One of the worst parts of International Film Festivals is NOT BEING THERE, but still seeing all your favorite websites send critics to talk about how great the movies are. Blowing the hype to near unsustainable levels, we just want these films to be out in the public dammit so we can have opinions about them and seem smart to our friends.
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Films from TIFF that we want to see NOW is a public top list created by IsntHeSweet on Rankly.com on September 10th 2014. Items on the Films from TIFF that we want to see NOW top list are added by the Rankly.com community and ranked using our secret ranking sauce. Films from TIFF that we want to see NOW has gotten 666 views and has gathered 13 votes from 3 voters. Anyone can add items. Anyone can vote.
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"From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture. Lou is a retro creation: a strange, real character lurking in a moral grey area. Gyllenhaal, slimmed down and bug-eyed, looks like Nosferatu, but has the manic vulnerability of Andy Kaufman. Lou’s like a Wes Anderson character who’s ambition has warped into a realm of violent sociopathy...Nightcrawler is a nasty, funny film. A tribute to the vile and a celebration of the dark." - Henry Barnes
""Tusk" is being marketed as a "truly transformative tale," and by the end of the movie's briskly paced 102 minutes, you'll feel that it's Smith who has been reinvented most of all. He's using his skill set in a different genre, with a different agenda altogether, combining autobiographical elements, spooky late-night B-movie influences and a deeper thematic exploration of the nature of storytelling, to create something wholly unique and twisted. "Tusk" will be a lot of things to a lot of people (and we expect the reaction to the film to run the gamut from rapturous adoration to repulsed indifference), but at it’s best, “Tusk” is outlandishly unforgettable. " - Drew Taylor
"Borderline personality disorder turns out to be more of a laughing matter than it probably should be in “Welcome to Me,” a strange and often startlingly inspired media/mental-illness comedy directed by actress-filmmaker Shira Piven. After drifting into a semi-dramatic mode in her earlier Toronto-premiered indies, “Hateship Loveship” and “Girl Most Likely,” Kristen Wiig tears into a role that plays to her deadpan gifts as a woman who wins the lottery and starts her own talkshow, where she proceeds to work through her deep-seated emotional and psychological wounds on live TV. At 86 minutes, this breezily bonkers item doesn’t overstay its, er, welcome, spelling a possible warm reception in niche theatrical and VOD play." - Justin Chang
""Top Five" smartly looks beyond its protagonist's problems to ask bigger questions, mainly the one referencing its title, which involves attempts by several characters to list their favorite hip hop artists. It's a canny means of exploring how no measure of talent can account for personal taste. Co-produced by Kanye West and Jay-Z — with an executive producer credit going to The Roots' Questlove — "Top Five" doesn't just explore the challenges of finding creative satisfaction, but owes its existence to some of the people faced with that very question. In spite of its silly attitude, the movie asks real questions about the tension between show business and artistic desire.
There are more accomplished cinematic achievements that deal with the same issue — most recently, Alejandro G. Iñarritu's "Birdman — but "Top Five" embeds it in the same lightweight attitude of the commercial business it assails. The humor is simple but not insubstantial. "I don't feel like doing funny movies any more," Andre tells one journalist, but for Rock, "Top Five" proves that's hardly the case. " - Eric Kohn
"Miles Teller drums his heart out — and then some — in writer-director Damien Chazelle’s stellar career-starter, “Whiplash,” which demolishes the cliches of the musical-prodigy genre, investing the traditionally polite stages and rehearsal studios of a topnotch conservatory with all the psychological intensity of a battlefield or sports arena. Chazelle proves an exceptional builder of scenes, crafting loaded, need-to-succeed moments that grab our attention and hold it tight, thanks largely to co-star J.K. Simmons as the school’s most intimidating instructor — a talent evidenced a year earlier by the three-scene teaser that took Sundance’s top shorts prize. " - Peter Debruge
"Based on Bahari's memoir Then They Came for Me, Rosewater is an efficient, formulaic, and inherently touching directorial debut for Stewart. True to his comedian roots, Stewart's pen is mightier than his camera. Hitting expected beats, Rosewater unfolds like an oral history of Bahari's Election Day experiences, offering explanations on everything from Mahmoud Ahmadinejad's political corruption, Operation AJAX, and Iranian prisons' torture techniques. Gael García Bernal provides Bahari with a soothing, understanding voice — a sweetness easily shattered by his captors...Rosewater's a competent 1st feature for Jon Stewart, putting his political & humanist observational skills to the test." - Matt Patches
"Nothing is too heavily encrypted in “The Imitation Game,” a veddy British biopic of prodigal mathematician and WWII codebreaker Alan Turing, rendered in such unerringly tasteful, “Masterpiece Theatre”-ish fashion that every one of Turing’s professional triumphs and personal tragedies arrives right on schedule and with nary a hair out of place. More than once during the accomplished (but not particularly distinctive) English-language debut for Norwegian director Morten Tyldum (“Headhunters”), you can catch the ghost of the late Richard Attenborough nodding approvingly over the decorous proceedings. And yet so innately compelling is Turing’s story — to say nothing of Benedict Cumberbatch’s masterful performance — it’s hard not to get caught up in this well-told tale and its skillful manipulations. Likely to prove more popular with general audiences than highbrow critics, this unapologetically old-fashioned prestige picture (the first of the season’s dueling studies of brilliant but tragic English academics, to be followed soon by “The Theory of Everything”) looks and feels like another awards-season thoroughbred for U.S. distrib Harvey Weinstein." - Scott Foundas
Starring:Jessica Chastain, Colin Farrell, Samantha Morton
US Release Date:N/A
"Farrell’s intensity, Morton’s visible discomfort, Chastain’s accent, Ullmann’s inexorable medium shots...Ullmann’s version of “Miss Julie” exists in a special cinematic category; it’s toxic, it’s hypnotic, and passionately translates Strindberg’s genius instinct for enlightening the multi-layered psychological spectrums of human desire for lust and power. It’s unforgettable in every sense of the word." - Nikola Grozdanovic
"A largely lethargic look at the life of Stephen Hawking, Theory of Everything collapses into a dense relationship drama with more energy than its by-the-books first half. Marsh's direction can handle the intimacy, but not the big picture that turned Hawkings into a celebrity. The movie is all about Redmayne and Jones, who go beyond playing dress up to deliver two performances that will surely rank among 2014's best." - Matt Patches
"While McCarthy is likely trying to achieve some kind of magical realist screwball vibe, "The Cobbler" never generates the high-spirited inventiveness or energy to allow audiences to buy into the premise, in order to go along for the ride. While the idea is original, it's also ridiculous, and the story is not close to clever enough to put it into any kind of context that is compelling, interesting or believable. The motivation for Max's leap from tradesman/proprietor to socio-economic vigilante is poorly motivated, other than now obtaining a vague sense of purpose in his life. But it's the film's final ten minutes that push "The Cobbler" into something transcendently, almost spectacularly bad. A couple of plot twists and reveals try desperately to turn this fairy tale into something akin to legend, with enough transmitted that a door is actually left open for further sequels. Yes, "The Cobbler" becomes a sort of indie movie fantasy origin story. Seriously. It's a card played that nothing in the rest of the movie even suggests, and is so utterly misguided it's nearly jaw-droppingly remarkable. (Well, your jaw will drop at the miscalculation regardless)." - Kevin Jagernauth