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The Top 10 of TIFF 2019

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New year, new TIFF record: I managed to see 38 films this year, a personal best. Here is my Top 10, with the caveat that I intentionally skipped some big profile releases, like “A Beautiful Day in the Neighborhood”, “Ford vs Ferrari”, “Dolemite Is My Name” (due to them being released in theaters soon), or “The Goldfinch” (due to seemingly every critic at the festival shitting on it). Also, I missed out on tickets to 2 films that would’ve probably made this list: “Parasite” (Bong Joon-ho’s Palme d’Or winner) and “Knives Out”.

The Lighthouse (Robert Eggers) – 10 on 10
Wow. Just wow. This is exceptional filmmaking from a young director who just proved “The Witch” wasn’t an accident. Brilliantly directed, written and shot, and anchored by two incredible performances – especially Willem Defoe’s, who seems to have been born for this role – “The Lighthouse” is a joy from start to end. Its characters are genuinely interesting, and having them stuck on an island makes the film feel like a stage play at times, one with infectious, incredibly authentic period dialogue.
Eggers’ attention to detail is, once again, astounding. This was shot on old 35mm black and white film stock, in a weird 1.19:1 aspect ratio, and it looks fantastic. Between the gorgeous, painting-like cinematography, gripping story, and amazing dialogue, I couldn’t take my eyes off the screen. Best movie of the year so far, and it will take something really special to dethrone it.

Joker (Todd Phillips) – 9 on 10
Things I never thought I’d say:

Todd Phillips made an Oscar-worthy movie

Heath Ledger is not the best Joker anymore

DC made a “comic book movie” that’s actually a character drama

“Joker” is everything I could possibly hope for as an origin story for this character. It’s bold, violent, furious, and goes to some places comic book movies never did. Also, Joaquin Phoenix is one of the greatest actors alive, and he proves it once again.

The Vast of Night (Andrew Patterson) – 9 on 10
Probably the biggest surprise of the festival for me. This debut feature from Andrew Patterson is a joy to watch. It’s an exquisite homage to all things fifties, and sci-fi, and The Twilight Zone. It’s so refreshing to see a film do things differently. This is a very simple tale about aliens, but it’s done so confidently, and is spectacularly written, shot and acted. The dialogue is great and flows naturally, the story develops without the need of expensive effects (this was probably a very low budget film), but it catches on to you and never lets go. The atmosphere of the town, and the camerawork, is all exemplary. The two (minor) things that kept me from rating this a perfect 10 are the abrupt ending that left me wanting something more, and the sometimes overly done exposition in the story telling scenes.
This was just picked up by Amazon during the festival, so make sure you watch it when it’s out.

A Hidden Life (Terrence Malick) – 9 on 10
This is such an amazing, moving, important film, and easily Malick’s best since “The Tree of Life”. It keeps Malick’s unmistakable gorgeous style intact, but, unlike his last couple of films, is considerably less self-indulgent, and has a coherent plot you can actually follow. The true story of an Austrian farmer who refuses to pledge allegiance to Hitler during World War II, “A Hidden Life” is sentimental and poetic, but also urgent and extremely relevant in today’s society.

Jojo Rabbit (Taika Waititi) – 8 on 10
I expected this to divide critics, and it seems like it does. For me, it worked. It’s hilarious, and relentlessly entertaining, even when the tone shifts towards more serious matters towards the end. It does play it safe at times, but it never wavers from its message, its characters are interesting, the lead kid actor is great, and the jokes are aplenty.

Sound of Metal (Darius Marder) – 8 on 10
Riz Ahmed’s incredible performance highlights a really solid movie about a metal drummer losing his hearing, and trying to deal with his new condition. Marder’s film, while predictable plot-wise, and dragging a bit in its second half, excels at pretty much everything else. Ahmed is the standout, but the memorable use of sound design is a close second. Much of the movie is spent with the viewer hearing what the main character is – sounds are constantly muted or distorted. It’s extremely well done, and extremely immersive.

Color Out of Space (Richard Stanley) – 8 on 10
Psychedelic colorful horror that blends Cronenberg and “Mandy” to great effect. It starts off slowly, and feels like a “Twilight Zone” episode early on, but the insanity is cranked up to 11 in a brilliant final act, full of madness, color, alpacas, Crazy Cage, and straight up body horror weirdness. It’s a flawed film that doesn’t always work, and it takes forever to get to the good part, but when it does, it’s amazing. I just wish the whole trippy gorgeous painting-like madness started a bit earlier, to mask some of the early issues.

Bacurau (Juliano Dornelles, Kleber Mendonça) – 8 on 10
It’s tough to talk about this without giving away the shift the movie takes in its second half, which is best experienced going in blind. Let’s just say this is an excellent, crazy film, about a tight-knit Brazilian community during some dark times in the future. The first half is excellent, a nice glimpse into the life of this village and their interesting characters, dealing with the death of one of their members, and with increasingly weird happenings, like not being able to find their town on the map, or some suspicious bikers going through town, or a drone following the locals. Then it gets crazy. The second half is pure, fun, violent bliss. The movie is extremely relevant in today’s political landscape, and delivers its message in shocking, entertaining ways.

Guns Akimbo (Jason Lei Howden) – 8 on 10
You either like over-the-top, crazy, stylish, mindless, pointless, bloody, brutal, fun, fast-paced, gorgeous violence, or you don’t. I do.

Deerskin (Quentin Dupieux) – 8 on 10
I feel like Quentin Dupieux has decided that every one-liner idea he has (probably while high) needs to be turned into a movie. Easily his best film since “Rubber”, this is yet another extremely absurd comedy, this time about a jacket instead of a tire. Oscar award winning actor Jean Dujardin is all in as a jacket owner who goes a bit crazy. The movie is at times hilarious, the absurdity of the situation being made even better by how grounded in reality everything else is. I also appreciated that it’s all just over an hour long, which is the right amount of time before everything could have become tedious.

Honorable mentions

The Long Walk (dir. Mattie Do) – 8 on 10
A great follow-up to Mattie Do’s previous acclaimed film, “Dearest Sister”, this follows on the same formula of interesting characters in a weird story that mixes genres. This is another slow burner, that takes its sweet time unveiling its secrets, and by the time you figure out what’s going on, you realize a second viewing is in order. And yes, it involves ghosts and time travel, and poses plenty of existential questions.

Saint Maud (dir. Rose Glass) – 7 on 10
Really solid, effective chiller, carefully executed, really well acted, and telling the interesting story of a religious nurse caring for a dying patient while struggling with her beliefs, Rose Glass’s feature debut is just as much a character drama as it is a horror film. It explores and unveils the layers of the lead character slowly and carefully, building up to a satisfying final act.

True History of the Kelly Gang (dir. Justin Kurzel) – 7 on 10
Justin Kurzel’s retelling of the famous Australian outlaw Ned Kelly’s story is violent and spectacular, but also marred by a lack of characters to root for, since everyone is either evil or worse. The film doesn’t glorify Kelly’s deeds, nor paint him in a good light. The story is at times poetic, at others a bit meandering, but always gorgeous, Kurzel’s visual style, also present in his previous films “Macbeth” and “Assassin’s Creed”, being, again, front and center.

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Top Ten of TIFF 2018

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by Christian Tane

Another TIFF in the books – my 7th, and another personal record broken – this year, I have seen 37 films in 10 days. As usual, I avoided some big titles that have cinema release dates in the very near future, and that included the surprise winner of the People’s Choice Award, Peter Farrelly’s “Green Book”, as well as other titles like “First Man”, “If Beale Street Could Talk”, “The Sisters Brothers”, “White Boy Rick”, “The Predator”, “Halloween”, “A Star Is Born”, or “Beautiful Boy”. I also missed out on a couple of screenings I really wanted to attend, but sold out before I managed to grab tickets: Palme d’Or winner “Shoplifters”, and Xavier Dolan’s “The Life and Death of John F. Donovan”.
For everything else, this is what I liked most.

ROMA (Alfonso Cuaron) – 10 on 10

 

 

What a masterclass in filmmaking this is. A slice-of-life story set in Mexico a few decades ago, based on Alfonso Cuaron’s own life as a kid, “ROMA” is exceptional in many aspects. It’s a timely story of acceptance and inclusion, culturally relevant, and extremely significant in today’s world. Shot in gorgeous black and white, also by Alfonso Cuaron, it offers a very detailed look at the life of a family in the Mexico of the 70s. And even though it’s light on plot, it never falters in its goals, and it’s never less than stellar in its intimate, heartfelt, poetic portrayal of not only the family at its center, but also the society of those times. Best film at this year’s TIFF, and pretty much a lock for many awards this winter.

Burning (Lee Chang-dong) – 9 on 10

 

 

What a wonderfully interesting, complex and ambiguous this new Korean flick from director Lee Chang-dong is. This is an excellent story of love, loneliness, jealousy and rebellion, that features some very compelling characters. It’s a movie that shines through perfect execution, in the way it develops the characters and the plot, through the details it shows and the ones it leaves hidden. It’s gorgeous too, with its sometimes subdued cinematography leaving room to some incredible shots and use of colors. The soundtrack is worth a mention too. Not surprised this was chosen as Korea’s entry for the Oscars, it’s a near masterpiece that deserves the accolades.

Hold the Dark (Jeremy Saulnier) – 9 on 10

 

 

Jeremy Saulnier continues his streak of amazing movies, after “Blue Ruin” and “Green Room”, with another layered, compelling story, grounded in reality yet featuring plenty of ambiguity and even references to local Alaskan myths. It’s a tense, dark film, helped by solid performances from everyone involved, and undeniable proof of Saulnier’s increasing confidence in his craft. It’s obvious, in the way scenes are shot, the slow, effective pace, even the way people talk, that this is a film from someone on top of his game. It’s a more mature, better crafted work than his previous films (although it still doesn’t beat the genius of “Blue Ruin”). Also, that shootout scene is perfect.

Border (Ali Abbasi) – 8 on 10

 

 

It’s difficult to talk about this film without spoiling the great discoveries throughout. Just know it’s not exactly what the synopsis makes it out to be, and it’s better going in blind.

One of the most unique coming of age stories I’ve ever seen, that’s in equal parts weird, tense, beautiful, and emotional. A story about discovering yourself, about deciding your path in life, about crossing the borders that have been set out in front of you. Director Ali Abbasi creates a fantasy world that’s fully anchored in reality, and cinematographer Nadim Carlsen perfectly captures both the coldness of a secluded life, as well as the beauty of it. Both leads do a tremendous job in difficult roles. Oh, and there’s also that sex scene. Saying anything more would be too much. Just know it’s a great movie, weird and unique, and would have been a perfect entry to the late Vanguard section of TIFF.

Outlaw King (David Mackenzie) – 8 on 10

 

 

David Mackenzie’s latest is not as good as his previous two films, “Hell and High Water” and “Starred Up”, but that’s entirely because of how great those two are. “Outlaw King” is still excellent. This is Netflix’s first big scale attempt of this kind, a movie that, despite the exposure it will get from the streaming giant, will lose a lot by being seen on a tiny laptop screen. This is as epic and cinematic as Netflix originals have ever been, a large theater screen is highly recommended.
This de facto follow up to “Braveheart” continues that story, set in Scotland in the 14th century, centering this time on Robert the Bruce, the new King of Scots, in his attempts to liberate his country from the English. The story is straightforward and apparently very historically accurate, but, while the main character is interesting, and Chris Pine is solid, many of his sidekicks are underdeveloped. That’s one of the few flaws that bothered me about this, because I enjoyed everything else a lot. The execution, the acting, the bleak yet beautiful cinematography and overall somber tone, the sudden bursts of violence that lead to an epic fight that will likely push this into hard R territory – they all combine to form an exciting, fast paced adventure, that could have used some better character arcs and a less abrupt ending, but, overall, did enough to stand on its own as a worthy continuation of the story.

Destroyer (Karyn Kusama) – 8 on 10

 

 

“Destroyer” is the kind of violent, intense, adult-oriented crime drama that is getting rarer nowadays. It tells an interesting story of a cop trying to come to terms with her past, and features a transformative performance from Nicole Kidman. She is terrific, in both the present and past scenes. She plays an intriguing, compelling character, on a path of revenge and redemption for something she was involved with long ago. The story unfolds beautifully, helped by the subdued yet effective cinematography of Julie Kirkwood, although it’s not perfect – a couple of subplots drag things down a bit, especially the one involving the daughter. Overall, however, I enjoyed this a lot.

In Fabric (Peter Strickland) – 8 on 10

 

 

“In Fabric” is more than a simple genre movie. Peter Strickland’s latest continues on his path of weird, unique cinema – this is an extremely hypnotic film, drenched in shades of Giallo, that also doubles as an excellent commentary on consumerism. Its characters are surprisingly well developed, and even though the film loses a bit of steam in its second half and becomes quite repetitive, it consistently features some brilliant, unique moments. I genuinely can’t wait to see what Strickland does next.

Vox Lux (Brady Corbet) – 8 on 10

 

 

This is a story we’ve seen before – the rise of a music star, dealing with fame and how fame changes you. But what makes this special and unique is, especially, the execution. Brady Corbet is a director to keep an eye on. There’s a sense of artistic ingenuity and true talent in this, in the effective, realistic way of how the prologue is shot, in the cold and calculated look and feel, which contrasts with the happy pop music its star performs, in how the editing and soundtrack all tie together. The movie is very uneven, with a strong, heartfelt first half followed by the present half, in which the story drops but is still a joy to watch due to a powerful performance from Natalie Portman. She seems like she’s overacting at first, with a strong accent and way of speaking that seems forced, but once you get used to it, you realize it’s quite special.
I don’t think this is anywhere near mainstream enough to do anything outside of the festival circuit, but I wouldn’t be surprised if Portman gets some awards recognition come winter.

Birds of Passage (Ciro Guerra, Cristina Gallego) – 8 on 10

 

 

A great drama about the rise and fall of a Wayuu drug dealing family, that offers a very interesting glimpse into the life and traditions of the Wayuu in north Colombia a few decades ago. Filled to the brim with details, beautiful to look at, and always on point with commentary on how the outside world can interfere and influence the tranquil life of a community, “Birds of Passage”, while not as impressive as Ciro Guerra’s “Embrace of the Serpent”, is still one of the highlights of this festival.

Freaks (Zach Lipovsky, Adam B. Stein) – 8 on 10

 

 

Who could have thought the director of such fare as “Leprechaun: Origins” and “Dead Rising: Watchtower” is actually talented enough to craft this surprisingly wild, smart and fun mish-mash of genres, that effortlessly switches from psychological drama to action to sci-fi, and does so with plenty of style and smarts.
“Freaks” was a revelation, and the less you know about it heading in, the better. It creates an exciting fantasy world, and I particularly liked how slowly this universe, and its secrets and rules, are revealed. It’s very well shot for a low budget film, and even though during the couple of scenes that rely on heavy special effects you can tell it’s not a big studio movie, they’re creative enough to make everything else look really good. I also need to give props to Lexy Colker. Kid actors this talented come by rarely. Her on screen chemistry with Emile Hirsch is great, and it is what pulled me in early, before the fun action started.
Obviously, it has flaws, but I’ve had so much fun discovering this world they created, that it was easy to look past some potential plot holes and silly superhero moments. It’s a great ride that I highly recommend. Just don’t read anything about the plot beforehand.


Honorable mentions

High Life (Claire Denis) – 7 on 10
Shadow (Zhang Yimou) – 7 on 10
Never Look Away (Florian Henckel von Donnersmark) – 7 on 10

 

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2017 TIFF Top 10

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Our old buddy Christian Tane is back with his look at the 2017 Toronto International Film Fest.

TIFF 2017 was much better in quality than TIFF 2016. I’ve seen 35 films – beating my previous record of 34 – and many of them were good or great. As usual, I tried as much as possible to avoid the big studio releases coming out in the next couple of months, with a few exceptions (couldn’t pass up on seeing “mother!” with an Aronofsky Q&A afterwards). That’s why titles like Del Toro’s “The Shape of Water”, Clooney’s “Suburbicon”, Payne’s “Downsizing”, Gilroy’s “Roman J. Israel, Esq” or Sorkin’s “Molly’s Game” are not in this list.

1. Three Billboards Outside Ebbing, Missouri (Martin McDonagh) – 10 on 10

Martin McDonagh goes full Coen Brothers in his latest, an excellent film set in Missouri, full of memorable characters and a story that’s intriguing from beginning to end. A clear step up from his previous two movies – “In Bruges” and “Seven Psychopats” – because, besides the hilarious black comedy and fun dialogue, this one actually has a great story, full of moral conundrums and plenty of shades of grey, not only in the characters’ actions, but in the characters themselves. However, once again, it’s the dialogue that steals the show – impressively written, full of wit, and at times laugh out loud funny. I was happy to hear this ended up winning the People’s Choice Award. Make sure you see it when it comes out in theaters later this year.

2. mother! (Darren Aronofsky) – 10 on 10

Not easy writing about this without giving away the allegory at the center of everything, but here it goes. This is yet another masterpiece from Darren Aronofsky, an incredibly dense, rich movie full of WTF moments, and carried by an impressive performance from Jennifer Lawrence. What, at the start, looks like your usual (albeit weird) home invasion thriller, creaky house and everything, it evolves into so much more. I was gripped throughout, and after piecing together what it all means (which, to me, happened sometime halfway through), it became even more fun. And even though the allegory is quite in-your-face (which might not sit well with some people), I thought everything about this was pitch perfect – flawless execution in a tense, crazy movie that’s like nothing you’ve ever seen before.

3. The Killing of a Sacred Deer (Yorgos Lanthimos) – 9 on 10

You probably should know by now what you’re going to get from Yorgos Lanthimos, and this new one is no exception. An intriguing, disturbing story, shot with the precision of a surgeon, set in a weird world and featuring a weird group of characters. This is a stylistic and directorial treat, from the outbursts of classical music to the complete lack of emotion in any piece of dialogue, an absurd story that can become quite suspenseful.

4. Brawl in Cell Block 99 (S. Craig Zahler) – 9 on 10

Vince Vaughn has never been this menacing. Sporting a large tattoo on the back of his head, and breaking everything in his path, from cars to bones, he’s taking us on quite a ride – full of grindhouse sensibilities, brutal violence, and a story that is surprisingly solid. I liked the setup and the care in establishing the characters before all the madness begins. I like the subdued yet striking look of the movie. I liked the last hour of intense bone-breaking action. Easily one of the most crazy fun movies I’ve seen at this year’s TIFF.

5. I Love You, Daddy (Louis CK) – 9 on 10

Louis CK’s string of exceptional filmmaking continues with this feature length movie that feels like an extended “Horace and Pete” episode mixed with an old Woody Allen movie, back when Woody Allen movies were good. Old school aesthetics, amplified by beautiful 35mm film, make this an impressive film to look at. Full of stars delivering smart, quality dialogue in Louis’ unmistakable style, “I Love You Daddy” is a film absolutely deserving of a wide release, so I was glad when it got picked up after the world premiere. Make sure you see it in theaters.

6. Lady Bird (Greta Gerwig) – 8 on 10

I love Greta Gerwig the actress, and if this directorial debut is any indication, I’m going to love Greta Gerwig the director. Borrowing heavily from the indie masters she worked with in the past, Gerwig creates a compelling coming of age drama set in a religious Sacramento family. Saoirse Ronan is great, as always, but it’s the sense of confidence behind the camera that really stuck with me. It’s an excellent, touching story told with honesty and flair.

7. Loveless (Andrey Zvyagintsev) – 8 on 10

Zvyagintsev’s follow up to “Leviathan” is a leaner, more direct drama than its predecessor, that is also an excellent portrait of current day Russia, this time seen through the eyes of divorcing parents looking for their missing child. Technically impressive, this solid character study might not have the same impact as Leviathan, but is an excellent movie in its own right.

8. Thelma (Joachim Trier) – 8 on 10

A moody, gorgeous, character-driven supernatural story from one of my favorite Scandinavian directors, “Thelma”, from the arresting opening scene all the way to the intense final act, is exactly what I would hope a director like Trier would do when crafting a genre story. Its cold, calculated world is built around its characters rather than the story, and it works. So, when the end approaches and answers are revealed, they hit. Beautiful cinematography and solid acting from everyone involved also lift this above your average supernatural thriller.

9. The Death of Stalin (Armando Ianucci) – 8 on 10

British humor about Russian politics is something that can’t really go wrong, especially if done by fast-talking politics comedy master Armando Ianucci. Like most of Ianucci’s previous work, this is also chock full of fast-paced, rich, hilarious dialogue. Very inventive and funny at times, but actively avoiding any attempt at drama or character development. Still, a great funny film, absolutely worth checking out.

10. Marrowbone (Sergio G. Sanchez) – 8 on 10

Atmospheric, stylish, slow-paced genre flick from the writer of “The Orphanage”, that keeps many of the qualities which made that movie great. It’s very moody, beautifully shot, the characters are interesting and the remote period setting adds to the creepiness of the well-built story. The genre elements, while excellent and suspenseful, at times seem to be secondary to the characters, and their relationships with each other and the world they ran away from. To me, any movie that puts characters and story first, and scares second, and does it in a beautiful, imaginative way, is worth seeing.

Honorable mention
The Disaster Artist (James Franco) – 7 on 10

I was never a fan of “The Room”, like many people in my crazy Midnight Madness crowd obviously are. But that didn’t stop me from thoroughly enjoying this extremely unbelievable but real story of how one of the worst movies ever made got made. James Franco and his brother Dave are amazing as Tommy and Greg, and the movie is good, fun and entertaining.

 

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A TIFF Top Ten

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A few years ago Moreno and I went to Toronto where we proceeded to get drunk and hang out with long-time listener to the podcasts, Cristian Tane. Then we forced him to let us go to his house and watch the Breaking Bad season finale while drinking his booze and smoking his smoking stuff. Cristian attends the Toronto International Film Fest every year and fits in around 30 films. This year I asked him to send me the highlights.

by Cristian Tane

Another year, another amazing TIFF. My fourth time attending the festival, and my fourth time seeing more than 30 movies – 33, to be exact. And, like I usually do, I intentionally avoided some of the bigger titles that have a set release date in the near future – that’s why “Sicario”, “Black Mass”, “Beasts of No Nation” or “The Martian” are not in the list below. I also missed out on some sold out films that I really wanted to see, like “High Rise”, “Our Brand is Crisis” or “The Lobster”.
But, even without all these titles, I still managed to see a lot of great ones. Here’s my top ten.

1. Anomalisa (Charlie Kaufman, Duke Johnson) – 10/10

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This is one of those incredibly unique movies that come out only once in a while – and as I write this, I realize that statement is true for most Charlie Kaufman works. An incredibly rich, beautiful, weird and ultimately touching stop-motion animation, that deals with love and sadness and connecting with other people in a way no other animation ever did. It started off as a play, then moved on to Kickstarter, and now here it is, getting rave reviews. It’ll be in theaters soon – don’t miss it.

2. Room (Lenny Abrahamson) – 9/10

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Let me start with this: if you haven’t read the novel, please avoid the trailer. It gives away so much. I walked into this not knowing anything about the story – other than that it’s about a trapped mother and son. And my experience was enhanced because of it.
Having said that, let me just say, “Room” is an incredible accomplishment on so many levels. The story is fantastic. Both Brie Larson and Jacob Tremblay are terrific in the lead roles. Their performances carry the movie, and they are absolutely pitch perfect, in extremely difficult roles. The film is in turns dark, emotional, melancholic and hopeful. There’s one particular scene in the middle, set to an amazing song from one of my favorite bands (This Will Destroy You – The Mighty Rio Grande), that is so harrowing, emotional, and impressively executed, that, without a doubt, will end up as one of my favorite scenes of the year.
The only reason I haven’t rated this 10/10 is because of a couple of plot points that I felt were a bit forced and implausible. A minor complaint for a truly great film.

3. The Witch (Robert Eggers) – 9/10

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“The Witch”, writer-director Robert Eggers’ first film, is easily one of the most atmospheric, unsettling genre films I have ever seen. With its incredible attention to detail, noticed in both the historical dialogue and Christian rituals of the time, as well as the spectacular cinematography, and the pitch perfect screenplay that deals with the characters inner demons just as much as the outer ones, this creeps under your skin and does to you what no cheap scares or CGI ever could.

4. Evolution (Lucile Hadzihalilovic) – 9/10

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Gaspar Noe must be proud. His wife’s new film, “Evolution”, is easily the weirdest, most abstract and visually inventive film I’ve seen this year. Part sci-fi, part body horror, part eerie drama, this is one of those rare films that is so captivating and impressively shot, that it will require a second viewing, not only to untangle the disturbing plot, but also to not miss any of the visual details. Its slow pace and abstractness might turn off some viewers, but those who give in to this unique world will be highly rewarded.

5. Desierto (Jonas Cuaron) – 9/10

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Talent seems to run in the Cuaron family. Alfonso’s son, Jonas, knocked it out of the park with “Desierto”, a mean, tense, action-packed film about a group of Mexican illegal immigrants, hunted by a crazy Texan while trying to cross the border. Cuaron stripped down a potentially socially charged story to its very core, choosing to skip back stories and exposition in favor of defining his characters through their actions. The result is a relentless thriller in which the desert is just as much a character as the actors, mostly due to Damian Garcia’s gorgeous cinematography.

6. Victoria (Sebastian Schipper) – 9/10

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A remarkable technical accomplishment that also happens to feature believable characters, tense action, and excellent acting, “Victoria” is one of the most pleasant surprises at this year’s TIFF.
Yes, this was shot in one single 2-hour take, and a real one too, not fake like “Birdman”. Seamlessly going from romance to drama to action, from clubs to rooftops to side streets, no wonder Sturla Brandth Grovlen, the cinematographer, gets first billing on the end credits. What’s even more impressive is that even if you take out the gimmick of the one take, you’re still left with an exciting, tense, solid film, and characters with real chemistry.

7. Green Room (Jeremy Saulnier) – 8/10

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Saulnier’s follow up to “Blue Ruin” is nowhere near as good, memorable or subtle, but it’s still a damn great movie. Saulnier is in full no-nonsense mode, with an ultra-violent tale set in the unique world of punk rock, pitting a band on the road versus a gang of neo-nazis, in a blood-filled fight to the death. It’s a tense, crazy movie, made even more so by having Patrick Stewart as the villain – he highlights an excellent cast, that features more standout performances, especially from Imogen Poots, and “Blue Ruin” star Maicon Blair.

8. Schneider vs Bax (Alex van Warmerdam) – 8/10

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Two contract killers are pitted against each other, in this terribly fun and entertaining black comedy from “Borgman” director Alex van Warmerdam. This however isn’t another “Borgman”, it’s actually the very opposite. The black humor is still there and blacker than ever, but the story itself is as straightforward as they come – although, the more absurd everything gets, the more fun the story is.

9. Land of Mine (Martin Zandvliet) – 8/10

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You’d think every single possible story about World War II was already told, right? Think again: “Land of Mine” offers a new, unique tale: the true story of German POW’s forced to find and disarm all of the hundreds of thousands of bombs left along the Danish coast. This is an excellent, accomplished film, extremely well directed and acted, that offers plenty of tense moments, and a great central character whose arc is both believable and intriguing.

10. Dheepan (Jacques Audiard) – 8/10

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Jacques Audiard’s new film, this year’s Palme d’Or winner, continues his streak of excellent dramas, however without reaching the heights of his best one to date, “A Prophet”. “Dheepan” tells an intriguing story of a fake family that moves to Paris from the war-ridden Sri Lanka, only to be faced with different kind of hardships and violence. The characters are compelling enough, and the storytelling is poignant and powerful.

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REVIEW – BLUE RUIN (TIFF)

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Dwight is homeless man whose parents were murdered by someone from his hometown. With the news of this man being released from prison, Dwight takes actions into his own hands by seeking vengeance on not only the man who was responsible, but his family.

I’ve never really been a fan of the revenge sub genre of thriller/horror; violence for the sake of violence doesn’t really appeal to me. That said, Blue Ruin is very cohesive, well acted and extremely violent in short doses. You really feel for Dwight, his choice to leave town after the murders must have been a hard one, there isn’t much story as to why he left, but it was made clear it was his own choice.

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Immediately following the news of the murderer’s release, Dwight kicks things into high gear and starts his journey to the prison. After following him to a bar, we get our first bit of violence as Dwight finally gets the revenge he’s been seeking. This is a spoiler, but the real story revolves around Dwight and the Cleland family, as it was their father who was ultimately responsible for the death of his parents.

Dwight doesn’t care about his own well being, he knows he’s going to die, and considers it a favor. The only thing he cares about is his sister and niece, so the thought of the Clelands going after them is reason enough to put a stop to the family altogether. The goal is simple, if the Clelands continue to go after him; he will kill them all until there is no one left.

2

I’ve never heard of Macon Blair(Dwight) or the writer/director Jeremy Saulnier, neither of them have a huge body of work, but sometimes the best movies come from nowhere. Blue Ruin proves this point. Any fan of the revenge genre should like this, just don’t expect a blood bath.