The queer romance-slash-literary minded mystery Summer of 85, the latest from prolific French auteur François Ozon, starts off as a darker and mildly intriguing riff on similar themes explored most recently in Call Me By Your Name, but it crashes and burns mightily heading into its final act.
Toronto International Film Festival 2020
Canadian made coming of age stories aren’t anything new, but few are as layered, complex, and profound as Tracey Deer’s flooring Beans.
Not only does Aisling Chin-Yee and Chase Joynt’s Canadian produced documentary No Ordinary Man go to great lengths to reclaim the insidiously rewritten history of their subject, but it also answers an intriguing logistical question.
An exciting, heartfelt, and socially conscious animated epic for the whole family, Wolfwalkers dazzles with its meshing of old and new world storytelling techniques and visuals.
The third programme of shorts at the 2020 Toronto International Film Festival is an embarrassment of riches, with seven of this year’s very best offerings all under a single banner, and most of the films thriving on tension (and in some cases, a release).
Corny, choppy, and mostly harmless, the inspirational drama Penguin Bloom is based on the true life story of an Australian family who slowly recover from a life altering tragedy with the help of an unlikely animal friend.
A deeply moving motion picture about those who willingly choose to live on the margins of western society, writer-director Chloé Zhao’s Nomadland boasts one of the best leading performances of recent memory in a movie that will be hard to top for the title of best film of the year.
A work of vanity and ego that tries and fails mightily to look like it’s about a famous person’s social advocacy, Matthew Heineman’s documentary The Boy from Medellín isn’t anything more than a somewhat well intentioned pat on the back to its subject, reggaeton superstar J Balvin.
Sir Anthony Hopkins gives his best performance since the early 90s in director Florian Zeller’s complex and sorrowful drama The Father.
Akilla’s Escape is an admirable modern day morality play, but also a slight misstep from Canadian filmmaker Charles Officer.