At Toronto, Oscar hopefuls enter the octagon, but bigger swings are found elsewhere

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People visit Toronto to catch a glimpse of potential Oscar frontrunners ahead of time. I didn’t witness any clear winners yet, but there were several impressive candidates – in some instances, they left me feeling utterly overwhelmed.

In simpler and more conversational terms: Benny Safdie, known for movies like “Uncut Gems”, and David Michod, famous for “Animal Kingdom”, are both working on different documentaries focusing on the hardships of two retired professional fighters who gained fame in the 90s. These films could be seen as modern-day versions of “Raging Bull”. Benny Safdie’s project, titled “The Smashing Machine”, is a standalone effort from him after collaborating with his brother Josh on several successful cult movies. In this film, Dwayne ‘The Rock’ Johnson portrays MMA fighter Mark Kerr, who was nearly unbeatable in the octagon but fought personal battles at home with his wife Dawn (played by Emily Blunt).

Anticipating greatness given the cast and skills involved, the outcome surprised me – a typical biographical film. One unique aspect is its appearance of being shot on VHS, which on an IMAX screen seemed rather dull, as did Dwayne Johnson’s wig. I believe I’ll give it another try in a more fitting setting.

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Michod’s “Christy” and the portrayal of Sydney Sweeney share similar themes – the thrill of triumph, a tumultuous home life, and a striking wig – but with gender roles reversed. In this biographical drama, Sweeney delivers a compelling performance as Christy Martin, the first female boxer to grace the cover of “Sports Illustrated.” Born into a traditional West Virginia family that was conservative in nature, she struggled with her sexuality and felt compelled to conceal it by adorning pastel pink attire during fights and marrying her older, emotionally abusive coach, Jim Martin (Ben Foster). The narrative may not be overly complex, but it delivers impactful messages effectively, especially as it gradually reveals that while Christy believes she’s battling to demonstrate her value, in reality, she’s fighting for the preservation of patriarchal norms.

Sweeney is excellent, despite her dialogue not always doing her justice. This is her biggest significant and serious role since the underappreciated “Reality” in 2023, and she’s been praised for being more than just the internet’s most divisive rising star. On the other hand, Foster, who initially caught my attention as the pitiful villain in “Alpha Dog,” excels at playing despicable characters. In “Christy,” you can’t help but wish he’d get punched. If you want to see him suffer more, he’s just as detestable in another TIFF film titled “Motor City.” (Regarding social media, it seems to constantly single out one young actress as villain or hero, which can be frustrating.)

This year’s festival saw a higher level of mischief from women wearing corsets compared to those in padded gloves. Among my top picks for the event, and possibly even my favorite film overall, was “Hedda” by Nia DaCosta. This gripping drama was an innovative take on Henrik Ibsen’s “Hedda Gabler,” brilliantly portrayed by Tessa Thompson in a role that sees her wielding her father’s old pistols from the very start.

Nia DaCosta, who also penned the screenplay, reimagined the storyline to unfold amidst a riotous, alcohol-fueled party at a luxurious mansion that Hedda cannot afford. In this modern adaptation, Thompson’s cunning newlywed character skillfully manipulates others with the air of a queen masterminding every move on her chessboard. Yet, she also displays moments of vulnerability, much like flipping over the table in frustration. The essence remains true, while the subtext is given a fresh, contemporary twist.

Titled “Mārama,” a captivating debut by Taratoa Stappard, positions itself as Māori gothic, and it delivers on this promise. Set in 1859 England, the narrative revolves around Mary (played by Ariāna Osborne), a woman of New Zealand descent who can pass for white, embarking on a global journey to uncover her parentage. Amidst her travels, she is compelled by the aristocratic Sir Cole (portrayed by Toby Stephens) to assume the role of his niece’s governess. While he praises Māori people as “magnificent,” he entertains his guests with mock whale-hunting performances using large puppets within the confines of a parlor room. The film, while not revolutionary, offers an engaging experience featuring top-notch cinematography and production design, and a plot that holds a few unexpected twists.

Review

Canadian pride booms, dual Hamlets duel and Rian Johnson’s knives are out (again) at a 50th TIFF

At the start of TIFF, there were many films that have high chances of winning an Oscar or fall under the thriller genre: “Wake Up Dead Man” directed by Rian Johnson, “Hamnet” directed by Chloé Zhao, and “Motor City” directed by Potsy Ponciroli.

In simpler terms, “Honey Bunch,” jointly directed by Madeleine Sims-Fewer and Dusty Mancinelli, is another suspenseful movie set in a manor, which cleverly plays with common themes. The lead character is an unconventional bride (Grace Glowicki) who has lost her memory, who finds herself at a secluded and mysterious healing center. Her husband there appears shady, played by Ben Petrie. Immediately, we have our doubts about what’s to come. While the initial part of the movie follows a predictable pattern, the second half delivers a powerful twist.

In simpler terms, the movie “Frankenstein” directed by Guillermo del Toro, filmed in Toronto and the U.K., stays truer to Mary Shelley’s novel than the 1931 Boris Karloff version. It eliminates the angry villagers with pitchforks and keeps the story about a determined explorer stranded in the Arctic. However, it remains Del Toro’s unique take on the story. One of his notable changes is transforming Elizabeth (played by Mia Goth), from the perfect childhood sweetheart, into a peace-loving scientist with little tolerance for self-centered individuals like Oscar Isaac’s Victor Frankenstein. Costume designer Kate Hawley gives Goth an appearance that resembles an intriguing beetle, with hair adornments reminiscent of antennae.

Jacob Elordi’s portrayal in the movie might be a bit overly emotional for my preference, yet it’s undeniable that he’s truly immersed himself in the character. Guillermo del Toro’s comments on self-centered inventors are strikingly relevant today. However, del Toro recognizes when it’s appropriate to brag: During the film’s premiere at the Princess of Wales Theatre in Toronto, he humorously criticized his local crew for being too modest and made them stand up for recognition. “Stop being so polite,” he joked, Canadian-style.

Del Toro shared with the crowd that as a young boy, when he encountered Karloff’s creation for the first time, he was struck and thought, “This is my spiritual leader, the one I will follow just like Jesus.” However, it was Baz Luhrmann’s film “EPiC” (Elvis Presley in Concert) that won the award for the movie most reminiscent of religious devotion at the festival. Compiled from numerous unseen live performances from Presley’s time in Las Vegas, watching this film felt like attending a church dedicated to Elvis.

Luhrmann clarifies that “EPiC” doesn’t fit neatly into categories like concerts films or documentaries. While it can be viewed as complementary to his 2022 film “Elvis,” featuring Austin Butler’s Oscar-nominated performance. In this film, the genuine Elvis Presley exudes captivating charm and appears stunning adorned in sweat-drenched beads. When he tosses a wet scarf into the crowd, it creates such excitement among the women that it seems as if they’re reacting to the Shroud of Turin itself.

Luhrmann remains frustrated that Colonel Tom Parker restricted Elvis Presley’s artistic development by confining him to a city filled with buffet tables instead of allowing him to perform globally. During his entire career, Presley performed only one week of international concerts: five shows in Canada, two of which were just a short drive from my theater. You can sense Presley’s bitterness towards more widely-traveled (and initially more respected) artists taking over the charts. “It feels so arid here; I feel like I’ve got Bob Dylan caught in my throat,” he quips jokingly. Later, he picks up a guitar and strums “Little Sister,” then speeds up the tempo and sings “Get Back” by the Beatles, subtly suggesting that the British boys weren’t always as innovative as they appeared.

As I conclude my wrap-up from this year’s Toronto International Film Festival, I simply can’t overlook the most innovative Oscar contender I had the pleasure of watching throughout the week – “A Useful Ghost.” This remarkable film scooped the Grand Prix of Critics’ Week at Cannes and will represent Thailand in the upcoming Academy Awards.

Ratchapoom Boonbunchachoke, a visionary director, weaves an intriguing tapestry with this film, blending horror, comedy, romance, and political thriller in a way that’s truly unprecedented. The story begins when a self-proclaimed “academic ladyboy” (Wisarut Homhuan) encounters an unusual problem: his new vacuum cleaner appears to be haunted. From this intriguing premise, the movie takes us on an unpredictable journey at every twist and turn.

On an impulse, I stepped into “A Useful Ghost,” curious about its compatibility with TIFF’s world debut of “Dust Bunny.” This delightfully dark, Roald Dahl-inspired tale follows a girl who enlists Mads Mikkelsen to combat a fearsome monster lurking under her bed. Emerging from the cinema, I was brimming with excitement. Despite this season’s heavy contenders relying on traditional genres, there are filmmakers producing films that feel uniquely fresh – and audiences eager to applaud bold ventures.

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2025-09-12 01:31