‘The Good House’ Showcases The Greatness Of Sigourney Weaver [TIFF Review]

Carol Vorderman has showcased her sensational figure as she shared a glimpse inside her sun-soaked trip to Portugal.The former Countdown presenter, 60, who recently revealed her son Cameron's battle with learning difficulties, described how she felt 'refreshed' after spending time at the Juice Master Retreats in Portugal.

During my first year of film school, my teacher would assign a great task to all her students during a post-production and sound course. The assignment was a unique redubbing exercise, stripping the audio and initial sound mix from pre-existing film scenes.

Guns, gold bars, drug lords, military coups, folk heroes, tall tales, and ghost stories. Is there a 2021 film that gives more bang for the buck than Jean Luc Herbulot’s superb “Saloum”? This is not a case of “too much” movie, where the director and screenwriter thoughtlessly stuff as many ingredients into the pot as they can and hope the concoction doesn’t boil over.

I am not of fan of movies that resort to breaking the fourth wall, as it were, and letting their key characters talk incessantly to the audience. It is a device that generally feels lazy, a writer’s crutch to explain story points away instead of letting us discover for ourselves.

Sigourney Weaver is excited to be stepping back into her role as Dana Barrett in “Ghostbusters Afterlife”.

Comfortable in his newly found friendship, Hatzín (Hatzín Navarrete), a teenager from Mexico City who traveled to Chihuahua’s northern state to reclaim his father’s remains, pretends to be upset and explains he’s decided to return home. He laughs several seconds later, tricking Mario (Hernán Mendoza), his boss and impromptu life mentor.

Cult classics generally don’t happen on purpose and they usually don’t happen in just 10 days, either.

Matt Donnelly Senior Film WriterWriting, directing, and life partners Maya Forbes and Wallace Wolodarsky work out all of their disagreements on the page, the couple confided to Variety at this year’s Toronto Film Festival.While that may pertain strictly to film narratives, they’re certainly on the same page about their festival entry “The Good House” — a rich and unexpected drama starring Sigourney Weaver as you’ve never really seen her.Adapted from the Ann Leary book of the same name, “The

Filmmaker Terrence Davies chose “Mary Queen of Scots” star Jack Lowden to play World War One poet Siegfried Sassoon in his TIFF biopic “Benediction” and he says the actor’s transformation into the real life soldier and poet was “an absolute joy to witness.”

TORONTO – There’s something intoxicating when an established filmmaker unexpectedly challenges themselves creatively with a new project. Acclaimed writer and director Terence Davies does just that with his latest endeavor, “Benediction,” a biopic about the life of the celebrated poet Sigfried Sassoon that debuted at the 2021 Toronto International Film Festival this past weekend.

For generations, women who pushed against their expected roles in life were written off as mad, and in extreme cases, locked away. For equally as long, these women were fodder for art that depicted their madness as evil.

Reuniting with “St. Vincent,” director Theodore Melfi, Melissa McCarthy, and Chris O’Dowd play a married couple on the rocks after the unexpected loss of their baby tears them apart.

In writer-director Stephen Karam’s feature debut, the dark horror-comedy “The Humans,” it’s not so much a bump in the night or the creak in the door that can rupture an untapped fear. Those are merely the externalized notes that grant music to the ever-present existential dread.

According to the basic tenets of Christian scripture, all god’s creatures are worthy of judgment-free love. And while the hypocrisy of those words is rarely interrogated in “The Eyes Of Tammy Faye” — the bible belt preachers and communities presented in the film often fail to practice what they preach and are never forced to examine their own accumulation of wealth — these parts of the bible are really not the film’s concern.

In writer-director Stephen Karam’s feature debut, the dark horror-comedy “The Humans,” it’s not so much a bump in the night or the creak in the door that can rupture an untapped fear. Those are merely the externalized notes that grant music to the ever-present existential dread.

Everyone knows someone like Rebeca Huntt. A born-and-bred New Yorker, she came of age in a one-bedroom apartment on the Upper West Side, her family’s pride and joy.

Co-created by Ava DuVernay and former 49ers quarterback Colin Kaepernick — who silently took a knee during the US national anthem in 2016 in protest of the racial inequality and indiscriminate killing of Black Americans by police — “Colin in Black and White,” the limited docudrama series from Netflix, follows its subject as he looks back on his formative years as an adopted, biracial high school and college athlete with his eyes set on becoming a professional quarterback.

I’m not entirely convinced everything needs to be a movie. In this case, I don’t know that there is any way to make a film about the journey of a parent as they hear their child’s school has an active shooter without it feeling exploitative of our nation’s current epidemic of violence.