Toronto Film Festival | Little White Lies

Toronto Film Festival

Woman in green dress walking two dogs on a night-time street with trees and lighting.
Festivals

Nightbitch – first-look review

by Jourdain Searles

Amy Adams is on great form in Marielle Heller’s adap­ta­tion of Rachel Yoder’s nov­el about a new moth­er who is alarmed dis­cov­er she is turn­ing into a dog.
A dressing room scene with several people getting ready, surrounded by mirrors and lighting. Warm tones predominate, with a cosy, intimate atmosphere.
Festivals

Saturday Night – first-look review

by Mark Asch

Jason Reit­man pans back to 1975 and Lorne Michaels’ ambi­tious plans for a live broad­cast sketch show in his fan­fic­tion retelling of SNL’s inception.
Two people, a man and a woman, standing in a forest, both smiling.
Festivals

Eden – first-look review

by Mark Asch

Ron Howard tries his hand at the camp his­tor­i­cal caper in this iron­i­cal­ly-titled and decid­ed­ly light­weight 1930s-set runaround with Jude Law and Vanes­sa Kirby.
Close-up of a person wearing a dark outfit with sequinned embellishments against a blurred night-time cityscape background.
Festivals

The Last Showgirl – first-look review

by Mark Asch

Pamela Ander­son excels as an over-the-hill Vegas show­girl see­ing out her notice peri­od in this low-key, vibey back­stage dra­ma from Gia Coppola.
A serious-looking Black woman with braided hair, wearing a green jacket, speaking on a mobile phone.
Festivals

Hard Truths – first-look review

by Mark Asch

Reunit­ing with Mar­i­anne Jean-Bap­tiste, Mike Leigh makes a wel­come return to con­tem­po­rary film­mak­ing with a sear­ing por­trait of a woman on the brink.
Two people, a man and a woman, walking and smiling in a park setting.
Festivals

We Live in Time – first-look review

by Mark Asch

John Crow­ley deliv­ers a mil­len­ni­al can­cer weepie with two game leads in Flo­rence Pugh and Andrew Garfield.
Person blowing out candles on birthday cake in a kitchen setting.
Festivals

The End – first-look review

by Mark Asch

Joshua Oppen­heimer returns with an ambi­tious, post-apoc­a­lyp­tic musi­cal whose the­mat­ic flights of fan­cy are always just a lit­tle too strident.

2
Anticipation
4
Enjoyment
3
In Retrospect
A shirtless man striking a fighting pose in a wooded outdoor setting, wearing camouflage trousers.
Festivals

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.
Two adults, a man with a beard and glasses and a woman, face each other in close proximity, lit by warm evening sunlight.
Festivals

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.
A bearded man wearing a straw hat and striped top, with a woman in sunglasses behind him.
Festivals

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.
A diverse group of young football players in green shirts gathered around a white male coach who is yelling excitedly, with the coach surrounded by the smiling players.
Festivals

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.
Floral patterned set with retro style lamps, text "The Dating Game" in bold orange and yellow colours, several people seated on stage.
Festivals

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.

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