Trailer write-up time!

Taking a mild break from my reviews and watches to talk about a movie that I am ready to rally behind. Let’s talk about Luce for a quick minute. Directed by Julius Onah (The Cloverfield Paradox. Hold your thoughts, I know what you’re thinking) and written by the man behind the play of the same name, JC Lee. Let’s take a look at this trailer now.

The festival in a way is over for me. I’ve seen 7 films in the theatre and there are four more screeners to make my way to, which also means way more writing for me to do. I’ve so far seen a variety of great things at the festival, and a few parts or maybe one film I didn’t enjoy. Which is a fairly great ratio when it comes to a festival. I know I’m speaking early about that, but I’m also going to speak early on the fact that I don’t see myself falling more in love with a film than I did with Second Star on the Right.

Unlike most people I know who are into genre films, I got into them fairly late in comparison. It wasn’t until I was about 15 that I was able to handle them. Seeing The Shining at the age of 10 traumatized me for nearly a month. I remember being in the room at one point as my family watched Freddy Vs. Jason and I realized, maybe it’s not so bad. It was also middle of the day on the weekend with all the lights on, so I got by just fine. It wasn’t until after the film was after that my family members told me that this film wasn’t necessarily scary anyway. “Not like the older Freddy or Jason films.” They were right, but I wasn’t sure how right.

Picking what to watch at a festival is tough. Sometimes half the battle isn’t just picking the films, it’s also the flow of it all. Which includes how to start and end it. The first and obvious choice was the one they chose to open the festival with, but the scheduling didn’t work out for me. Thankfully Arianne got to catch it. But then I read the premise for Bit, and I was hooked. Bit is a female-centric vampire flick that was geared to tackle gender norms. The poster is a beaut (as you can see below) and comes with a killer tagline. I was very excited and amped, and very quickly it turned into a bit of a disappointment.

Don’t get me wrong, although I was never a loud doubting voice, I did have my doubts about this adaptation. Such as why? I’ve enjoyed some of the other remakes (Pete’s Dragon and Cinderella are stand-outs for me) but the question needs to be asked, do we need it? The answer is a fairly obvious “of course not”, but that doesn’t mean you can’t have fun with it.

Here it finally is.

I’ve been waiting for this day for a long time. The first film came and knocked us all off of our feet in the best way possible. I remember when watching it in theatres being terrified as the film began and couldn’t wait for it to end so I can breathe again. But after that, I’ve seen the film nearly a dozen times and I tend to love it more and more. The cast is back and the adults who are cast are perfect choices (written before witnessing the trailer and the film, of course).

Here it is, finally.

It was almost the end of TIFF and it was definitely getting to me. I wasn’t sleeping that much, and I was still trying to work at the same time. I made it to the last two days of the festival, and I had at least 4 films left. It ended up being 5 because I grabbed a ticket to the People’s Choice Award winner. On Saturday, I had 3 movies to see and this was the last one of the day, and it started at 9:45. I was a bit amped due to Arianne’s glowing review as she caught it the week prior, but it was also a semi-late film and I was just hoping for something to keep me awake. If it were up to me, I would have walked back in to see it again after the film ended.

Some of us saw this coming, the review is finally here.

I try to see as many films by A24 as possible for many reasons. One, being they have a great track record of putting out some of my favourite films for the last three years, First Reformed, Good Time, and Moonlight. But also similarly to Blumhouse, something A24 seemingly does is that they try and push the director’s vision. They allow for that opportunity, and they lean into the bizarre. Some of the films that were released in their first year were James Ponsoldt’s The Spectacular Now, but also released Harmony Korine’s epic Spring Breakers.