The 50th annual Toronto Film Festival is winding down, so here’s a rundown of the chatter surrounding the buzziest premieres, alongside fresh reactions to films that first screened at Cannes, Venice, and Telluride.
Derek Cianfrance’s Roofman drew praise for Channing Tatum and Kirsten Dunst’s grounded performances and authentic chemistry, as well as its quirky warmth, though some critics felt the drama played it too safe—especially in handling Tatum’s morally ambiguous character. Rian Johnson’s third Knives Out entry, Wake Up Dead Man, was hailed as the franchise’s strongest yet: darker, bolder, and more thoughtful. Josh O’Connor was singled out as the MVP, with Glenn Close close behind, while Josh Brolin and Daniel Craig also earned positive mentions.
Rental Family, already buoyed by test screening buzz, was positioned as Searchlight’s awards play. Critics admired its earnestness and Brendan Fraser’s gentle lead turn, with veteran Akira Emoto moving many in a supporting role. Still, some cited its blatant emotional manipulation and heavy-handed sentimentality.
The high-concept rom-com Eternity charmed with heart and inventive afterlife world-building, though its familiar tropes blunted impact. Bad Apples offered sharp social satire and a standout turn from Saoirse Ronan, but some felt the comedy overshadowed emotional depth. Historical drama Nuremberg drew strong praise for Russell Crowe’s chilling Göring, yet its overall execution was criticized as melodramatic.
David Mackenzie’s Fuze, a WWII-bomb thriller set in modern London, debuted solidly. Nia DaCosta’s Hedda impressed with Tessa Thompson and Nina Hoss’s performances and its provocative reinterpretation of Ibsen, though sluggish pacing and uneven ambition held it back. Amazon/MGM appears to be rushing the film to Prime Video, prioritizing Luca Guadagnino’s poorly received After the Hunt for awards.
David Michôd’s Christy made Sydney Sweeney an Oscar contender, with her performance praised across the board, though the film itself was faulted for flat characterizations and standard biopic beats. The Lost Bus earned notice as a gripping disaster thriller with strong set pieces, but some dismissed it as spectacle over substance. Steven Soderbergh’s The Christophers was embraced as a witty, layered chamber piece anchored by Ian McKellen and Michaela Coel.
Couture, starring Angelina Jolie, scored for visual elegance and sharp commentary on gender and power in fashion, but critics noted thin character arcs and limited emotional weight. In Midnight Madness, Obsession—a bold blend of horror, romance, and dark comedy—made waves, landing a $15 million Focus Features deal, the festival’s most prominent sale so far.
Other notable Toronto entries previously seen at other fests included Hamnet (continuing to wow audiences), Sentimental Value (a cooler reception than at Telluride and Cannes), The Secret Agent (much acclaim), No Other Choice (adored by fans), Frankenstein (still underwhelming, with Jacob Elordi a bright spot), It Was Just an Accident (still impressing), Train Dreams (building a loyal following), The Voice of Hind Rajab (resonating with its timely subject matter), Blue Moon (earning Ethan Hawke some of his best reviews), Dead Man’s Wire (Gus Van Sant’s Dog Day Afternoon–like thriller sustaining strong word-of-mouth), The Testament of Ann Lee (polarizing but rapturous for many), and The Smashing Machine (facing more critical pushback than at Venice, with disappointment over its underdeveloped script).