Toronto-based critic VICTOR STIFF. Follow him on Twitter here. All of his TIFF reviews can be found here.
5. “Halloween”
It’s been forty years since Michael Myers slow-walked his way onto the horror movie scene, slicing, stabbing, and bludgeoning the series to a place at the front of the slasher-movie pack. It’s an unassailable classic, and fans have waited nearly forty years for a worthy successor. Now director David Gordon Green has created an update for fans to get excited over. His take on the series offers a lean, mean slasher flick that stays true to the original and does away with the series’ sequels.
Before moving ahead with this project, Green and his frequent collaborator, Danny McBride, pinpointed what makes Michael Myers resonate with fans after all these years. Their “Halloween” follow-up is in the spirit of the classic picture but doesn’t feel like a stale retread. They hit all the beats fans expect; scared babysitters, ineffectual cops, and a creepy doctor who is too invested in the mind of a psychopath. There are some new wrinkles added in too. Green and McBride use their comedy background to insert some clever nods to the original. This film is funnier than one would expect but they find the comedy sweet spot and humor never defangs the horror elements. Creepy, over-the-top violent, and featuring a Jamie Lee Curtis whose having way too much fun, “Halloween” is a satisfying stand-alone horror movie that also offers the closure long-time fans have been waiting for.
4. “Green Book”
Heading into TIFF, the entertainment industry’s smartest analysts didn’t pick “Green Book” to earn the kind of buzz that it did. But one people’s choice award later, here we are. The director Peter Farrelly made a name for himself creating cringe- comedies. Pay attention, though, and the films “There’s Something About Mary” and “Shallow Hal” are more earnest than people recall. And with that in mind, “Green Book” still stands out like a sore thumb. It’s a sincere dramedy with its funny moments cranked up to eleven due to the phenomenal chemistry between its two leads, Viggo Mortensen and Mahershala Ali. Together they form one of the most enjoyable odd couple pairings in recent years; Mortensen, the no-class ogre, and Ali, the sophisticated artist. The screenwriters owe it all to these two guys because they elevate a straight-forward premise into one of the fall season’s standout movies.
There is an entire subgenre of feel-good movies about difficult subjects like racial intolerance – think “The Help,” “The Blind Side,” and “Driving Miss Daisy.” Things get dark in this picture, but never dark enough to leave moviegoers walking out of the theater with their heads hanging low. “Green Book” never sways far enough off course from being a feel-good story but veers off just enough to feel like you’re taking a dangerous trip.
3. “First Man”
One great film might be a fluke. Two great films in a row could be a coincidence. But three? Three exceptional films in a row mean Damien Chazelle has the goods. His new picture, “First Man,” presents an undeniable showcase for his filmmaking talent. He takes a lean story about NASA sending the first man to the moon – spoilers: we already know how this story ends. With that in mind, Chazelle still creates a pulse-pounding, edge-of-your-seat nail-biter. Chazelle’s films are generally about men clearing out everything in their way to attain their goals, and this picture is no different. “First Man” has two main narratives; Armstrong’s trials and tribulations in NASA’s training program and his strained family dynamics back home. The picture works fine as a family drama but shines brightest in the moments where NASA’s test pilots push themselves to their limits. Chazelle make it feel like every second spent rocketing through the stratosphere is on borrowed time as the ship’s metal, nuts, and bolts rattle, clang, and scream against the incredible force of gravity. With its retro-inspired cinematography, stacked cast, and inspiring story, “First Man” will be rocketing onto countless best-of-year lists.
2. “Roma”
For the past few years a war has waged between the old Hollywood system and Netflix, and so far, concerning credibility, the streaming giant has been getting their asses handed to them. “Roma,” by Alfonso Cuarón, may be the company’s turning point. “Roma” is the type of movie that skates through theatres at the end of the year, earns critical praise, and then snatches up all the Golden Globes and Oscars. Cuarón executes his creative vision on every conceivable level. Masterful sound design, tight editing, and some of the year’s most beautiful cinematography combine with a wrenching performance at the story’s core. They all come together to form one of the most cinematic original titles in Netflix’ library and a solid choice to become 2019’s award season juggernaut.
“Roma” is as close as you get to flawless filmmaking and coming from Cuarón it’s no surprise. In 2013, he pushed visual effects to their limit to produce “Gravity,” one of the decade’s best thrillers, and here, he’s putting those same finely-honed skills to the test. “Roma” takes the audience back to the ‘70s and follows a well-off family living in Mexico City. That sounds vague, but the film is about following characters and soaking up the atmosphere rather than plot twists and flashy performances. The story doesn’t move along at a breakneck pace, but the filmmaker compensates with a remarkable sense of place. He draws the audience into his black and white world that is more vibrant and crackling with life than most films shot in color. “Roma” is a film that must be seen to be believed.
https://www.youtube.com/watch?v=fp_i7cnOgbQ
1. “If Beale Street Could Talk”
What can Barry Jenkins do to escape the looming shadow of his 2016 masterpiece, “Moonlight?” Probably nothing. But tackling a novel by James Baldwin, one of the great American writers, is a solid place to start. If there is one filmmaker capable of capturing the rich characters, weighty themes, and beautiful eloquence of Baldwin’s work, it’s Jenkins. “If Beale Street Could Talk” is one of the most gorgeous films you’ll come across in 2018. Jenkins relies on his now distinctive style to share the Rivers family’s stories. He applies lush color palettes, intimate cinematography, and a heart-achingly beautiful score to set the mood. The entire cast chips in with first-rate performances and watching the supportive family dynamics of the Rivers brought to life is a thing of beauty.
Just like the lovers in “Moonlight” and “Medicine for Melancholy,” this movie’s tale of love is bittersweet. Jenkins tells his audience that no matter the era, or area code, African Americans are united by a mutual struggle. And perilous as it may be, it’s not without its blissful moments between lovers, family, and friends. This movie will leave you smiling through your tears.
