The most wonderful time of the year has come and gone with the 50th edition of the Toronto International Film Festival. What TIFF and the city of Toronto never fail to do is be welcoming. It’s the time of year when the city comes to life, welcoming film lovers like myself from around the world to see some of the biggest upcoming releases. I’ve always found it wonderful that TIFF offers a variety of movies, both good and bad. Regardless, the various trips to the theatres of King Street provided for some memorable adventures. Without further ado, here’s a look back at what I saw at TIFF50!

Richard Linklater’s Blue Moon opened the first day, with Ethan Hawke delivering one of the year’s standout performances as lyricist Lorenz Hart navigating his fractured partnership with Richard Rodgers. Hawke’s flamboyant yet restrained turn anchors this brisk, 100-minute chamber piece, with Linklater keeping the pacing tight enough to avoid the lulls typical in similar films. The rest of the day was devoted to Cannes catch-ups: Sirāt, The Secret Agent, and Palme d’Or winner It Was Just an Accident. Sirāt emerged as the best foreign entry of the festival, cleverly twisting the road-trip formula with a shocking second half. It Was Just an Accident is impressively portrayed as a dark comedy with an unexpected bite. The weakest of the trio, The Secret Agent, still offered value by showcasing Wagner Moura’s growing stature as one of Latin America’s most compelling rising talents.

Day two featured Oliver Assayas’ The Wizard of the Kremlin, a political thriller that traces Vladimir Putin’s 15-year rise through the eyes of an associate, played by Paul Dano. Despite its ambition, the film lacks the intrigue of stronger political dramas, and the unconvincing Russian accents from Dano and Jude Law don’t help. Park Chan-Wook followed with No Other Choice, a biting satire about an unemployed man plotting revenge on his job rivals. Dark, shocking, and hilarious, it sparked endless debate and was a strong contender (and eventual winner) for the inaugural TIFF International People’s Choice Award. Closing the day was Paul Greengrass’ The Lost Bus, starring Matthew McConaughey and America Ferrera. Based on the 2018 Paradise wildfires, it delivered an emotional, crowd-pleasing finale that earned thunderous applause. While weakened by clunky dialogue and uneven writing, its powerful climax and heartfelt performances kept it engaging.

The weekend brought a mix of highs and lows at the festival. David Mackenzie’s Fuze, Mark Jenkin’s Rose of Nevada, and Romain Gavras’ Sacrifice ranked among the weakest. Fuze squandered a strong premise and cast on thin writing and a pointless ending. Rose of Nevada, a sluggish drama with a failed mystery thread, disappointed despite George MacKay’s billing—he didn’t even appear at my screening, though Callum Turner and Jenkin did. Sacrifice strained to be a biting satire but only came off as a hollow imitation of 2022’s The Menu. In the middle sat David Michôd’s Christy, buoyed solely by Sydney Sweeney’s committed turn. Gus Van Sant’s Dead Man’s Wire fared better, a gripping crime thriller powered by Bill Skarsgård’s continued momentum and Dacre Montgomery’s sharp presence. Fortunately, the festival’s best stood out among these: Maude Apatow’s assured directorial debut in the comedy Poetic License, and David Freyne’s fantastical romantic dramedy Eternity.   

Chloé Zhao’s Hamnet proved a gut-punch of a drama. For most of its runtime, it’s a meditative, steady work, but the final 15 minutes, paired with Max Richter’s haunting “On the Nature of Daylight,” elevate it into something unforgettable. Rarely have I heard so many sniffles at a 9 a.m. screening—it’s an experience I’ll carry into my next watch of it. Next came Peter Ho-Sun Chan’s She Has No Name. Like last year’s Harbin, I sought it out for its intriguing synopsis, but it ultimately left little impression despite its potential. I closed the day with Dwayne Johnson, first at his In Conversation With… panel, then with the North American premiere of The Smashing Machine. The film marks a bold pivot for Johnson, an attempt to move beyond his The Rock persona. While his performance shows promise, the script’s uneven writing keeps it from fully landing.

My final day at TIFF was a Netflix marathon with Wake Up Dead Man: A Knives Out Mystery, Frankenstein, and Ballad of a Small Player. Rian Johnson’s third Benoit Blanc outing remains enjoyable, though it lacks the sharpness of Knives Out and Glass Onion. Guillermo del Toro’s Frankenstein stood out as a faithful, fascinating retelling of Mary Shelley’s novel. Oscar Isaac brings gravitas as the scientist, but Jacob Elordi steals the film with one of the year’s finest performances as the creature. While Del Toro’s artistry is undeniable, his films remain hit-or-miss for me personally. Unfortunately, the festival ended on a sour note with Edward Berger’s Ballad of a Small Player. Despite Colin Farrell and Tilda Swinton being attached, the film’s bombastic style and grating score made it feel like a chaotic blend of Uncut Gems and Casino—a frustrating finale to an otherwise memorable TIFF. 

At the end of the day, it won’t matter how I ended things because TIFF always makes for a wonderful time, regardless of the quality of certain movies. This year was a buffet as the 20 movies I saw in six days ranged from everything and came from everywhere. The people of TIFF know how to cater to everyone, although I wish I had found a Midnight Madness screening to attend, as those are usually a highlight. That being said, happy 50 years to Cameron Bailey and company! Here’s to 50 more!!

FULL RANKING

1. Eternity (4.5/5)

2. Poetic License (4.5/5)

3. Hamnet (4.5/5)

4. Sirāt (4/5)

5. Blue Moon (4/5)

6. Frankenstein (4/5)

7. No Other Choice (4/5)

8. Dead Man's Wire (3.5/5)

9. The Smashing Machine (3.5/5)

10. It Was Just an Accident (3.5/5)

11. Wake Up Dead Man: A Knives Out Mystery (3.5/5)

12. The Lost Bus (3.5/5)

13. Christy (3/5)

14. The Wizard of the Kremlin (2.5/5)

15. The Secret Agent (2.5/5)

16. Fuze (2/5)

17. She Has No Name (2/5)

18. Sacrifice (2/5)

19. Rose of Nevada (1.5/5)

20. Ballad of a Small Player (1/5)