It’s not just about TIFF 2026’s slate paling in comparison to TIFF 2025’s (plus NYFF’s juggernaut 2026 lineup); some unfortunate issues made 2026’s festival quite lackluster.
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It’s a big ask for an audience to go to the theater, wait nearly an hour for the snake to slither into the frame, only for it to occasionally do more than stare down its victims.
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While The Last Photograph attempts to be an intimate, grounded thriller about vengeance and redemption, its narrative emptiness leaves it dead on arrival.
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“The Man I Love…is one of the most prominent examples of [Ira Sachs] unique strength: Knowing what to leave out of his stories.”
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“[The Julia Set] manages to make its mathematics and human story equally uninteresting.”
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“Ha-Chan is no doubt one of the most interesting protagonists in the movies this year.”
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“Compared to the mystery-thriller components of Barbarian and Weapons, Resident Evil is more of Cregger’s opportunity to flex his directorial chops.”
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“I’m not quite sure if The Beloved comes all the way together, but its performances intrigued me, along with its depiction of filmmaking, and its argument that art is inherently personal, no matter our intentions.”
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“…although it is good-natured, it plays like a pastiche of better, more cohesive animated films.”
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“This becomes a movie concerned with bombast when it should be concerned with humanity.”
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“I understand that three-plus hours of dense thematic conversations may be a hard sell for some, but after all, patience is a virtue, and one that All of A Sudden rewards its audience for in spades.”
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“Resident Evil is a home run for horror, in an already excellent year for the genre.”
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Memories of a Forest became an instant favorite for me this year. It hits close to home if you’ve ever been torn between your aspirations and your family’s needs.
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“On top of simply enjoying the company of Club Kid, I left the theater utterly moved.”
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“The movie has a lot going for it—beautiful photography, clever staging, a splendid cast—but takes a little too long to get going…”
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Nicoll puts together a wildly engaging experience that makes for one of the best films of the entire year.
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Miwa Nishikawa’s Children Untold is a tear jerking odyssey showing how society chews up those less fortunate and spits them out.
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The Weight is desperate to convince you of its grit, but every step of this allegedly arduous journey is taken down a well-trodden path.
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“Clunky as the effects are, when Hope moves, it moves. If you can overlook the visual effects, Hope’s action is rapturous to behold.”
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“Doubtful as I am about Onslaught entering the “best of the year” conversation, there’s definite rewatchability to the film that I intend to tap into.”
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