A Month in Film: October 2025Nouvelle Vague (2025)
This made me realize I had no idea what I was doing when I first watched Breathless a few years ago. While Godard is not my favourite from the French New Wave, and I would actually lean towards directors that would be considered forefathers of French New Wave — primarily Jean-Pierre Melville and Robert Bresson — it's easy to come away from this one impressed with both Godard's liberated approach to filmmaking and Linklater's devotion to honouring said movement. I do wish Breathless was fresher in my memory for this viewing, but this film is a great reminder that context is everything in filmmaking. It's always a pleasure watching a director unabashedly putting their reverence for something on full display. Others toy around it, making small references to their heroes, like Spielberg with John Wayne and David Lynch in The Fabelmans, but Linklater is effectively making it plain as day as here.
My first film of VIFF 2025! Watched at the Vancouver Playhouse. Great start to the festival. This was opening night, with lots of industry folks milling about. I felt like I was crashing the party here — just a guy in a ball cap and sneakers surrounded by people dressed for a shindig. A number of special guests spoke before the screening, including Kyle Fostner, Executive Director of VIFF, who delivered a very powerful message calling upon cinema and the arts as more important than ever in these strange times we find ourselves in. I was supposed to see this on Saturday, but I noticed this screening pop up on the VIFF site yesterday. That would probably explain why this felt like an industry mixer. Better timing tonight, with the Jays playing game 1 of the ALDS on Saturday.
It's not where you take things from — it's where you take them to.
This made me realize I had no idea what I was doing when I first watched Breathless a few years ago. While Godard is not my favourite from the French New Wave, and I would actually lean towards directors that would be considered forefathers of French New Wave — primarily Jean-Pierre Melville and Robert Bresson — it's easy to come away from this one impressed with both Godard's liberated approach to filmmaking and Linklater's devotion to honouring said movement. I do wish Breathless was fresher in my memory for this viewing, but this film is a great reminder that context is everything in filmmaking. It's always a pleasure watching a director unabashedly putting their reverence for something on full display. Others toy around it, making small references to their heroes, like Spielberg with John Wayne and David Lynch in The Fabelmans, but Linklater is effectively making it plain as day as here.
My first film of VIFF 2025! Watched at the Vancouver Playhouse. Great start to the festival. This was opening night, with lots of industry folks milling about. I felt like I was crashing the party here — just a guy in a ball cap and sneakers surrounded by people dressed for a shindig. A number of special guests spoke before the screening, including Kyle Fostner, Executive Director of VIFF, who delivered a very powerful message calling upon cinema and the arts as more important than ever in these strange times we find ourselves in. I was supposed to see this on Saturday, but I noticed this screening pop up on the VIFF site yesterday. That would probably explain why this felt like an industry mixer. Better timing tonight, with the Jays playing game 1 of the ALDS on Saturday.
Sentimental Value (2025)
This was honestly everything. Family, whatever it may mean to you, is a universal theme. All of us can speak to it, though not in the exact same way, from our own unique experiences. But this tender attempt at daughter/father reconciliation, in the way Stellan Skarsgård's director character knows best, is honestly devastating — I dare anyone watching this to say otherwise. The push and pull of resisting or embracing becoming a reflection of your parents is undoubtedly a real sentiment, and is revealed in such a moving way here.
Second film of VIFF 2025, screened at the Vancouver Playhouse. Much better vibe tonight, with a lot more regular non-industry folks like myself in attendance compared to last night. Tears were definitely audibly shed during this one.
Second film of VIFF 2025, screened at the Vancouver Playhouse. Much better vibe tonight, with a lot more regular non-industry folks like myself in attendance compared to last night. Tears were definitely audibly shed during this one.
Nirvanna the Band the Show the Movie (2025)
If I had it my way, this would immediately be integrated into the Canadian school curriculum. Never have I seen such an unapologetically piece of Canadiana hit the silver screen. Our cities are normally unfairly reduced to background status when it comes to movies, filling in as any number of cities down south for a tax break. Matt and Jay getting an opportunity to make this thing, and touching on their friendship in doing so, is such a win. And the idea of spoofing Back to the Future here is absolute money. Glad I caught up on the web series before watching this, and while I’m sure it still would have hit if I hadn’t, it must feel awesome as a full circle moment for anyone involved from the beginning. Get up Canada, this is our time to shine.
VIFF 2025 #3. Screened at the Rio. As Vancouver’s home for cult classic screenings, the Rio was definitely the most appropriate venue in the festival for this screening. The crowd was locked in from the get-go. Matt and Jay will actually be in attendance for a screening of this with Q&A at the Rio in November. Too bad I will be moved out of Vancouver by then. I snuck a peak of the Jays game while waiting for this screening to start… perfect timing to catch Vladdy hit a playoff grand slam against the Yankees. Once again, life imitates art!
VIFF 2025 #3. Screened at the Rio. As Vancouver’s home for cult classic screenings, the Rio was definitely the most appropriate venue in the festival for this screening. The crowd was locked in from the get-go. Matt and Jay will actually be in attendance for a screening of this with Q&A at the Rio in November. Too bad I will be moved out of Vancouver by then. I snuck a peak of the Jays game while waiting for this screening to start… perfect timing to catch Vladdy hit a playoff grand slam against the Yankees. Once again, life imitates art!
Youngblood (2025)
Pretty generic sports movie, but of course it gets bonus points for hockey being the sport of choice. It reminded me just how toxic sports can be from behind the scenes — while I never competed in any sport at any kind of high level, I am a lot more content to watch the drama unfold from afar. It makes for great entertainment in real life, but ultimately sports movies are only a supplement to the real product.
VIFF 2025 #4. Monday matinee screening at the Fifth Avenue Cineplex in Kitsilano, made possible by working ET hours. First time visiting this Cineplex, and last new one for me in the Vancouver area. No surprise the crowd was mostly retirees.
VIFF 2025 #4. Monday matinee screening at the Fifth Avenue Cineplex in Kitsilano, made possible by working ET hours. First time visiting this Cineplex, and last new one for me in the Vancouver area. No surprise the crowd was mostly retirees.
No Other Choice (2025)
It's only natural to wonder what you might do if you ever happen to lose your job. And this does a fantastic job of answering that question. It presents a mix of what you literally have to do, from cancelling Netflix to selling your house, and what you choose to do to get out of it. But all the while, playing with the titular idea of having no other choice, and making a black comedy out of it. And as far as the look and feel of this thing, such a fitting choice to go from the artificially hyperreal bliss of being employed, to the gritty dumps of unemployment. There are moments here with some awesome camerawork, using techniques I've never seen before. Overall, great follow-up to Decision to Leave from Park Chan-wook.
VIFF 2025 #5. Screened at the Vancouver Playhouse.
VIFF 2025 #5. Screened at the Vancouver Playhouse.
Jay Kelly (2025)
A spiritual sequel to La La Land — La La Land representing the relationships and life experiences that mark the road to fame, and this representing the comedown. More specifically, the disintegration of the very same relationships that managed to survive the wake of fame, and new responsibilities that the fame altered from the get-go, like fatherhood. It's just the nature of the beast, but most people are going to relate a hell of a lot more to the dreaming of La La Land than the regrets of Jay Kelly, because we simply won't get there in our own lives. It probably doesn't help that I'm not a huge George Clooney fan, and I'm not sure if this was semi-autobiographical from either his perspective or that of Noah Baumbach, but I could see this feeling more profound coming from someone's who's career arc has meant more to me. Naomi Watts comes to mind, especially with the context of Mulholland Drive. This did stick the landing though. Very Babylon-esque.
VIFF 2025 #6. Screened at the Vancouver Playhouse.
VIFF 2025 #6. Screened at the Vancouver Playhouse.
Wake Up Dead Man (2025)
Unfortunately, I was quite sleepy during this, after a long day of finishing up with my Vancouver apartment. Not sure why this was scheduled at 9:30pm instead of a prime-time 7:00pm time slot, this easily being the biggest draw of the festival. So I can't say much, but it was intriguing enough that I hope to revisit it soon. Throwing three stars at this for now, but will circle back later.
VIFF 2025 #7. Final film of the festival for me. I had 10 movies scheduled, but dropped A Private Life, The Mastermind, and Christy because of other life commitments. This was also my final screening overall in Vancouver. It's been real, Vancouver! Lots more to come when I arrive in Toronto.
VIFF 2025 #7. Final film of the festival for me. I had 10 movies scheduled, but dropped A Private Life, The Mastermind, and Christy because of other life commitments. This was also my final screening overall in Vancouver. It's been real, Vancouver! Lots more to come when I arrive in Toronto.
TRON: Ares (2025)
I mean, if you went into this expecting anything more than eye candy and a thumping score, I don't know what to tell you. I got what I was looking for, particularly because of my tempered expectations due to the handover in talent from TRON: Legacy — Daft Punk was a bigger draw for me than Nine Inch Nails, and Joseph Kosinski has a much better resume than Joachim Rønning at this point. These are things you probably just know going into this, so I don't think there is a whole lot of room for disappointment. Jared Leto's presence may deter some people from watching this, but I think he was fine here, in a role that didn't require him to be particularly human anyways.
Watched in IMAX at Scotiabank Theatre Toronto. First theatre watch after moving to Toronto. This IMAX screen is top-tier — even the trailers, particularly The Bride! with its 1.43:1 aspect ratio, looked fantastic. No doubt this will be my home theatre for IMAX releases. It was a lot of fun picking out Vancouver landmarks here, like BC Place, Cambie Bridge, and lots of scenes on Burrard Street. Interesting that they didn't even bother to obfuscate the Vancouver street signage!
Watched in IMAX at Scotiabank Theatre Toronto. First theatre watch after moving to Toronto. This IMAX screen is top-tier — even the trailers, particularly The Bride! with its 1.43:1 aspect ratio, looked fantastic. No doubt this will be my home theatre for IMAX releases. It was a lot of fun picking out Vancouver landmarks here, like BC Place, Cambie Bridge, and lots of scenes on Burrard Street. Interesting that they didn't even bother to obfuscate the Vancouver street signage!
Frankenstein (2025)
This was actually my first time watching any kind of Frankenstein content, but I thought it was lovely! What Guillermo del Toro put together here felt like movie magic, blissfully soaring high at all the right moments. Akin to all of your favourite movies — you know, the kind that make your heart flutter. The performances here were great, particularly Oscar Isaac. He isn't old by any means, but he moved around here like a twenty-year-old. And Jacob Elordi was built for this, literally speaking.
Watched in 35mm at the TIFF Lightbox. Limited theatrical release before hitting Netflix. Of all the Netflix movies I've watched, this honestly felt the most normal. I think it would be a disservice to queue this up on Netflix rather than seeing it on the big screen.
Watched in 35mm at the TIFF Lightbox. Limited theatrical release before hitting Netflix. Of all the Netflix movies I've watched, this honestly felt the most normal. I think it would be a disservice to queue this up on Netflix rather than seeing it on the big screen.
After the Hunt (2025)
In a nutshell, it's a me-too spin on The Social Network. It doesn't feel very original, and carries a lot of unanswered bloat through a lengthy runtime, before appeasing to anyone still hanging around with a slightly redeeming resolution. Michael Stuhlbarg at least seemed to be having fun.
Watched in 35mm at the TIFF Lightbox. Limited theatrical release before it hits Netflix.
Watched in 35mm at the TIFF Lightbox. Limited theatrical release before it hits Netflix.
The Mastermind (2025)
This is about as slow as a heist movie can get, but that's pretty openly the point. There is charm in the klutzy ways of Josh O’Connor's character and the way he fumbles through awkward situations — not unlike me in a way. The ladder situation in particular was funny. I wish Alana Haim had more than just a few lines of dialogue here, and I'm not exaggerating with that count.
Watched in release at the TIFF Lightbox. Missed it at VIFF, but still wanted to catch it.
Watched in release at the TIFF Lightbox. Missed it at VIFF, but still wanted to catch it.
Black Phone 2 (2025)
A noticeable step-up from its predecessor, at least in terms of style. My complaint with the predecessor was that it was markedly similar to tons of modern horror in its location, characters, and prevailing threat. You can't go wrong pulling from The Shining with its frigid and desolate remote location. The idea of taking a bustling location, meaning the summer camp here, or the hotel in The Shining, and stripping it from all familiarity by jettisoning it to the barren off-season just adds to the unease, perfect for horror. I do think it's a bit long-winded at times, breaking down the plight of characters whose trauma feels far removed from what's currently at play. Though that might just be my fault for not having revisited the predecessor before watching this — crazy that it's been four years since it came out.
Watched at Scotiabank Theatre Toronto. Sneaking in at least something for Halloween, before game six of the world series.
Watched at Scotiabank Theatre Toronto. Sneaking in at least something for Halloween, before game six of the world series.
