Roger Ebert Reviews

Matt writes: The Toronto International Film Festival kicked off on September 8th and runs through Sunday, September 18th. Check out our official table of contents for daily updates to our list of essential dispatches penned by Brian Tallerico, Robert Daniels, Marya E. Gates and Soren Hough, who are providing their thoughts on some of the […]

The following table of contents includes our complete coverage of the 2021 Toronto International Film Festival, as written by Brian Tallerico, Robert Daniels, Marya E. Gates and Soren Hough.  Roger Ebert’s Reviews of Oscar-winner Sam Mendes, Who Will Receive the 2022 TIFF Ebert Director Award by The Editors 20 Films We Can’t Wait to See in Toronto

One of the true joys of TIFF is being able to catch up on the films that originally premiered at Cannes, like “Moonage Daydream,” “Decision to Leave,” and “Triangle of Sadness.” Those were (or will be) covered in full here, but I wanted to share some thoughts on a pair of very different dramas that

Everything seems to tick in “Unrest,” the latest effort from Zurich-born writer/director Cyril Schäublin. “Unrest” depicts the working lives of 19th century anarchist watchmakers in the Swiss mountains, laying bare the absurdities of the wage system. Schäublin follows workers as they navigate their working hours across four different time zones in one town—factory time, train

Portraits of complex women are a strong theme of this year’s Toronto International Film Festival. Three films in particular aim to explore the depths of womanhood through complicated familial relationships. Frances O’Connor’s “Emily” takes liberal creative license with the life of Emily Brontë and her complicated relationship with her sister Charlotte; Lila Neugebauer’s “Causeway” follows

While red-carpet galas dominate headlines and social media out of TIFF, the programmers are always careful to program smaller films from all over the world around these events. Sometimes these counter-programmed screenings can produce vastly superior films to the potential blockbusters unfolding at venues like the Princess of Wales Theatre or this year’s newest venue,

The Toronto International Film Festival staged one of its most impressive one-two punches in the history of the fest on Saturday night with the world premieres of new films by Steven Spielberg and Rian Johnson, two movies that are going to be among the most beloved of 2022. In a weird way, they were a

One of the many admirable things about TIFF is how much the programmers support the film industry in their own country, usually spotlighting upcoming filmmakers in their Discovery or Canadian World Cinema programs. TIFF is such a major event that they could merely fill a program with red-carpet events with household names, but the programmers

Friday night is when the Toronto International Film Festival really explodes as more journalists, industry folk, and stars arrive to take in everything the event has to offer. In one part of town, upcoming theatrical releases like “Bros” and “The Woman King” were having their world premieres (click through for reviews of both), but I

I can understand a movie not making logical sense. I can even work through a movie lacking emotional sense too. But I can’t stand a film that feels dishonest or reeks of manipulation. It gives me no pleasure to say this, but actress Sanaa Lathan’s cliched, visually inert directorial debut, “On the Come Up,” is