The Weekend Warrior September 9, 2022
TIFF, BARBARIAN, BRAHMASTRA, MEDIEVAL, HOUSE OF DARKNESS, PINOCCHIO, SPEAK NO EVIL, ABOUT FATE, and More
Yeah, so I decided to skip last week’s Weekend Warrior… just general end-of-summer ennui, I guess, but also I just didn’t feel like spending all day on a Wednesday trying to write something for a weekend that just wasn’t going to do much of anything. And I’ve actually written quite a bit about this past weekend anyway.
At least this weekend we have three wide releases, but more importantly, this weekend begins the TORONTO INTERNATIONAL FILM FESTIVAL (TIFF), which I’m very excited to be attending for the first time in five years, although unfortunately, due to prior commitments, I’m only going to be there for a few days.
There are a number of exciting movies premiering at TIFF, but none are more exciting than the one-two punch of Rian Johnson’s Glass Onion: A Knives Out Mystery (my most anticipated movie of the year) and Steven Spielberg’s The Fabelmans, both having premieres on Saturday Night. Billy Eichner’s Bros, directed by Nicholas Stoller, will get a Gala Premiere on Friday night, mere weeks before it’s released by Universal on September 30, and that movie is likely to generate a ton of buzz out of TIFF. Same can be said for Sony’s The Woman King, which will be released next week following its own TIFF debut on Friday night. I’m also looking forward to Stephen Frears’ The Lost King, which reteams him with Steve Coogan after the duo’s 2013 movie Philomena. This one stars the always-great Sally Hawkins, as well as Coogan and Harry Lloyd. Other world premieres include The Invitation and My Policeman, starring one Harry Styles.
A few movies playing TIFF after premiering elsewhere include Darren Aronofsky’s The Whale, starring Brendan Fraser in what many are considering an Oscar-worthy performance, Sarah Polley’s Women Talking is also playing TIFF being Polley’s hometown, and Sam Mendes is bringing his very personal film, Empire of Light to TIFF after premiering at Telluride.
A few Cannes movies like Ruben Ostlund’s Triangle of Sadness, Park Chanwook’s Decision to Leave and Hirokazu Kore-eda’s Broker are also playing at TIFF, but I’m likely to wait until the New York Film Festival for those.
BARBARIAN (20th Century)
In what’s going to be a prime month for horror films (yes, I’m talking about September, not October), the first one kicking things off is this one from Zach Creggers from The Whitest Kids U Know, which I never have seen – nor have I seen the previous movies he made with the late Trevor Moore, also from The Whitest Kids U Know. At least, I don’t think I have.
This movie wasn’t really on my radar until fairly recently, and I’m not sure I really knew what it was just from the title except that it was originally going to be released in August and then when Salem’s Lot moved off this date, 20th Century pounced and put Barbarian in its place. It stars Georgina Campbell, who is fairly new, and Bill Skarsgård, who most will know from playing Pennywise in It and It Chapter Two. That’s clearly what 20th Century were hoping for by putting Barbarian on the same weekend as those two horror blockbusters, but then they’re just releasing it in just 2,200 theaters, which is not something that shows a lot of confidence in a movie. I think it might just be because it’s just such a strange premise – a bit like Ti West’s X, which is getting a prequel called Pearl next week, just to make things more confusing.
If you read my review below, and I’m not even sure I want you to read it because it’s hard to talk about Barbarian without spoiling what makes it so great, then you’ll see that it’s not your typical easy-to-explain high-concept horror film. Instead, it’s one with a lot more layers, and unfortunately, even the title doesn’t quite explain what it is. On the surface, it’s about two strangers who end up sharing an AirBnB (“Barbarian” is kind of an anagram of “Air B and B” but not really) in a remote region of Detroit before odd things start happening to them. And then Justin Long shows up as the owner of the house that they’ve rented.
I think due to the lower theater count and the harder-to-sell premise, Barbarian might struggle to make $10 million where earlier I thought it would be good for $12 to 13 million, but that still should be enough to win a weekend where almost all the returning movies will take a tumble following the holiday weekend bolstered by National Cinema Day.
You can read my interview with Creggers over at Below the Line!
Mini-Review: Boy, it takes a lot for me to get really excited about a horror movie, and I went into this one really knowing very little, other than it involves two strangers ending up at an AirBnB together, which yeah, is pretty high-concept, but Barbarian starts as one thing and then maybe 40 minutes into it, it just goes bonkers.
Don’t worry, I’m not going to spoil the fun of what happens, how and to whom, other than the fact that there is something rather creepy about ending up in the same house in the middle of nowhere with someone you don’t know, and maybe more so when that stranger is played by Bill Skarsgård, who oddly, is not the bad guy of this piece. That may be all that I can say about that, other than the fact that just as things really start getting scary and you’re completely on edge, it cuts to Justin Long as a Hollywood type who has been kicked off the show he created, accused of rape. He decides to go back to Michigan, presumably where he’s from, in order to sell the house. You guessed it. It’s the same house, and then he gets pulled into the same craziness experienced by the earlier characters.
Maybe you’ve read this far, and maybe not, but if nothing else, mark my words that if you like really disturbing and crazy mind-fuck horror movies, similar to Ti West’s X earlier this year – and I certainly do – then Barbarian will excite you as much as it did me.
I really didn’t know Georgina Campbell at all, and she really pulls out an amazing performance, but I do like Justin Long a lot, and he’s such a nice guy that when I see him playing such an unrepentant asshole as he plays here… well, let’s just say that you’ll be rooting for her character more than you might for him.
Without going into further details, Barbarian does a great job putting you on edge and consistently pulling the rug from out of you, and those are the kinds of movies I love, ones that really surprise me and play with any expectations I might have. Creggers does just that with a horror movie that does not disappoint in terms of the scares and gore but finds a wittier way into those things that just makes his movie even scarier and more disturbing.
Rating: 8.5/10
BRAHMASTRA PART 1: SHIVA (20th Century Star Studios)
I’ve known about this movie for quite a lot longer than Barbarian oddly, but that’s because an early “motion poster” (basically a teaser) was released last December, and I had a chance to interview director Ayan Mukerji, who has been working on this movie for five years. It stars Ranbir Kapoor and Alia Bhatt, who are big deals in India, but they’re also a popular married celebrity couple over there. I don’t really know a ton about the movie or its origins, other than it’s the first of a planned trilogy involving popular Indian superheroes, and the popularity of superheroes and Bollywood films certainly will give this a nice boost this weekend, even if it’s ALSO being released by 20th Century Studios aka Disney. This one will only open in 750 theaters, though that’s still quite good for a Bollywood movie. The very successful RRR was released into 1,200 in late March and ended up opening with $9.5 million, about $7,917 per theater, and while I don’t think Brahmastra has built up that much anticipation, I think it will have an equally decent per-theater average, and should be good for between $4 and 6 million this weekend, which oddly enough, would be enough for it to take second place.
Mini-Review: It was bound to happen with the overwhelming success of the MCU that some ambitious filmmaker in another country would say, “Hey, I can probably do that.” In this case, maybe there was more to Ayan Mukerji’s decision to create an epic tale of fantasy that could spawn a trilogy of FX-laden action movies than merely wanting to capitalize on Marvel’s success. After all, Brahmāstra is more than just some carbon copy of Western superheroes we’ve seen in various cinematic universes, taking Hindi folklore and legend and morphing it into something that the young superhero fans can appreciate. (In some ways, the idea reminds me of what Grant Morrison did maybe 15 or 16 years ago, but we should remember that India has had its own comics and superheroes for many decades. It’s just that they haven’t travelled too well overseas.)
A few things that are good to know going into Brahmāstra that are explained in the obligatory opening preamble: An Astra is essentially a “weapon of light,” and they’ve been around almost since the beginning of time, although they’ve been long gone and mostly forgotten in modern times.
After we watch a scientist battle a trio of “hunters” seeking out an artifact using his “monkey powers” – just accept it, since that’s going to be the least problematic and overused device in the movie – we then meet Ranbir Kapoor’s Shiva, an enthusiastic Dubai DJ, who immediately falls in love at first sight with Alia Bhatt’s Isha, a wealthy and very pretty young woman he sees at a Diwale party. This is kind of where things start to falter, because We’re then subjected to this absolutely corny romance on which most of the rest of the movie relies.
That scientist is the first of a trio of caretakers for pieces of the Brahmāstra, the mightiest weapon of all the Astras that is in danger of falling into the hands of Mouni Roy’s evil Junoon and her powered henchmen. Shiva has a connection to the fire Astra, so he and Isha go on an adventure to save the other caretakers, eventually ending up at an Ashram in the Himalayas. That’s where the majority of the film ends up as Shiva begins working with a guru (Amitabh Bachchan) to perfect his control of his fire powers.
Listen, you’re either going to be with what Mukerji was trying to achieve or you aren’t, but he never really goes far enough away from the typical Bollywood formula to give Brahmāstra Part 1 the personality you might want or expect. For instance, it does have a number of pop songs, as is frequently the case, but the storytelling in general is rather saccharine, up until there’s any sort of action or fight, and then the visual effects are rolled out to such a degree that you kind of wish that they were better. But like the romance between Shiva and Isha, the VFX are also quite cheesy, and it really takes you out of enjoying some of the more epic battles.
Everything does eventually grow on you as the movie goes along, and it builds to a massive finale, and yes, a cliffhanger. This might lead to some concern that Brahmāstra Part 1 doesn’t make the money it needs to warrant continuing the story, especially once one realizes Mukerji spent five years on this one. It reminds me of those early films by Timur Bekmambetov, who came onto the scene with Night Watch, made its sequel Day Watch, and then never finished the planned trilogy.
Brahmāstra might not be the breakout Bollywood hit over here that S. S. Rajamouli’s RRR became – it remains far too faithful to the usual Bollywood formulas to win over Western audiences who might be more accustomed to FX-laden action than to the music videos and romance.
Rating: 6.5/10
MEDIEVAL (The Avenue)
This weekend’s odd man out is this historical war epic which is getting a fairly wide release into 1,200 theaters on Friday by a distributor who I’m not particularly familiar with. It stars Ben Foster, who has just been getting better as an actor with every year/project, playing Czech war commander Jan Zizka, who is commissioned to kidnap the fiancée of a man running for election – she’s played by Sophie Lowe. The movie also stars Matthew Goode, Michael Caine, Til Schweiger, and William Moseley, and it’s directed by Czech filmmaker Petr Jákl, who I have never heard of. This is partially why the film is such an anomaly, since I’m not sure how many Americans will know of Zizka or even care, despite this not being that bad a movie. Honestly, I’m not sure if this really has been doing much in terms of marketing – I certainly haven’t seen the trailer – so I’d be shocked if this does more than a million this weekend, but will probably end up on the lower end of the top 10.
Mini-Review: My knowledge of Czech history, let alone filmmaking, isn’t great, so all of this movie could be complete fiction, and I wouldn’t know, but I’m going to put some faith in Czech filmmaker Petr Jákl, who was not someone I was familiar with – that’s something all three wide releases have in common this week.
What the filmmaker has going for him is that he cast Ben Foster as his lead, and I definitely feel like Foster could do anything at this point, even if it’s playing this Czech warlord that few in America will know. First, you have to understand the history behind this story, which I’m not quite sure I could explain, but it involves there being two Popes and two different factions, and Foster’s character, Jan Zizka, is commissioned with kidnapping Lady Katherine (Sophie Lowe), the fiancé of a competitor vying to become king, and what that guy will do to get her back.
This is a brutal and violent film in the vein of Braveheart, and while there have been many other movies that have mimicked Mel Gibson’s movie better than this – Ridley Scott’s Gladiator and Robin Hood, for instance – this is a decently made and acted historic epic that is constantly offering real tension and stakes for all the characters.
The fact that I could even compare Medieval to anything made by the great Sir Ridley (one of my favorite filmmakers) is definitely a credit to Jákl and his cast, but especially Foster, who gives another solid performance even if his character is fairly sullen throughout. As far as the rest of the cast, I wasn’t that thrilled by Lowe and some of the others, but this really isn’t a movie that’s about the dialogue, as much as it’s about the storytelling and action, which are very well done. The movie even has a ferocious lion that attacks a few of the soldiers, although the visual effects are particularly wanting in creating that beast, which isn’t quite as threatening as the lion in Beast.
Although Medieval can be confusing at times, trying to keep track of all the characters and who hates who at any given moment, but fans of historic action movies should appreciate how far this goes out of its way to keep the viewer entertained throughout. There’s a danger of it being somewhat by the books or cookie cutter, but I generally found the filmmaking made up for any portions that lagged.
Rating: 7/10
THE CHART:
We need to be reminded this weekend that last Saturday had a massive bump due to National Cinema Day and Sunday was probably also higher than usual for most movies due to the Monday holiday. Because of that, expect lots and lots of massive drops, allowing Barbarian and Brahmastra to come out on top.
1. Barbarian (20th Century) - $9.7 million N/A
2. Brahmastra Vol. 1: Shiva (20th Century Star Studios) - $4.8 million N/A
3. Top Gun: Maverick (Paramount) $3 million -50%
4. Bullet Train (Sony) - $2.3 million -60%
5. Spider-Man: No Way Home - The More Fun Stuff Version (Sony) - $2 million -63%
6. Beast (Universal) - $1.7 million -58%
7. DC League of Super-Heroes (Warner Bros.) - $1.5 million -70%
8. The Invitation (Sony/Screen Gems) - $1.5 million -69%
9. Medieval (The Avenue) - $1.3 million N/A
10. Minions: The Rise of Gru (Universal) - $1.2 million -66%
HOUSE OF DARKNESS (Saban Films)
Neil Labute is back with a great dramatic thriller with some great horror elements. This one stars Justin Long (also in Barbarian) and Kate Bosworth, as Hap and Mina, two strangers who meet at a bar, and he gives her a ride home to the palatial mansion where she lives. One thing leads to another… no, it doesn’t lead to that. Well, it sort of does, but then her sister shows up, and things just start getting weird, and yeah, Justin Long just can’t catch a break this week, can he?
I’m a pretty big fan of LaBute, and House of Darkness starts out as it may have been a two-handed stageplay, but then it goes into all sorts of interesting directions, especially as the sisters of Kate Bosworth show up and basically interfere in things getting very romantic for Long’s character. Poor guy, he has to go through everything in Barbarian and then this? At least his character in this one isn’t nearly as much of a jerk, although he definitely has moments where he seems like he could be friends with the characters in LaBute’s early film and play, In the Company of Men.
What makes this quite interesting for LaBute is that it seems to comment on the whole #MeToo movement where guys are nervous about making any kind of move in fear of being cancelled or worse (as Long’s character is in Barbarian, oddly enough). That aspect might annoy a few people, especially those unfamiliar with LaBute’s past work, but the movie works well just as a creepy thriller that delves more into horror as it goes along, especially with the introduction of Mina’s sister, Lucy (Gia Crovatin), where Hap just starts getting more confused about what is happening.
That’s all I’m going to say, because it’s kind of fun to watch how things play out, and I was actually a little surprised that LaBute’s film had a few elements in common with the horror movie, The Invitation, which also wasn’t nearly as bad as other critics said.
House of Darkness is a pretty compelling return for LaBute, since it pulls together a lot of things we’ve seen from him in the past, including insightful dialogue-driven storytelling, as well as very heavy genre elements that make this a pretty cool (and completely accidental) companion to Barbarian.
I’ll definitely be curious to hear how others react to the movie, both those familiar with LaBute’s earlier work and those just interested in it for its genre elements.
Rating: 7/10
You can read my interview with Labute over at Below the Line very soon. This will open in select cities on Friday and then be available on demand and digital on Tuesday, Sept 13.
SPEAK NO EVIL (Shudder/RLJEfilms)
One of the better horror films out of this year’s Sundance, and one I have already reviewed hence, is this film from Danish filmmaker Christian Tafdrup about two families who meet on vacation, one from Holland, the other Danish, the latter who go visit the former in Holland, a weekend that’s plagued with confusion and misunderstandings and something far more nefarious. I didn’t have time to rewatch this but it will hit select theaters this Friday and then be on Shudder next week.
ABOUT FATE (American International Pictures/UA Releasing)
Thomas Mann and Emma Roberts star in this rom-com directed by Marius Vaysberg, playing Griffin and Margot, hopeless romantics who find themselves alone together on New Year’s Eve after having each of their engagements broken off, so they go on a ”magical and comedic journey together.” The movie also stars Madelaine Petsch, Britt Robertson, Wendie Malick, with Cheryl Hines, and Lewis Tan. Unfortunately, this is also embargoed until late on Thursday night, so that’s all that I can say for now. It will hit select theaters and digital on Friday.
HOLD ME TIGHT (Kino Lorber)
Opening in New York at the Angelika and at Film at Lincoln Center is Matthieu Amalric’s sixth feature, a drama starring Vicky Krieps (Phantom Thread) that I somehow missed at “Rendezvous with French Cinema” earlier this year, and I’m missing it again, even though both Amalric and Krieps will be at FilmLinc on Thursday night for a preview. In the movie, Krieps plays Clarisse, a woman who has to run from her family.
HOCKEYLAND (Greenwich)
Opening in roughly 100 theaters is this doc from Tommy Haines about two rival high school hockey teams in Minnesota’s North Country.
ATHENA (Netflix)
Hey, another Netflix movie where the publicist wouldn’t respond to my request for a screener. This is becoming such a common occurrence that I might just stop covering Netflix movies altogether. I can say that freely, because the chance of anyone from Netflix actually reading this column are about the same as them actually responding to one of my Emails: Slim to none.
Streaming…
Thursday is Disney+ Day, leading into the D23 Expo in Anaheim, California starting this Friday where Disney and its various partners will show off their wares for Disney fans who come from all over the world. It’s a little weird that this is happening the same weekend as TIFF, but I guess there are only so many weekends to do stuff.
PINOCCHIO (Disney+)
Robert Zemeckis tackles the classic fairy tale of a wooden puppet that comes to life but wants to be a real boy, which was turned into one of Walt Disney’s classic animated movies all the way back in 1940, and now it’s getting the live action treatment of movies like Cinderella, Beauty and the Beast, The Lion King, The Jungle Book, and many others. It also reteams Zemeckis with his Forrest Gump and Castaway leading man, Tom Hanks, playing Gepetto, the craftsman, and Joseph Gordon Levitt voicing Jiminy Cricket. Reviews are embargoed until 3:01 AM on Thursday, so check back for that.
Mini-Review: I already can hear the gripes and moans about this new movie from Robert Zemeckis – in fact, they started even before the first trailer dropped – and to be perfectly honest, after his last three or four movies, maybe they’d be warranted. Oh, yeah, and Tom Hanks is doing another accent again, and even Gordon Levitt is doing some kind of thing as the narrator, Jiminy Cricket. And yet, I didn’t hate this live action version of Pinocchio, and that’s bearing in mind all the other versions of the classic fairy tale that have been made over the past two decades, including Guillermo del Toro’s upcoming stop-motion version.
Yes, there’s probably not a lot that can be done with this storied tale, but most people of a certain age, when they first think of Pinocchio, they are more than likely to think of the animated feature made by Walt Disney. In that sense, Robert Zemeckis’ Pinocchio is probably the most faithful film to what Disney created, including the look and feel, but with a number of clever changes. If we just talk about the look of the characters, then this Pinocchio looks a lot like Walt’s, only he’s 3D, as are some of Geppetto’s other pets – he has an adorable cat and a less adorable goldfish. Benjamin Evan Ainsworth is quite a find as the voice of Pinocchio, since he brings all the innocence, excitement and wonder necessary to really pull it off. I also adored Cynthia Erivo as the Blue Fairy and Keegan-Michael Key voicing Honest John, both of whom have the pipes to deliver those characters’ classic songs.
And yes, Zemeckis’ Pinocchio is still very much a musical with all of those memorable tunes I loved as a kid, and those moments tend to make up for a lot of the sillier moments, which unfortunately, tend to involve Hanks and that accent of his. On the other hand, I especially loved the Pleasure Island sequence, and no matter how nice your kids might be, they’re probably gonna love it, too. The visual FX are generally better than some of what we’ve seen in Zemeckis’ recent work, although Monstro the whale is the one place where maintaining the cartoon look but making it 3D doesn’t work that well.
Sure, it may have been a good ten years since Zemeckis has made a memorable film, but in the case of Pinocchio, he ably adapts one of Disney’s classic tales in a way that acknowledges full well that everything that played for kids 82 years ago still works today.
Rating: 7/10
CARS ON THE ROAD (Disney+)
Also released on Disney+ day is this new series featuring characters created by John Lassiter (remember him?) for his Cars movies, including Lightning McQueen, voiced by Owen Wilson, and Mater (Larry the Cable Guy). I don’t think I ever saw the Cars sequels, so didn’t feel like making time to watch this series. Sorry!
END OF THE ROAD (Netflix)
Ironic, huh?
Repertory stuff…
While I’m going to be out of town at TIFF this weekend, there’s some great stuff going on at my local arthouse, starting with the series, “‘70s Play the ‘30s,” which is exactly what it sounds like, ‘70s movies that take place in the ‘30s, and that includes great films like The Sting (1973), Roman Polanski’s Chinatown (2017), Hal Ashby’s Woody Guthrie biopic Bound for Glory (1976), and many more. But don’t worry if you’re not in the city this weekend (like me), many of these movies will have replays over the rest of the month. (Unfortunately, The Sting, a movie I’ve never seen is not one of them. It’s only playing twice this weekend.)
This month’s late night series is “Late Nights: Hip-Hop Icons” with this weekend’s offerings being the original House Party (1990), starring Kid ‘n’ Play, and John Singleton’s Poetic Justice (1993), starring Tupac Shakur and Janet Jackson.
“Welcome to Metrograph A to Z” is screening Peter Greenaway’s absurdist A Zed and Two Noughts (1985), which I would have loved to see on the big screen. (In fact, you can view ten of Greenway films, including five shorts, on the Metrograph’s digital platform, which has a lot of great stuff on there, as I’ve said before.) “Metrograph Selects” will screen Wes Anderson’s animated The Fantastic Mr. Fox (2016) on Friday evening (already sold out) and Saturday afternoon. It’s also screening Julia Solomonoff’s 2017 film, Nobody’s Watching.
Also starting this weekend is a new series called “Midilengths: Daily Life & the Afterlife,” featuring shorter films, on Sunday screening Apichatpong Weerasethakul’s Mekong Hotel, which is just over an hour long i.e. shorter than his name. This series continues with one movie each Sunday night through October.
Yes, I definitely picked a bad weekend to go out of town as Film Forum begins “Milos Forman 90,” a 16-film retrospective with the likes of One Flew Over a Cuckoo’s Nest, Ragtime, The Fireman’s Ball, Man on the Moon, Amadeus, Hair, The People vs. Larry Flynt, and many more, screening over the next three weeks. At least these ones are spread out, so maybe I can catch a few of these. A number of the showings will include intros by some of Forman’s collaborators, including co-screenwriter Larry Karaszewski for the Monday night screenings of Larry Flynt and Man on the Moon. Film Forum Jr. returns this weekend with Walt Disney’s animated classic Lady and the Tramp (1955) on Sunday morning. Mike Nichols’ Carnal Knowledge (1971) continues through the weekend, as does the “Highsmith on Screen” series to correspond with the release of the doc Loving Highsmith, both of which I shirked to write about by skipping last week’s column. (Some good stuff in that series including Hitchcock’s Strangers on a Train, Todd Haynes’ Carol, and The Talented Mr. Ripley.)
Hey, pretty cool! Someone I know is having a career retrospective this weekend (which I’ll also miss) as MOMA shows “The Films of Beth B and Scott B” through the weekend. I mainly know Beth through her husband, Jim Coleman, who has played keyboards with bands like Cop Shoot Cop and others. It looks like MOMA is also resuming its “Modern Matinees” series, this one focusing on Lino Ventura, who I have no idea who that is, but apparently, he’s French?
ALAMO DRAFTHOUSE (Downtown Brooklyn, Downtown Manhattan, Staten Island)
Another thing I’m gonna miss this weekend is a rare theatrical showing of Monty Python and the Holy Grail, easily one of the funniest movies ever made, and it will play a few times at various area Drafthouses.
Oh, look, it’s the Netflix-owned theater and they’re showing a couple movies that inspired the movie Athena, which I haven’t seen for reasons mentioned above. Okay, to be fair, one of the movies is Walter Salles’ amazing City of God, probably one of the finest films from Brazil, as well as Akira Kurosawa’s Ran, but hey, I’d be more thrilled about this if Netflix would just show me their fucking movies. On Monday, the Paris is beginning a new series of repertory films with the New York Film Critics Circle, who I’m not that a big fan of, but I do like Stephen Whitty, who is a member, and he’ll screen Sweet Smell of Success (1957) on Monday night.
Quad - The Ballad of the Sad Café
Still showing Three Colors: Red, White, and Blue.
ETC…
SPITFIRE OVER BERLIN (Shout! Studios)
THE BENGALI (Dada Films)
Next week…if I survive TIFF, there’s a bunch of new movies including Viola Davis as The Woman King, Ti West’s horror prequel Pearl, and Kevin Smith’s Clerks III, plus others. We’ll see how much time I have to watch/write about them.
Box office data provided by The-Numbers.com.