"When you see Idris and Kate together in that picture, immediately you want to see them in a movie," said "Mountain Between Us" director Hany Abu-Assad.
"He was just a master of emotion and it was an act," Steve Carell says about his 'Battle of the Sexes' character, "male chauvinist pig" tennis player Bobby Riggs.
Brie Larson talks about her directorial debut 'Unicorn Store,' which premiered at the Toronto International Film Festival.
As his new film, 'Brad's Status,' wins raves at the Toronto Film Festival, actor Ben Stiller says it's time for him "to hold a mirror up to myself"
Tonya Harding is a punch line and she knows it. But she'll no doubt be pleased with the new biopic "I, Tonya," which goes for laughs but also adds context to the skater’s familiar story.
Following last year's breakout, two films with radically different approaches to same-sex relationships arrive at TIFF.
It’s rare that a single minute of film dialogue can tell you everything you need to know about a character’s emotional state, but that’s the case with the above exclusive scene from the new comedy Brad’s Status, premiering Saturday at the Toronto International Film Festival. Brad (Ben Stiller), looking dubious and disheveled, is getting the low-down on a mutual friend’s wedding that he wasn’t invited to from the much tanner, much healthier, and much wealthier Billy Wearslter (Jemaine Clement). Brad, as he puts it, has just been “doing his thing” — but as the clip reveals, is experiencing a crisis in confidence.
Jolie has “￼￼First They Killed My Father,” about Cambodian genocide; Clooney will offer up “Suburbicon”; Payne brings “Downsizing,” satire with Matt Damon
The Damien Chazelle-directed movie musical took home TIFF’s coveted Audience Award, and appeared on many critics’ “Best of the Fest” lists. La La Land was one of our festival favorites as well, but, believe it or not, there are other films coming out this fall that are worthy of your time, attention, and dollars.
Deepwater Horizon marks the first acting collaboration between Kurt Russell and stepdaughter Kate Hudson. Russell told Yahoo Movies Tuesday at the Toronto International Festival that he actually wanted Kate, whom he raised with wife Goldie Hawn, to take a role in 1996’s Escape From L.A., his eye-patched action hero Snake Plissken’s follow-up to the the 1981 classic Escape From New York.
Peter Berg is about to get worked up. Berg feels there is an unfair public perception of the workers onboard the titular oil rig — particularly the 11 men who died in the 2010 explosion in the Gulf of Mexico — which he sites as a primary reason he wanted to make the film. “It’s such ignorance,” Berg (Lone Survivor, Friday Night Lights) told Yahoo Movies Tuesday at the Toronto International Film Festival, shortly before Deepwater premiered to anti-oil pipeline protestors outside the screening and then strong reviews from critics.
The new musical La La Land came into this year’s Toronto Film Festival on a wave of good vibes, having already collected enthusiastic reviews at the Venice and Telluride Film Festivals. Writer-director Damien Chazelle’s modern-day romance reteams Crazy, Stupid, Love costars Emma Stone and Ryan Gosling in a tale that’s a jazzy love letter to Los Angeles and the entertainment industry. It’s a spectacular achievement by Chazelle, who broke out last year with his Oscar-winning drama Whiplash.
At first, it seemed like director Vikram Gandhi’s 'Barry' had arrived at the Toronto Film Festival at a disadvantage, following the successful Obama first-date movie 'Southside With You.' Not so.
Director/star deflects questions on 1999 rape accusations, as he and cast promote film at festival as scheduled
In news that should surprise no one, Amy Adams delivers not one but two stellar performances in a pair of buzzy movies that will follow debuts in Venice with screenings at the Toronto International Film Festival this week. Adams is landing the biggest kudos for Arrival, Denis Villeneuve’s slow-burn sci-fi alien invasion drama set off by 12 gigantic, Frisbee-shaped UFOs touching down at seemingly random points around the globe. Of the two, Arrival is the vehicle more likely to earn Adams some awards attention for her role as Dr. Louise Banks, a linguist and professor at a prestigious university recruited by the U.S. military to help understand and communicate with the enigmatic extraterrestrials.
Three film festivals in three countries over the course of three weeks kick Hollywood’s awards season into gear: Italy’s Venice Film Festival, the Telluride Film Festival in Colorado, and the Toronto International Film Festival, which wraps up this weekend in Canada. The Buzz: After mostly positive early reviews from Venice and Telluride, the film got a huge reaction at TIFF.
Two of the best received titles at the Toronto International Film Festival are agonizingly tough-to-watch movies featuring kids in peril, Beasts of No Nation and Room. You could even argue that Abraham Attah and Jacob Tremblay gave two of the finest performances of the entire fest. The 14-year-old Attah was working as a street vendor in his native Ghana when he was tapped by director Cary Fukunaga (True Detective) to star in the Netflix release Beasts, an adaptation of the Uzodinma Iweala book.
The world’s collective view of Lance Armstrong shifted dramatically in 2013 when, after more than a decade of denials, he admitted to Oprah Winfrey that he had in fact taken performance-enhancing drugs on his way to winning seven Tour de France titles. The new film The Program, which recounts the rise and fall of Armstrong (Ben Foster), with a heavy emphasis on the disgraced biker’s doping habits, premiered at the Toronto International Film Festival this week, and it paints the cyclist in an unflinchingly nasty light.
Anyone whose grandparents or great-grandparents (or great-great-grandparents, etc) immigrated from Europe in the early or mid-20th century will feel a special connection to Brooklyn, a swoon-inducing romantic drama that debuted with limited screenings yet major acclaim at Sundance and is racking up more fans this week at the Toronto International Film Festival. The always magnetic Saoirse Ronan (Atonement, Hanna) finally gets to flex her natural Irish brogue as Eilis Lacey, a mild-mannered shop clerk in the quiet seaside County Wexford who, with the help of the church, gets the opportunity to live in the United States. Brooklyn gets off to a slow start, admittedly, but that all changes once Eilis meets Tony (the perfectly cast Emory Cohen), a sweet and charming Italian-American plumber who shows up at her church dances admitting that “he likes Irish girls.” The chemistry between Eilis and Tony (as well as Ronan and Cohen) is immediate, and their connection deep.
Since wrapping up Breaking Bad in 2013, Bryan Cranston has faced the gargantuan task of breaking away from meth-cooking cancer patient Walter White, one of the most iconic characters in TV history. Cranston has cranked up his film work in recent years, with supporting roles in movies like Godzilla, Argo, and Total Recall. The actor is able to disappear beneath the horn-rimmed glasses, fantastic ‘stache, perpetually furled brow, and constant stream of witticisms from the mouth of famed screenwriter Dalton Trumbo.
Prometheus wasn’t a bad movie, not by any stretch, but it clearly left a bad aftertaste in the mouths of many of sci-fi maestro Ridley Scott’s most ardent fans. The Martian is also light years less jumbled than last year’s divisive space epic, Interstellar, with all its black holes and mystical bookshelves. At its core, The Martian is a crowdpleaser, delightfully retro and reminiscent of ‘90s sci-fi blockbusters like Apollo 13, Deep Impact, and Armageddon in its devotion to convention and accessibility (yes, that’s meant as a compliment).
Michael Moore returned to the Toronto International Film Festival to unveil his new documentary Where to Invade Next late Thursday night, and he found a warm reception from the mostly Canadian crowd of 1,700 moviegoers. Shouts of “Michael Moore for Prime Minister!” preceded the premiere, and a long standing ovation greeted the director when he returned to the stage for a post-screening Q&A. Where to Invade Next, as it turns out, is much broader in scope, with Moore using the gimmick of himself personally “invading” other countries to “steal” ideals that would make the U.S. better as the framing device of the globe-spanning film.