Toronto Film Festival

Boy Kills World – first-look review

By Charles Bramesco

A deaf-mute young man swears revenge on the group that murdered his family in Moritz Mohr's bloodthirsty but tedious directorial debut.

Dream Scenario – first-look review

By Mark Asch

Nicolas Cage plays an otherwise unremarkable college professor who unexpectedly finds himself appearing in peoples' dreams in Kristoffer Borgli's latest satire.

Poolman – first-look review

By Charles Bramesco

There’s a whole lot of Chinatown in Chris Pine’s directorial debut Poolman, an Angeleno neo-noir with a script that gives Robert Towne more than fair grounds to sue for damages.

Next Goal Wins – first-look review

By Mark Asch

Taika Waititi is way-too eager to please with this aggressively feel-good comic fictionalisation of the lovely 2014 documentary of the same name.

Woman of the Hour – first-look review

By Charles Bramesco

Anna Kendrick’s directorial debut, about a abused upstart actress and a serial killer in her midst, says all the right things, but too loud and too often.

Do Not Expect Too Much from the End of the World – first-look review

By Mark Asch

The new film from one of Romania's foremost cine-ironists, Radu Jude, is a glorious, poisonous, everything-in-the-pot treatise on the state of the world today.

Les Indésirables – first-look review

By Mark Asch

Ladj Ly’s follow-up to his Cesar award-winning Les Misérables is a hyperbolic state-of-the-nation address that lacks the logic and fire of that first feature.

The Boy and the Heron – first-look review

By Mark Asch

Less a swansong and more a heronsong from the Japanese maestro Hayao Miyazaki, a mystical and ambitious message of hope for the future.

The Royal Hotel – first-look review

By Mark Asch

More cinema of ominous discomfort from Kitty Green as she takes us to an out-of-the-way Australian boozer for some low-boiling violence.

TIFF’s Midnight Madness serves up controversy as well as gore

By Michelle Krasovitski

Amidst Weird Al and werewolves, there was another boogeyman at TIFF this year: copyright law.

Bruiser – first-look review

By Alexandria Slater

Miles Warren explores the dichotomy of nature vs nurture through a lost teenager’s longing for paternal guidance.

Prisoner’s Daughter – first-look review

By Alexandria Slater

Brian Cox plays a dying convict trying to free himself from the prison of his past through forgiveness of his daughter in Catherine Hardwicke’s formulaic family drama.

Empire of Light – first-look review

By Mark Asch

Olivia Colman channels her inner Anna Karina in director Sam Mendes’ mawkish ode to the magic of the movies.

A Jazzman’s Blues – first-look review

By Charles Bramesco

Tyler Perry tries his hand at serious-minded filmmaking with this overwrought Deep South melodrama.

The Greatest Beer Run Ever – first-look review

By Mark Asch

Zac Efron goes on a mission to bring tinnies to the troops in this banter-y Vietnam War movie misfire from Peter Farrelly.

Devotion – first-look review

By Mark Asch

Jonathan Majors and Glen Powell star as Navy pilots in JD Dillard's superficial rendering of America’s forgotten war.

Susie Searches – first-look review

By Ryan Coleman

Sophie Kargman attempts to expand her 2020 short film into a feature-length picture, with mixed results.

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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.