter Virgil Williams open up the setting just enough to give a gauzy edge to the overly stagey feel that can sometimes accompany these plays turned into movies. Long stretches still take place in one location, but inventive camera work by Michael Gioulakis and Alexandre Desplat’s grand, old-fashioned score gives it a boost.
Of course, I think that with the staggering performances given by Danielle Deadwyler (also at TIFF with the terrific 40 ACRES) and John David, it doesn’t need much of a push to put it on a high bar. Deadwyler deeply understands where her role is coming from and where it’s going, and it shows in every facial expression and frozen stare. Ray Fisher and Michael Potts could scene-steal their way to excellent notice thanks to the sincerity of their work. Repeating his role from the revival after understudying the lead in the original production, Samuel L. Jackson has a crooked mustache but aligns himself perfectly with Wilson’s words.
I’d classify this as one of the best films of the fest and one that will stay in the conversation throughout the rest of our upcoming awards season.
Here is my full review of THE PIANO LESSON, published post-TIFF for its general release.