‘Another Round’ With Mads Mikkelsen Is A Boozy Blast Of A Midlife Crisis Movie [TIFF Review]

Netflix has acquired the rights to Spider-Man: Far From Home star Jake Gyllenhaal's new movie The Guilty. Based on the Danish Sundance drama Den Skyldige, the thriller follows 911 call operator Joe Bayler (Gyllenhaal) as he tries to save someone he thinks is in danger over the phone.

Also Read: 'Nomadland' Wins Audience Award at Toronto Film FestivalNikolaj proposes that they test out a theory from Norwegian psychiatrist Finn Skårderud, which suggests that man’s blood-alcohol level is actually 0.5% too low, and that a small but steady intake of alcohol during work hours would help people reach peak performance.

Set entirely in Wuhan, China during the 76-day COVID lockdown in early 2020, “76 Days” is a tight, tense, and, at times, unrelentingly emotional account of front-line pandemic medical combat. As a piece of high-impact experiential movie journalism, it feels close to the style of a standalone “Frontline” episode, missing only Will Lyman’s low and drama-heightening narration.

David Oyelowo’s directorial feature debut, “The Water Man,” plays like a kid-friendly throwback to Steven Spielberg’s ’80s movies. It’s a coming-of-age story filled with adventure, friendship, and some serious topics that don’t overshadow its young protagonist’s hopes.

Before J. Balvin became a record-breaking chart-topper, he was José Álvaro Osorio Balvín, just another boy in Medellín, Colombia, with big dreams and an even bigger drive to make them come true.

Irish mythology has found glorious ambassadors in director Tomm Moore and the team at animation studio Cartoon Saloon. Their Oscar-nominated titles “The Secret of Kells” (2009) and “Song of the Sea” (2014) are visionary renderings of their homeland’s lore, and with “Wolfwalkers,” an epic and dramatically mature triumph, a perfect trilogy is complete.

True to its name, “Violation” is about an unforgivable transgression. Written, produced, and directed by Madeleine Sims-Fewer and Dusty Mancinelli, their feature debut follows Miriam (Sims-Fewer) on at least two (maybe more) trips to the woods.

“The people who work for the city work for you,” explains Boston Mayor Marty Walsh, to a room full of his constituents. “They’re there to service you.” That simplest of ideas, a real gimme in the not-too-distant past, stands at the center of “City Hall,” the latest of Frederick Wiseman’s documentary deep dives into the nuts and bolts of America’s institutions.

Owen Gleiberman Chief Film CriticThe Danish filmmaker Thomas Vinterberg came up in the Dogme 95 movement, and he’s sort of like Lars von Trier if von Trier, beneath the radical flourishes, had become a conventional-minded director of mildly outré TV movies. (Netflix should snap him up.) In a Vinterberg film, there’s the hook, which is often provocative, and then there’s the execution, which tends to be overly telegraphed and a touch plodding and not fully psychologically convincing.

Near the beginning of the film is a scene where Joe Bell (Mark Wahlberg) stands in front of an assembled group of high schoolers to speak about bullying. The gruff father shares two points: Understanding begins at home and everything will be fine if you are true to yourself.

No genre romanticizes America’s manifest destiny mythos more than the western. For decades, the construct featured white men conquering the frontier from Native Americans and law enforcement.

“Don’t take me for a psycho,” explains Alex, the protagonist of François Ozon’s “Summer of ’85,” explains in the film’s opening voice-over. “Corspes are not my thing… Corpses are not my thing.

Eight years after making the Oscar-nominated The Hunt together, Mads Mikkelsen and writer-director Thomas Vinterberg have reunited for Another Round, a tragicomic portrait of midlife crisis and alcohol abuse. Since their previous collaboration, both director and star have mostly worked on bigger international features, but they are back on comfortable home ground here with a modestly scaled Danish-language production full of familiar faces.

Mads Mikkelsen's chiseled features, raspy voice and cool steely gaze have made the Danish actor a go-to bad guy for any casting agent looking for a supervillain — James Bond's nemesis Le Chiffre in Casino Royale, Doctor Strange's warlock adversary Kaecilius — or serial killer (TV's Hannibal) with a touch of class.

It’s 1963, and throngs of Black folks have packed the National Mall for the March on Washington. Images of jubilant men and women holding flags, and dressed in their Sunday best, strewn across the screen.

Occasionally, in this line of work, you end up watching a movie bad enough to make you regret taking the assignment. Roseanne Liang‘s “Shadow in the Cloud” is a movie so bad, it made me regret choosing the profession.

Fans of “Gone Girl” who have been patiently waiting for star Rosamund Pike to sink her teeth into another delectably devious role, rejoice. J Blakeson’s “I Care a Lot” provides the best showcase of Pike’s darkly ambitious drive since her Academy Award-winning breakthrough in 2014.

Irish mythology has found glorious ambassadors in director Tomm Moore and the team at animation studio Cartoon Saloon. Their Oscar-nominated titles “The Secret of Kells” (2009) and “Song of the Sea” (2014) are visionary renderings of their homeland’s lore, and with “Wolfwalkers,” an epic and dramatically mature triumph, a perfect trilogy is complete.

“Mom’s not the same person she once was,” narrates adolescent Noah Bloom (Griffin Murray-Johnston) over the coda of “Penguin Bloom.” He continues, “She’s not the person she wanted to be, but for me, she’s so much more than that.” This is ultimately the place at which any movie centered around the experience of living with a disability should arrive, acknowledging that the paralyzing fall endured by Sam Bloom (Naomi Watts) does not mark the end of life as she knew it but rather a reconstitution