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Glass Onion and The Fabelmans evoke best pre-Covid-19 memories on glorious night TIFF – Deadline

Glass Onion and The Fabelmans evoke best pre-Covid-19 memories on glorious night TIFF – Deadline

My favorite memory of the Toronto premiere was the one in which the eventual Best Picture winner Stand out performed to a raucous crowd reaction at the Princess of Wales Theatre, the excitement was heightened further when the Boston Globe reporters who cracked the Catholic Church’s pedophilia scandals took the stage and stood alongside the actors who portrayed them in the screen. It has been several years since TIFF was able to show why this is such a special festival, due to the Covid epidemic and the protective lockdown of its borders in Canada. Last night marked a turning point for TIFF as the preeminent showcase for awards season films, with back-to-back world premieres at Netflix’s Princess of Wales Theatre, directed by Rian Johnson. knives out continuation glass onionfollowed by the premiere of Steven Spielberg’s love letter from Amblin/Universal to his family and a movie camera, The Fabelmans. Both films land squarely in the awards conversation.

The evening started with Glass Onion: A Knives Out Mystery, a movie that fired flat out and crackled with a terrific script and sharp performances. The film stars Daniel Craig, Janelle Monaet, Edward Norton, Leslie Odom Jr., Kate Hudson, Kathryn Hahn, Dave Bautista, Madelyn Cline, Jessica Henwick and Ethan Hawke, and most of them took the stage for a lively session of questions and answers about what it was. like being quarantined on a desert island paradise, building a meticulous whodunit during the Covid lockdown. When the post-movie talk goes on about how Netflix got its money’s worth for the $450 million it paid for two of these sequels, along with estimates of the global box office the movie could have made if Netflix had given it a release complete in theaters with a P&A spend before landing on the streamer, you know you’ve done well.

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We walked out of the theater, went back online, and watched the Spielberg movie again. after the exciting glass onion, would it be a disappointment in comparison? No possibility. The film is closer to a subtle Spielberg effort like bridge of spies than some of his movies. Many filmmakers have tried to convey their love of cinema in films that are not about them. Spielberg went straight into his personal history with a thinly veiled cinematic autobiography that outlined the complexities of finding his way into an art form at which he arguably became the greatest of all time. That included family conflict, anti-Semitism, a first love, and the challenge of growing up with a father who was a math and science whiz, and a mother who was programmed to be an artist. Paul Dano and Michelle Williams shine as parents, as do Seth Rogen and Judd Hirsch as formative male influences. Then there’s Gabriel LaBelle’s put-me-on-the-map performance. The latter charmed the Q&A audience with the story of how he got the job playing the younger version of Spielberg: he blew out his audition and the next thing he knew he was reading his story here on Deadline. We’ve got rave reviews of both movies, but sometimes it seems like it’s worth just pinpointing a special night when it happens, when the industry still scarred by years spent in quarantine gets a chance to recall the special memories of discovering great movies. at a big party.

There have been numerous bright spot movies including the king womanand more to come: Jessica Chastain-Eddie Redmayne-starrer the good nurseharry styles drama my police, all bow shortly. There may also be some film acquisitions that are screened at the festival. But Saturday night was one for the books.

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