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The Taste of Things October 29, 2023 By: Button Hunter Friesen The Taste of Things screened at the 2023 Twin Cities Film Fest. IFC Films will release it for an Oscar-qualifying run in December, followed by a limited release on February 09, 2024. Is there a more perfect way to wake up in the morning than to the smell of sizzling eggs, crackling bacon, and onions soaked in butter? It’s what Dodin (Benoît Magimel) has awoken to every day over the past twenty years, the aroma of the fresh ingredients crawling its way from the kitchen all the way to his grand bedroom within the vast manor. “This is the best moment of the day,” he thinks as he flies down the stairs, ready to be embraced by the food and woman that he loves. Eugénie (Juliette Binoche) has always been the head of her kitchen domain, crafting famous meals with quiet determination. She too is in love with Dodin, yet she always refuses his proposals for marriage on the grounds that matrimony will only complicate the good thing they have going for them. He’s always disappointed in her rejections, and yet he also slightly agrees with her. Together they are unstoppable; him the mastermind of intricate recipes and menus, and her the hands-on artist who brings those ideas to life. If you were to eliminate all the scenes of cooking within The Taste of Things , you would be left with maybe thirty minutes of “plot.” I put that last word in quotations because those extended sequences of cooking tell just as much, if not more, of the story as the scenes filled with dialogue. Cooking is an intimate process for the central pair, a time when they communicate without saying a word. A scene early on sees Dodin entertaining guests with Eugénie preparing all the courses downstairs. Once it is over, all the men congratulate Eugénie and ask her to dine with them next time. She happily says that would be redundant as “what I say is already in the food.” Writer/director Tran Anh Hung (winner of the Best Director prize at this year’s Cannes Film Festival) entrances you in this process of creation. There’s a sweet harmony in witnessing the journey of the garden to the plate. The camera swerves around the kitchen, capturing the in-process cookery with sumptuous detail. Meat sizzles, water boils, spoons clank against the brass pots, the doors of the woodfire oven creak open, and the bread cracks when cut open. It’s a total ASMR experience, one that fully earns the simplistic description of “food porn” that has lovingly been bestowed upon it. There’s little drama or stakes within The Taste of Things , which is one of its best features. There are plenty of movies ( Burnt ) and television shows ( The Bear ) that showcase the anxiety-inducing highwire act that cooking can be. There is great skill under pressure here, but Anh Hung is more interested in the slowly drawn method and how it all comes together when you are comfortable in your element. Time seems to stand still, your body and mind totally connected as one. It’s like a conductor guiding a symphony, every note being hit perfectly with reassuring calmness. The scenes outside the kitchen are just as sumptuous as the food itself. The warm cinematography makes the gardens and fields feel like Eden. The seasons are picturesque in their beauty, leaves turning from vibrant green to bright orange, replaced by a freckling of snow. Binoche and Magimel are an electric pair within their surroundings. They project a consistent feeling of serenity, both of them aware that their love for each other is intertwined with their craft. You know what they say, the quickest way to a person’s heart is through their stomach. There continues to be a need for stories that reflect the increasing bleakness of this world. But that means there’s more room for projects that remind us of the beauty in the timeless things we all experience and often take for granted. The Taste of Things is one of those films as it illustrates both the simplicity and complexity of sustaining ourselves through food. Just make sure to plan your meals carefully before and after seeing it. You owe your stomach (and other senses) that much. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

TIFF25: Tyler's Time at the Festival September 20, 2025 By: Tyler Banark 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) More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Den of Thieves 2: Pantera January 10, 2025 By: Button Hunter Friesen January has never been a month known for quality when it pertains to the yearly cinematic timeline. While everyone's eyeballs are trained on the artier Oscar contenders, the studios dump their unwanted offspring into the multiplexes (this time last year featured such "classics" as Nightswim, I.S.S., Founders Day , and Miller's Girl ). Every once in a while you get a better-than-expected gem like my beloved The Beekeeper , an indulgent slice of junk food that hits the spot after months of vegetables. Den of Thieves 2: Pantera , the sequel to the 2018 crime film that has amassed a decent following over the years, aims to be that greasy burger you hate yourself for loving, although it leans a little too close to gas station quality rather than fast food. Donnie Wilson (O'Shea Jackson Jr.) has moved up in the world since we last saw him, graduating from the banks of Los Angeles to the diamond district of Europe. "It's the most secure building in continental Europe," says the concierge to Donnie as he goes undercover as a diamond seller to provide surveillance for his crew, a line that tells us all that we need to know about the outcome of this heist. 'Big Nick' O'Brien (Gerard Butler), on the other hand, is pissing his life away (both literally and figuratively) since Donnie outsmarted him. His divorce has been finalized and his job security is hanging by a thread, giving him enough of a reason to embrace the "if you can't beat 'em, join 'em" mantra and become part of Donnie's crew. Sequels are about doing more than the original, which Pantera does in a literal sense. The locations are swankier, the stakes are higher, and the plan is more complicated. However, all the supporting details are less valuable than before. The cast is less interesting and the plot is less comprehensible, leaving you yawning throughout the first half of this 148-minute beast. The only thing there's more of in those departments is the clichéd elements of previous heist films: people standing around the blueprint table explaining their roles, then later leaning over a balcony giving their backstory for why they got into this line of work. Those missteps can be slightly forgiven once the sun sets and the black ski masks are donned. Writer/director Christian Gudegast showed some remarkable chops as a first-time director of set pieces with the 2018 predecessor. He levels up his game here, trading in the loud bangs of gunfire for the silence of a job that goes according to plan. There's a great amount of tension as the crew shimmies across rooftops, moves through rooms undetected by security cameras, and places barriers at just the right angles to avoid motion detectors. Of course, things still go boom. Fast cars and machine guns become the weapons of choice, making this a gnarlier version of a Fast & Furious movie. Jackson Jr. and Butler match that brute explosiveness fairly well, although their chemistry works much better as antagonists as opposed to reluctant allies. All of this felt a little outdated in 2018, making it straight-up ancient in 2025. But that creakiness is part of the charm, flooding in rose-tinted memories of the heist movie of yesteryear. And as long as Michael Mann keeps taking his sweet time to deliver Heat 2 , these retrograde knockoffs are the best we're going to get, so we might as well be content with them. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Shazam! April 4, 2019 By: Button Hunter Friesen I would have called you crazy if you had told me that we get both a Captain Marvel and Shazam film in the same year. But stranger things have happened, which is something we’ve had to get used to over the past couple of years. So now the year is 2019 and both of these films have premiered within the span of a month. Unfortunately, as much as I am happy to see these films get their moment to shine, the experience that I got out of both of them didn’t match well with my expectations. This superhero origin story centers around Billy Batson, a troubled kid that has committed his whole life to running away from foster homes and finding his real mom. On one fateful day, Billy is approached by an all-seeing wizard that wishes to transfer his power to him so that he may fight off the seven deadly sins that seek to destroy humanity. By speaking the wizard’s name, Billy is suddenly transformed into the unstoppable superhero Shazam that possesses the combined powers of the Greek gods. With his nearly unlimited new powers, Billy must now set out to do good in the world, while still trying to find his real home. Shazam! is directed by David F. Sandberg, who has made his name with the horror films Annabelle: Creation and Lights Out . One admirable thing that can be said of Sandberg is his intention and ability to make this film a moderately fun ride throughout as it pokes fun at itself from time to time. To my regret, that is probably the only good thing that can be said about his directing, which has a consistent pattern of him pacing so much smaller material into an already overstuffed main narrative. The biggest issue that plagues Shazam! is that it always acts like it’s different from all the other superhero films, even though it really isn’t. This problem can be glaringly seen in the egregious 132-minute runtime, which follows the generic origin path where the hero gets their powers, has some struggles along the way, and then vanquishes evil in a climatic CGI battle. The one thing that this film does differently lies within its effects, which are a lot worse when compared to the competition. Written by Henry Gayden, Shazam! tries really hard (and fails) to be the family-friendly version of Deadpool . The problem that this film repeatedly runs into stems from the fact that Deadpool ’s style works solely on the effortless charm of Ryan Reynolds and its ability to be R-rated, two things that Shazam! sorely lacks. To be fair, a few of the jokes are actually quite funny, but the majority just fall flat and feel like a pale imitation. Another problem with Shazam! is the terrible one-dimensional villain, whose name I couldn’t remember until the credits rolled by. Basically, he’s a supervillain that does bad things because that’s what a supervillain does. Clear motives for his actions or any other defining character traits are nonexistent Retouching on the point of needless subplots, the whole storyline about the missing mother is handled quite amateurishly and laughably underwhelms in its conclusion. Part of the blame can be placed on Sandberg for spending too much time on it, but most of it should go to Gayden for not cutting this tedious and unimportant plot out of an already bloated story. Maybe the finest quality that this film has lies within its lead actor, Zachary Levi, who brings a lot of energy to the titular role. He’s no Ryan Reynolds, which he tries really hard to be, but he does a good enough job to cover many of the storytelling faults. Asher Angel plays Billy and does a below-average job. His performance of Billy as an insufferably meddling kid wildly contrasts with Levi’s and makes it really hard to believe both of them are playing the same core character. The villain role of Sivana is played by Mark Strong. Just like his character, Strong’s dull performance is immediately forgotten after watching. Lastly, Djimon Hounsou underwhelmingly stars as the wizard, who can best be described as a dollar-store version of Gandalf. After seven entries, the DCEU has yet to put out one above-average film. And although Shazam! falls prey to many of the same problems that have besieged the other films in the universe, the one thing that it can hang its hat on is its ability to be quite entertaining for a portion of its runtime. Still, don’t expect to be blown away, just moderately surprised. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

La Grazia December 5, 2025 By: Button Hunter Friesen Inside Italian auteur Paolo Sorrentino lie two wolves, each representing a near equal amount of his quarter-century spanning filmography. On one side lies a man fascinated by the complexities of love and beauty, often expressed through hedonistic behavior. His most acclaimed and awarded work, The Great Beauty , follows a man who fills the dark emptiness of his heart with the debauchery of the Roman nightlife. Excess is often the name of the game, with the visuals matching the grandiosity of the experience. On the other side is an examination of the church and state. Supreme powers are held by flawed men who lie within the halls of the Vatican and the Quirinal Palace. Loro and Il Divo center themselves on famous prime ministers, the former on Silvio Berlusconi, the latter on Giulio Andreotti. The closest these two sides came to merging was in the HBO miniseries The Young Pope , where a brash American cardinal played by Jude Law is unexpectedly elected as one of the youngest popes in Catholic history. He’s disruptive to the old ways, his actions spurred by the love he never received throughout his orphaned childhood. 2025 is also a year where everything comes together, although still in a mutually exclusive fashion. Released in February in the United States after playing internationally in 2024 was Parthenope , led by the most beautiful woman in the world, as she discovers desire and determination in Naples. Coming now in December, after stops at the Venice, Telluride, and New York Film Festival, is La Grazia , a sobering drama about a sunsetting Italian president dealing with a complex executive decision and the sadness he endures after his wife’s passing. The opening is cold and austere, listing out the contents of Article 87 of the Italian Constitution against a plain blue sky. Within the president lies the ultimate legal powers, instilled so that he may be a righteous symbol for the Italian people (something that America has lost sight of). After commendably serving as a lawyer and judge for many years, Mariano De Santis (Tony Servillo) has become the man for the job. He’s a stately person, self-described as boring and clinical. He’s not perfect, as he indulges in cigarettes as he stands atop the palace late at night, overlooking the millions of Romans that he has sworn to serve. Just as a leader needs a strong mind, he also needs a strong heart. Mariano’s has been crushed by the death of his wife ever since he took office. He leads out of a sense of duty, but can no longer find the gratification in the work. He falls asleep every time he prays, and is starting to have doubts about all things both spiritual and literal. This is the eighth occasion that Servillo has appeared in a Sorrentino film, a collaboration that has been wonderfully fruitful for the pair. Servillo displays a wealth of sadness with each look, his soul conflicted as he has lost purpose while occupying the most important job in the country. To sign or not to sign. That is the central question for Mariano, as his daughter and assistant, Dorotea (Anna Ferzetti), presents him with a bill to legalize euthanasia and a trio of options for pardons. She is aggravated by his stubbornness, his nickname within the halls being “reinforced concrete.” As always, Sorrentino finds immense beauty in these proceedings. The frames are cool and calculated, like pristine marble. The soundtrack is elegant, with the prominent inclusion of “Le Bimbe Piangono” by Guè Pequeno included for an extra bit of spicy levity. “Who owns our days?” is a question that is brought up on numerous occasions throughout the film. Is it the best version of ourselves, or the version racked with doubt and guilt? The road to perfection is one marked by pain and heartache. Yet, it’s what makes us stronger, winning the battles in a never-ending war. La Grazia takes a roundabout way to illustrate that theme, mixing in Sorrentino’s in-the-moment, flashy style with a sneaky amount of depth. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Star Wars: Episode VIII - The Last Jedi December 18, 2017 By: Button Hunter Friesen Director Rian Johnson’s Star Wars: Episode VIII - The Last Jedi is easily the grandest and most epic film to have come out in 2017. It boasts a balanced cast of series veterans and newcomers along with outstanding production quality. However, what was supposed to be The Empire Strikes Back for the new trilogy has come up short in key areas such as an exciting plot and engaging characters that limit the film from being anything above average. The Last Jedi picks up immediately after the closing events of Star Wars: Episode VII - The Force Awakens . We cross-cut between Princess Leia leading the Resistance in a desperate escape mission from the pursuing First Order, and Rey trying to recruit a weary Luke Skywalker on his secluded island. On the dark side of the force, Supreme Leader Snoke and Kylo Ren act out plans to try and bring Rey to the dark side. While the summary I gave makes the film sound simple, it really isn’t. There are many side plots and characters that muddy the water and make the overall story meander aimlessly until the final act. Each of the plots feels underdeveloped because of all the juggling and some of them clearly should have been cut or greatly reduced, which would have helped resolve the overlong 152-minute runtime. The film is also unoriginal and doesn’t add anything new or meaningful to the saga. Most everything goes exactly as you would expect, and the things that are different aren’t done well. The characters endure many problems within the film mostly because of their own incompetence to do things right. In the end, everything that happened was expected and everything that was new wasn’t good. The biggest problem with the film is how it treats its characters. Rey is still a standout from the previous film and has grown even more since then. She is still trying to make sense of becoming a Jedi but exhibits great bravery and a strong will to help her friends. Luke is hit or miss depending on the scene as he tries to deal with his failures as a Jedi master and Rey’s plea for his help in training her. Finn’s role is greatly reduced as he becomes part of the supporting cast as he and Rose (a Resistance engineer) embark on a side quest to secure a safecracker. Their plot is totally pointless and neither of them ends up as likable characters by the end of the film as all they do is critique the bad guys and say how things are bad. Kylo Ren and Poe are adequate most of the time, but never good enough in their expanded roles. Characters such as Leia, Snoke, and Captain Phasma are either completely disrespected or wasted as Johnson can never seem to figure out what their role should be in the overarching story. The one thing you can always expect from a Star Wars film is great visuals and an epic lightsaber fight, and The Last Jedi is no exception to that rule. The main lightsaber battle is one of the best in the series and is expertly shot and choreographed for maximum intensity and realism. You can feel the danger and raw power within the characters as they fight for their lives against an unforgiving enemy. The space battle is really well done as well as it blends great visuals and sounds. There is one specific sequence in the latter part of the film that is one of the best-looking moments of the year. While their characters are overall pretty poor, most of the actors do a fine job when it comes to breathing life into the film. Highlights include Daisy Ridley as Rey and Carrie Fisher as Leia. Each of them balances their emotions really well and delivers their lines perfectly in the situation they are thrust into. Mark Hamill does a good job as well at bringing Luke Skywalker back to life after a thirty-year screen absence. He gives Luke the old man treatment but also still reminds us of the headstrong kid we all fell in love with in the original trilogy. Adam Driver is pretty good as Kylo Ren, but he struggles to make his character anything different than what we have already seen. Some, however, don’t deserve praise for their work. Both John Boyega and Kelly Marie Tran as Finn and Rose, respectively, make for some pretty forgettable moments in the film that could have been a lot better. They also don’t share any chemistry together which makes it hard to care about them the whole time. Overall, The Last Jedi is disappointing but is still an acceptable film in the ever-expanding Star Wars saga. While it isn’t the sequel fans were hoping for, it still delivers in getting the look and feel of what a Star Wars film should be. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

The Biggest Flops in TIFF History September 2, 2023 By: Hunter Friesen Every September, the city of Toronto becomes a hub of cinematic celebration as the Toronto International Film Festival (TIFF) rolls out the red carpet for a myriad of films from around the world. A prestigious event that has launched countless Oscar campaigns and propelled numerous films into the limelight, TIFF is a cinematic playground where dreams are realized and reputations are solidified. However, amidst the glamour and fervor, there exists a lesser-explored facet of the festival – a realm of disappointment and missed opportunities. In this list, I’ll delve beyond the flashing cameras and standing ovations to shed light on the movies that, for various reasons, failed to strike the right chord with audiences and critics alike. The rules for this list are simple: The film must have had its world premiere at the festival The film must have had a certain amount of buzz around it. If a movie fails and no one was anticipating it, then it’s not really a bomb. The film must have massively underperformed on expectations, both critically and financially The Fifth Estate (2013) Benedict Cumberbatch was on the rise in the early 2010s with roles in War Horse, Tinker Tailor Soldier Spy , and the television series Sherlock . 2013 was bound to be his breakout year as he had FIVE films set to be released that year: Star Trek Into Darkness, 12 Years a Slave, The Fifth Estate, August: Osage County , and The Hobbit: The Desolation of Smaug . Three of those would play at that year’s TIFF, with The Fifth Estate opening the festival. The bright lights didn’t serve it well, as Bill Condon’s take on Julian Assage and WikiLeaks was met with mixed-negative reviews on account of its by-the-numbers storytelling and refusal to take a stance on the issue. 12 Years a Slave lit up the room a few days later, as did Ron Howard’s Rush , starring Cumberbatch’s The Fifth Estate co-star Daniel Brühl. Everyone was able to move on quickly, with the film grossing less than $3 million at the US box office a month later. Men, Women, and Children (2014) Jason Reitman was the most in-demand young director in Hollywood after the one-two punch of Juno and Up in the Air . Things went south rather quickly once he decided to make a movie about the perils of social media. Time Out ’s Joshua Rothkopf called it “the first Reitman film to make the 36-year-old director seem about 400 years old.” An outstanding cast consisting of Adam Sandler, Jennifer Garner, Kaitlyn Dever, Ansel Elgort, and Timothée Chalamet was wasted in an out-of-touch and preachy story. The savage reviews killed the already minuscule audience interest in the film, with its $300,000 haul being one of the lowest ever for a film opening in >600 theaters. The Cobbler (2014) One TIFF, two Adam Sandler movies! It’s hard to criticize his choices (at least on paper), as both his 2014 films came from directors with a certain amount of pedigree. The latter was helmed by Tom McCarthy, who hadn’t missed yet between The Station Agent, The Visitor , and Win Win . Nothing worked this time around, with the terrible plotting and creepy undertones stripping the film of having the whimsical tone it wanted. It took the title of Sandler’s biggest bomb away from Men, Women, and Children when it was released six months later, only grossing a mere $24,000 on its opening weekend. A film failing that epically would have killed 99% of directors' careers. But somehow Tom McCarthy would pivot and return to TIFF in 2015 with Spotlight , finishing in the runners-up position for the People’s Choice Award and ultimately winning Best Picture at the Academy Awards. Kings (2017) Turkish writer/director Deniz Gamze Ergüven spent four years developing her script centering on the 1992 Los Angeles riots. She was finally able to get the film made a decade later once her debut feature Mustang was nominated for Best International Feature. She would experience a sophomore slump with her English-language debut, with critics finding the film messy and underdeveloped. Even with the star power of Halle Berry and Daniel Craig, the film wouldn’t be released until the next spring to no fanfare. Life Itself (2018) Amazon Studios was riding high off the awards success of Manchester by the Sea in early 2017 and wanted to continue in that sphere. Seeing the success of This Is Us on NBC, they snatched up writer/director Dan Fogelman’s next film for $10 million in late 2017. They remained confident when deciding to launch it at TIFF, premiering it at both Roy Thomsen Hall and the Elgin Theatre. All those rose-tinted hopes and dreams came crashing down once people saw the finished product. The overwrought and convoluted soap opera incited more ironic laughter than tears within the audience. The film debuted in theaters two weeks later, where it became the second-lowest opening ever in >2500 theaters with only $2 million. The Death and Life of John F. Donovan (2018) French Canadian filmmaker Xavier Dolan had already won the Jury Prize and Grand Prix at Cannes, as well as the César award for Best Director before he turned 30. The problem with that much success at such a young age is that you can go only down from there. Such was the case for his English-language debut about a famous actor having a correspondence with a young fan. The film spent almost two years in post-production, causing Dolan to miss the Cannes deadline. He chose to debut at TIFF instead, where he was met with the worst reviews of his career. The rumors of the film being trimmed down from a four-hour cut seemed to be true as entire characters and storylines were excised, lending to a rushed and underdeveloped plot about celebrity culture. It sat on a shelf for another year before limping into theaters in December 2019. Lucy in the Sky (2019) TIFF has a habit of showing their hands based on how they schedule their world premieres, with the better ones earlier in the festival and the not-so-good ones near the end when most of the press has left. Noah Hawley’s directorial debut, loosely inspired by the life of NASA astronaut Lisa Nowak, found itself in the latter camp, scheduled for a final Thursday night premiere. Whatever press was still left probably wished they had already left, as Hawley’s pretentious directorial choices and Natalie Portman’s wonky Texas accent were nails on a chalkboard. Distributor Fox Searchlight had other priorities at that TIFF with Jojo Rabbit and was still transitioning out of the Disney buyout of 21st Century Fox. Lucy in the Sky was released in theaters a few weeks later, grossing an abysmal $300,000 against a $25 million budget. Coincidentally (or maybe not), Hawley’s planned Star Trek film was canceled a few months later. The Goldfinch (2019) Amazon didn’t let the failure of Life Itself deter them from returning to TIFF the next year. This time they partnered with Warner Bros. on distribution and picked a safer project by adapting the Pulitzer Prize-winning novel by Donna Tartt. With Brooklyn director John Crowley at the helm, Roger Deakins as DP, and an all-star cast, it seemed this would be the streamer’s return to the awards race. But the film ended up having a worse death than its predecessor. Early test screenings were disastrous, prompting the studio to lower the marketing budget. Despite that, they still took it to TIFF, where the reviews matched their expectations. A $2.6 million opening the following weekend led to losses of over $50 million when all was said and done. To add insult to injury, Tartt was so infuriated by the adaptation that she fired her agent for allowing it to happen and has rejected any talk of her work being adapted again. Dear Evan Hansen (2021) After the COVID-19 pandemic forced the 2020 edition of the festival to be a mix of drive-in and digital screenings, TIFF needed to put on a grand show to welcome everyone back to “normalcy” in 2021. Universal was more than willing to have Dear Evan Hansen be the opening night act on account of director Steven Chbosky delivering festival favorite The Perks of Being a Wallflower years earlier. But anyone who watched the trailers for the film in the summer knew that this project was doomed from the start. The 27-year-old Ben Platt was already too old for the part and enough discourse over the material’s attitude towards mental health had circulated online. Neither critics nor audiences were satisfied, leading to poor reviews and a lackluster box office gross. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Predator: Badlands November 5, 2025 By: Button Hunter Friesen A bug gets eaten by a bigger bug, the bigger bug gets eaten by a lizard, and the lizard gets run over by a space cruiser. Such is the way of life (and death) within director Dan Trachtenberg’s Predator universe, a hellish wasteland where every creature has cruelly adapted itself into being the ultimate killing machine, and every backdrop is worthy of being a widescreen wallpaper. Throughout each of the films in this decades-spanning franchise, the Yautja species have been the apex predators, ritualistically hunting for sport and honor. Humans often get in their way, such as Arnold Schwarzenegger in the 1987 original, Adrien Brody in the 2010 reboot, and a gang of annoying nobodies in whatever Shane Black was trying to achieve in 2018 . But what if the Yautja were at the bottom of the totem pole? That’s where we find Dek (Dimitrius Schuster-Koloamatangi) in Predator: Badlands , the runt in a litter where dying during training just means that you weren’t good enough to deserve to live. He at least has his older brother, who continually pushes him to be as strong as the rest of the pack. Their father views this as a lost cause, forcing Dek to leave their homeworld. His only hope of returning is to claim his trophy: the head of the unkillable monster named the Kalisk. This creature lives on the planet Genna, better known as the death planet. Ranging from the mightiest tree to the tiniest insect, everything is designed to deliver a gruesome death. Even the grass fields are made of blades. Now with three films under his belt (this film, 2022’s Prey , and this year’s animated Predator: Killer of Killers ), Trachtenberg has built a respectable world, which is quite the feat considering that this franchise hasn’t displayed any ideas beyond a big alien engaging in gory battle against unlikely enemies. Not being the top dog teaches Dek some humility, something he isn’t used to reckoning with. Aiding him on this literal and personal journey is Thia (Elle Fanning), a Weyland-Yutani (hint, hint) synthetic who needs some help after losing her legs to the Kalisk. Where Dek is stoic, Thia is jovial, always seeing the fun side of any situation. Losing the bottom half of her body makes it much easier to throw her, which is a lot more enjoyable than it sounds. Also softening the machismo is a monkey-like creature with big, wet eyes. It becomes the third wheel of this rag-tag group, always looking to Dek as a role model. There are a few too many cutesy moments with the creature, all of them cloying at your heartstrings. It comes pretty close to Star Wars , specifically the Lone Wolf and Cub relationship of the Mandalorian and Grogu. Dek even wields an energy sword, complete with a red tint. But if I am going to accuse this film of ripping off another Disney property, then I also have to admit that it’s doing it better than the original currently is. There’s still plenty of violence, packaged in a PG-13 rating because it’s all alien slime and synthetic limbs. The fact that a film like this, with its dismemberments and disembowelments, can attain that rating, while something like The King’s Speech and Eighth Grade get saddled with an R rating, tells us all we need to know about the board’s views on life. Kids can watch all the butchering they want, just as long as the blood is filled with neon food coloring. At least those kids will be greeted with some well-choreographed set pieces and a story that illustrates that the ultimate goal in life is not to vanquish everything in your path, but to forge a better one with those you care for. With Fede Alvarez and Noah Hawley reviving the Alien franchise in theaters and on television with Alien: Romulus and Alien: Earth , respectively, and Trachtenberg steering Predator to its greatest heights, ‘70s/’80s science fiction creature features are back on the menu. If the two extremely lame and forgettable Alien vs. Predator films taught us anything, it’s that there’s got to be a better way to interweave two of cinema’s most iconic species. The ingredients seem to have all been pleasantly assembled; now let them fight. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Enola Holmes October 1, 2020 By: Button Hunter Friesen Over the years we’ve heard a lot of stories about the famed detective Sherlock Holmes. In fact, Sir Arthur Conan Doyle’s deerstalker-wearing sleuth holds the record for the most portrayals of a literary character at 254. While Sherlock has dominated the mystery genre for over a century, a new part of the Holmes family is finally getting its due. The newest Netflix movie (there seems to be a new one every day) follows the adventures of the younger sister of Sherlock and Mycroft, named Enola Holmes. Enola was born years after her famous brothers and never quite got to know them or her prematurely deceased father. She spent her entire childhood with only her mother for company. Together, they read books, played indoor sports, conducted science experiments, and acted out plays. Despite her name being “alone” spelled backward, Enola always had her mother by her side to show her the wonders of the world. On her sixteenth birthday, Enola wakes up to the unpleasant surprise of her mother suddenly disappearing without a word. She calls in her brothers to help solve the mystery. They arrive with dismay about how Enola has been raised and cast her aside thinking she won’t be of much aid. Needing to prove to her brothers that she’s a capable young woman, Enola sets out to find her mother and beat them at their own game. Like the locomotive train that contains one of the movie’s great set pieces, Enola Holmes is a well-oiled machine that runs at a rapid pace. The film carries an infectiously rambunctious energy to it, much of which comes from its star. Already a two-time Emmy nominee for her role as Eleven in Stranger Things , Millie Bobby Brown is perfectly cast as our titular character. She never misses a beat with her comedic timing and carries the film almost solely on her shoulders. She also brings great skill to emotional moments. Director Harry Bradbeer also contributes to the gleeful tone by doing what he does best. Similar to his work in the critically acclaimed Fleabag , Bradbeer has his heroine break the fourth wall and talk directly into the camera. It’s a fun tactic that never wears its welcome and allows for Brown to showcase her amazing talent. Things take a surprisingly dark turn once Enola arrives in London as she gets tangled with hitmen and a radical plot to bomb the House of Lords. For a supposed kids' film, there is quite a bit of violence toward our younger characters. The home of Big Ben looks more drab and crowded than ever as cinematographer Giles Nuttgens beautifully contrasts the cramped and intimidating metropolis with the lush and vibrant countryside. What does bring down Enola Holmes from time to time is its predictable central mystery. If you’re a veteran of Sherlock Holmes or the mystery genre, it won’t be too hard to figure out what will happen next. The film also tries to weave in bits of social commentary about gender and class throughout. Unfortunately, the messaging is half-baked and creates jarring breaks from the whimsical tone. Even though Brown is clearly the star, the well-rounded supporting cast also shines in their roles. Superman himself Henry Cavill plays the iconic detective. Still with his Man of Steel physique, Cavill plays Sherlock closer to James Bond as his suave charisma brings a welcome departure from his dour performances in the DC films. Sam Claflin, most famous for playing Finnick in The Hunger Games films, is downright dastardly as the uptight Mycroft Holmes. Complete with a twirling mustache and tophat, Claflin offers a harsh counterbalance to Brown’s exuberance. Finally, Helena Bonham Carter is inspirational as the eccentric mother of the Holmes trio. She brings the same out-of-the-box energy one would expect from her and hits the emotional depths required. With a star-making performance from its leading lady and a healthy dose of energy, Enola Holmes is a charming mystery for (nearly) all ages. Based on the way it ends, a sequel could be on its way in the near future; one that would be well deserved. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Tyler's Favorite Musicals November 21, 2024 By: Tyler Banark When done right, musicals have a beauty to them that can't be beat. This niche interest was a pillar of my upbringing, as I was a theater kid heavily involved in choir before I was a cinephile. Luckily, these two passions often collided. With Wicked and The End singing their way into theater very soon, I figured now would be a great time to sit down and reflect on the movie musicals that have hit the best notes. 10. Willy Wonka and the Chocolate Factory (1971) As the original film adaptation of Roald Dahl's classic book, Willy Wonka and the Chocolate Factory , sees the enigmatic Gene Wilder step into the shoes (and hat) of the titular chocolatier. Although his signature introduction immediately established his remarkability, what sealed the deal was his profound performance of "Pure Imagination." Other numbers, such as "The Candy Man," "Cheer Up Charlie," "I’ve Got a Golden Ticket," and the Oompa Loompa songs stand out. Visually, the film captures the fantastical essence of Roald Dahl’s original story with vibrant set designs, imaginative visuals, and various candy-themed wonders that make the factory come alive. 9. All That Jazz (1979) All That Jazz masterfully mixes autobiographical storytelling, intense choreography, and dark themes into a mesmerizingly raw visual style. Director Bob Fosse's exploration of his own life dives into the highs and lows of a driven artist struggling with obsession, addiction, and mortality. Roy Scheider is charismatic and haunting, precisely capturing the character's relentless ambition and self-destructive tendencies. The thrilling and sophisticated musical numbers embody Fosse’s signature style: sharp, sensual, and complex. 8. The Umbrellas of Cherbourg (1964) With entirely sung dialogue, a radiant color palette, and emotionally resonant storytelling, The Umbrellas of Cherbourg marked a redefinition of the movie musical. Directed by Jacques Demy, the film tells the bittersweet love story of Geneviève and Guy, two young lovers whose romance is tested by separation and circumstance. The perpetual singing creates an operatic feel that intensifies the characters' emotions. The film’s vibrant visuals—featuring bold, pastel-colored sets and costumes—heighten the dreamlike quality of the story, making each frame feel like a painting. And Michel Legrand’s beautiful, sad score, especially the recurring theme "I Will Wait for You," perfectly captures the yearning and heartbreak at the story's core. 7. Hamilton (2020) I know, I know. If animated films didn't qualify for this list, then why did a Broadway recording find a spot? Until we get a proper film version, I believe this Disney+ special was a perfect way to bring Lin-Manuel Miranda’s groundbreaking musical to the masses. It simply can't be ignored, with the original cast (Leslie Odom Jr, Phillipa Soo, Daveed Diggs, Renee Elise Goldsberry, etc.) bringing a charm that translates Miranda'a material to life. As for the music, many of Miranda’s numbers strike a chord, but none do as well as "Wait For It", "Burn," "You’ll Be Back", and "The Room Where It Happens." Once the movie begins, the adrenaline Hamilton brings is non-stop. 6. Sing Street (2016) The best rendition of John Carney's musically-infused oeuvre remains 2016's Sing Street , a coming-of-age drama about a group of prep school boys that start a rebellious band in 1985 Dublin. It’s a soulful movie capitalizing on themes of teen angst, defying expectations, and finding love in the unlikeliest places seen through the leads, played tremendously by Ferdia Walsh-Peelo and Lucy Boynton. Many 80s pop-rock tunes run amuck, with standouts including numbers like "The Riddle of the Model," "Brown Shoes," and the movie’s most famous song: "Drive It Like You Stole It." None of Carney's other works have me wanting to go back and listen to the film’s music. When a movie does that, that’s how you know it’s unique. 5. Hairspray (2007) The 2007 film adaptation of Hairspray is a delightful musical that combines infectious energy, memorable songs, and a heartfelt message about acceptance and social change. The vibrant choreography and bold costumes perfectly capture the era's spirit while underscoring the film’s themes of individuality and equality. The cast, including Nikki Blonsky, John Travolta, Queen Latifah, and Zac Efron, bring a contagious enthusiasm to their roles, balancing humor with the film’s more profound messages (did anyone know this movie got a SAG nod for Best Ensemble?). 4. Tick, Tick... Boom! (2021) Tick, Tick... Boom! is a heartfelt movie musical that captures the raw intensity and vulnerability of an artist on the brink. Andrew Garfield’s career-best performance as Jonathan Larson is electric, bringing depth, passion, and relatability to a character driven by his creative ambition and haunted by the fear of time running out. Lin-Manuel Miranda’s direction, paired with Larson’s poignant music, brings the world of aspiring artists vividly to life, blending humor, warmth, and emotional gravity. The musical numbers are creatively staged, merging realistic and surreal elements to illustrate Jon’s inner turmoil and artistic vision, with "30/90" and "Therapy" being the standouts. 3. West Side Story (1961 & 2021) Both versions of West Side Story care cinematic triumphs in their own right, bringing a unique interpretation to a timeless story. The 1961 film, directed by Robert Wise and Jerome Robbins, set a high standard for musical adaptations with its electrifying choreography, striking visuals, and unforgettable score by Leonard Bernstein and Stephen Sondheim. Natalie Wood and Richard Beymer bring passion to Maria and Tony, while Rita Moreno’s portrayal of Anita earned her an Oscar for her passionate, layered performance. Steven Spielberg's 2021 reimagining of the original stage show infused greater cultural authenticity and modern sensibilities. Newcomer Rachel Zegler brought a fresh vulnerability as Maria, while David Alvarez’s Bernardo and Mike Faist’s Riff stole the show. Tony Kushner’s adapted script offered deeper character development and context, making the stakes feel higher and the tragic romance even more compelling. 2. Singin' in the Rain (1952) Singin’ in the Rain is a quintessential movie musical that remains a timeless masterpiece thanks to its infectious charm, dazzling performances, and brilliant fusion of humor, music, and dance. Co-director and star Gene Kelly delivers an iconic performance as Don Lockwood, combining charisma and extraordinary dance skills, most notably in the legendary title number, where his joyful routine in the rain captures the pure magic of the musical genre. Debbie Reynolds shines as the plucky Kathy Selden, while Donald O’Connor steals scenes with his hilarious physical comedy. The vibrant technicolor cinematography and timeless songs like "Good Morning" and the "Broadway Melody" sequence ensure that every frame is a visual and auditory delight. Beyond its entertainment value, Singin’ in the Rain is also a love letter to the Golden Age of Hollywood, blending satire and celebration in a way that continues to resonate with audiences across generations. 1. La La Land (2016) La La Land is the greatest movie musical because it redefines the genre with a perfect blend of nostalgia, innovation, and emotional depth. Writer/director Damien Chazelle masterfully weaves a contemporary narrative with golden-age Hollywood aesthetics, creating a cinematic experience that feels both timeless and fresh. Justin Hurwitz’s Oscar-winning score and the heartfelt lyrics by Benj Pasek and Justin Paul infuse every scene with a sense of wonder and yearning. Emma Stone and Ryan Gosling deliver career-defining performances, bringing authenticity and charm to their roles while navigating the bittersweet tension between love and ambition. But above all else, what sets La La Land apart is its willingness to embrace the imperfect and bittersweet nature of dreams and relationships. The bold, bittersweet ending—a “what if” montage of the life Mia and Sebastian might have had—cements the film’s status as a poignant exploration of sacrifice and the pursuit of art. La La Land resonates universally by celebrating the joy and pain of following one’s dreams, ensuring its place as a standout in the musical genre and a cinematic achievement for the ages. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Talk to Me July 26, 2023 By: Button Hunter Friesen The horror genre has been experiencing a small renaissance as of late, with more than a handful of fresh-faced directors announcing themselves to the world through the art of the scare. Robert Eggers ( The Witch ), Jordan Peele ( Get Out ), Ari Aster ( Hereditary ), Jennifer Kent ( The Babadook ), and Julia Ducournau ( Raw ) are just a few that have risen to the top of the game in the last few years. To use a term that has become a meme at this point: They elevated a genre that has historically been disrespected. Now with the pandemic forever shifting the theatrical landscape, it seems that horror movies are the only things that are guaranteed to put butts in seats. Add in the rise of technology, and it’s never been easier to enter into the business. Australian YouTube sensations Danny and Michael Philippou, a.k.a RackaRacka , have done just that with Talk to Me , an exceedingly well-crafted, albeit slightly shallow, debut feature. A drug is storming through the streets of Australia, hooking in teens with unprecedented potency. It’s not heroin, cocaine, or even some other narcotic you’ve ever heard of. It’s actually a sick game where the contestant holds onto a ceramic scrawled with illegible writing. Uttering the words “talk to me” conjures up a dead spirit that can only be seen by the person touching the hand. An even greater high can be achieved by saying “I let you in,” which allows the spirit to take control of the person’s body. But be warned: Holding the hand for more than ninety seconds will allow the spirit to remain in the host forever, essentially rendering them a puppet of the undead. Mia (Sophie Wilde) is a teenager riddled with guilt and trauma from the semi-recent unexplained suicide of her mother. She’s become the sad sack of her class, a status she would like to turn around. The best way to do that is to get in with the cool kids, who are all about the hand. Mia quickly becomes addicted to the feeling of dissociating from this mortal world. “I don’t feel alone anymore” is her foolproof excuse to her protective friend Jade (Alexandra Jensen), who feels like this thing is snowballing into dangerous territory. Jade is absolutely right, as like any regular drug, the good times eventually fade out and the darkness begins to take over, only this time in the form of unholy entities wreaking havoc on your body and soul. There’s a social undercurrent relating to young people’s unquenchable thrift to become viral sensations throughout much of the horror. An exciting opening tracking shot sees one of the victims of the hand executing the wishes of the damned, with a crowd of teens recording the whole thing. Earning tens of millions of views through their YouTube channel, the Philippou brothers are adept at commenting on seeking online attention. They’re not as adept at handling the topics of grief and loss, however, as Mia’s relationship with her deceased mother and distraught single father never feels more than anything we haven’t seen in several other “smart” horror movies. And while it is a little refreshing to have a movie with a simple premise and rules, there is a desire for more information to be supplied regarding the perpetrators. The craftsmanship on display is quite remarkable. When people talk about the theatrical experience, they mostly mention the size of the screen and how it adds unparalleled scale to already mammoth productions like Oppenheimer and Avatar: The Way of Water . But the thing that theaters do best is suppress your senses, keeping you locked to the moment, and focusing only on what’s in front of you. Talk to Me will surely not play as well at home, where the bone-crunching sound design and crisp cinematography by Aaron McLisky won’t be able to take over ears and eyes to its full effect. The reaction from you and the audience during the wince-inducing moments is what keeps Talk to Me alive, pushing it to be a cut above the rest of the pack. The Philippous seem to be fast learners when it comes to filmmaking, and I’m excited to see what the future holds in store for them. More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen

Cannes Review Roundup June 8, 2024 By: Button Hunter Friesen Another Cannes Film Festival is in the books, which means it’s time to decompress from all the commotion and gather my thoughts on everything I saw. This year I watched a personal best of fifteen films within the Official Competition lineup during my three-day stint, an almost Olympian feat that will likely force me to upgrade my contact prescription for my already deteriorated eyes. Full reviews for Megalopolis , Kinds of Kindness , The Apprentice , The Substance , Emilia Perez , and Anora have already been published. This article will serve as a catch-all for everything else, with the films listed chronologically according to my schedule. But make no mistake, while these films are being given short-take reviews, that does not mean they hold a smaller presence within my memory, as the festival always has a knack for unveiling works that bury themselves deep into your conscious, revealing slowly over the proceeding months. Grand Tour Director Miguel Gomes’ film is a work lost in time and space, both in its story and filmmaking. Its titular tour of South Asia is captured through almost silent era techniques, with ultra-grainy black-and-white cinematography and a dream-like story of two traversing lovers. Mixed into this historical story is modern documentary footage of the same locations, a juxtaposition of the land and its people in the century since. I’ll admit, the biggest reason I sought this out was because it was the only opportunity I had to see something in the famed Grand Theatre Lumiere. I’ll be in a better headspace when I catch up with it again when it most likely reaches the States next year. (3/5) Bird Bird gradually warms your heart as it navigates the gutters of England, a favorite spot for Cannes regular Andrea Arnold. I do wish that Arnold had attempted to stretch herself a little more creatively over the first ⅔ of the runtime. The “been there, done that” attitude does get broken up by a surprising element, one that I didn't entirely agree with. But I can’t deny that it had some emotional effect. Nykiya Adams delivers a great performance in her debut, with Barry Keoghan and Franz Rogowski as their usual freaky selves. There’s also a fun Saltburn reference that got a lot of laughs, although it was definitely unintentional as this was shot before Fennell’s film was released. (3.5/5) The Shrouds Was this supposed to be a comedy? Because it’s so poorly written and performed that at times I couldn’t tell. I did get the feeling that Cronenberg was initially aware of the unintentionally comedic concept of a man creating an app that lets you watch your loved ones decompose in their graves, but then it all is steered down such a self-serious road that you can’t help but laugh at it. Cronenberg throws a lot of ideas and plot developments at the well, most of them way too autobiographical for us to comprehend. Crimes of the Future was my biggest disappointment at Cannes 2022, with this easily (re)laying claim to that title. Is there an award that’s the opposite of the Palme d’Or? (2/5) Oh, Canada A typical Paul Shrader film as it tackles a man wrecked by the guilt of his past. But it’s not all doom and gloom within a world of crime, as Schrader’s adaptation of Russell Banks’ novel has a more melancholic glimpse into a life roughly lived. Where has this version of Richard Gere been all these years?!? Some bizarre directorial choices, such as Jacob Elordi and Gere swapping places in their respective timelines and Uma Thurman cast as multiple characters, prevent this from being a definitive film that Schrader could potentially go out on. (3.5/5) Limonov: The Ballad Cannes' new favorite Russian ambassador Kirill Serebrennikov delivers a biopic with a lot of style, but not much substance, at least not in the forms my Western brain could comprehend. The clash of hemispheres makes for a jarringly interesting experience, with Ben Whishaw’s stunning titular performance almost convincing you he’s playing a layered character. A fascinating disappointment that I’d be welcome to revisit once I dive into Serebrennikov’s previous works. (3/5) Beating Hearts How does a musical work without any songs? Pretty, actually. Gilles Lellouche directors the hell out of this epic gangster drama, crafting a romantic odyssey with the visual flair of West Side Story and the grit of La Haine . Both sets of our star-crossed lovers are wonderful together. (3.5/5) The Girl with the Needle My personal Palme d’Or winner! Magnus von Horn descends us into a haunting time in Denmark, drip-feeding dread through his claustrophobic 4:3 camerawork. The blacks are as dark as night, and the whites are blindingly bright, a combination that resembles the horror of The Lighthouse with the bleak beauty of Cold War . Lovers of ultra-depressing European arthouse pieces keep on winning! (4/5) The Seed of the Sacred Fig Without a doubt the most important film of the festival, Mohammad Rasoulof’s statement about his native land both directly and indirectly dismantles the current Iranian regime through gripping imagery and performances. It succeeds as both a political statement and a taut thriller, although it leans a little too much on the latter in its final stages and oddly opts for metaphors after it has already effectively communicated so literally. (3.5/5) All We Imagine as Light As the first Indian film in the Official Competition in almost thirty years, Payal Kapadia’s sophomore feature certainly had a lot to live up to. It’s a quietly powerful film about the people that inhabit Mumbai, a city that never seems to sleep. It takes its time to reveal itself, but fully hits the landing once it all comes together in the final stages. The score and luminous cinematography were both among the best of the festival. (3.5/5) More Reviews 28 Years Later: The Bone Temple January 13, 2026 By: Hunter Friesen The Rip January 16, 2026 By: Hunter Friesen Dead Man's Wire January 14, 2026 By: Hunter Friesen The Chronology of Water January 9, 2026 By: Hunter Friesen Hunter Friesen