FORD VS. FERRARI (20th Century Fox/Disney – November 15):  If the Academy decides to award James Mangold’s Ford vs. Ferrari, which is certainly a possibility, it will be able to have some metaphorical cake and eat it too.  FvsF is both a first-rate example of Hollywood corporate entertainment and a story that questions what […]

  THE GREATEST BEER RUN EVER (Apple – September 30):  Peter Farrelly’s Green Book was one of the clearest beneficiaries of winning Toronto’s People Choice Award, vaulting from being entirely under the awards radar to a (somewhat divisive) Oscar for Best Picture a few months later.  No doubt the premiere of his follow-up The Greatest […]

> Here are capsule summaries of all this year’s SHOWBUZZDAILY Toronto Film Festival reviews, arranged more or less in order of preference.  Click on each title for the full review, and the complete list of all the reviews is here.  SHAME:  Audiences who go to the new film by Steve McQueen (not that one) for […]

  THE PERKS OF BEING A WALLFLOWER:  Worth A Ticket – The Serious Side of Being a Teen We certainly don’t lack for stories about high school in our popular culture.  The CW and ABCFamily networks are almost entirely devoted to that brief, formative period (as is MTV when it does scripted shows like Awkward.). […]

  Natalie Portman certainly hasn’t made it easy for herself with her debut as a writer/director, A TALE OF LOVE AND DARKNESS.  The film, which premiered at Cannes (but tellingly, doesn’t yet have a US distributor) before its first North American screening at the Toronto Film Festival tonight, is a period piece shot almost entirely […]

  DOWNSIZING (Paramount – Dec 22):  Alexander Payne’s latest film (written with his usual partner Jim Taylor) is a delight–and a bit of a mess.  On its face, Downsizing is a leap out of Payne and Taylor’s comfort zones, renowned as they are for small-scale character studies and social satires like Election, The Descendants, Sideways […]

  THE HUMANS (A24/Showtime – Nov. 24):  There are typically two strategies for adapting a celebrated play about a small number of people in a limited space to the screen.  One is to “open it up,” adding scenes, characters, or at least locations outside the original set.  The other is to lean into the claustrophobia, […]

> If Arthur Schnitzler had only been a member of the WGA in 1900, when he wrote the play La Ronde, and he’d had the benefit of the format rights guild members receive today, he and his descendants would be very rich indeed.  Schnitzler’s concept, a series of sequences in which, initially, Person A meets […]