Forget the Marvel’s Blade mishap—Your Mother Your Mother Your Mother is here to save the day!
Marvel’s mismanagement of its Blade reboot is shaping up to be one of the studio’s most significant blunders. With a talented actor like Mahershala Ali set to portray the vampire hunter and a promising director in Bassam Tariq, expectations were high. However, the disappointing fate of Blade may not be entirely negative, as Tariq and Ali have teamed up for something far more intriguing than a superhero revival: the gripping hitman thriller *Your Mother Your Mother Your Mother*.
This was just one of five films I managed to catch on a whirlwind third day at the Toronto International Film Festival, a day that truly highlighted the unique magic of events like TIFF. Each film I experienced was a stark contrast to the last, ranging from a drama centered on drifting cars to a nostalgic horror flick inspired by a renowned Japanese ghost story. It was a refreshing reminder that the world of cinema still brims with fresh ideas.
Now, let’s dive into some quick reviews of everything I watched on day three at TIFF.
*Your Mother Your Mother Your Mother*
In theaters in October
Latif (Ali) leads a life filled with contradictions: a devout Muslim and dedicated father, he also works as a hitman, adhering to a strict moral code (only take out the bad guys; never use a gun). His faith and principles are put to the test when his wife passes away, leaving him to raise three children, including a newborn. As his violent past resurfaces, it threatens the safety of his family. While we’re in a golden age for action films like *Furious* and the *John Wick* series, *Your Mother* offers a different experience. It’s a profound character study where action is sparse but impactful. The film kept me on my toes, wondering how Latif would navigate his challenges. Despite its serious tone, it also features plenty of laugh-out-loud moments. Ali shines as the morally ambiguous hero, and John Cho delivers a standout performance as the charismatic yet unhinged leader of a right-wing church group.
*In Alaska*
No theatrical date yet
*In Alaska*, co-directed by Jaap van Heusden and Vinnie Karetak, is a slow-burning crime thriller that follows Woody (Leo Matthew Temela), a suicidal teen who inadvertently becomes a fugitive after a tragic accident causes extensive damage to an oil pipeline. The film presents two perspectives: Woody’s desperate fight for survival and veteran agent Susan (Noomi Rapace), who is the only one aware that eco-terrorists aren’t behind the chaos. This moody take on the genre raises challenging questions about its characters, especially Woody, who constantly wrestles with his will to live. What begins as a bleak narrative ultimately concludes on a more hopeful note.
*The Face of Horror*
No theatrical date yet
Anna Biller’s *The Face of Horror* is a unique blend of styles and influences. Adapting the classic Japanese ghost story *Yotsuya Kaidan* to 14th century England, it’s presented in the vibrant style of Technicolor horror classics. This intriguing combination works well, as the film exudes a campy theatricality, featuring over-the-top performances and classic-style special effects, including memorable makeup work that enhances its grisly tale of murder and betrayal. The story is anchored by strong lead performances: Eleanor (Kristine Froseth), the scorned wife turned nightmare, and Edward (Jonah Hauer-King), a morally dubious knight whose comeuppance is eagerly anticipated.
*Babies*
No theatrical date yet
*Babies*, written and directed by Lauren Miller Rogen, tackles the often-asked question faced by long-term couples: when will you have a baby? Centered on Annie (Anna Kendrick) and Aaron (Seth Rogen), the only childless couple in their social circle, the film explores Annie’s internal debate about the pros and cons of parenthood. Their perspective shifts when a close friend and her young daughter stay with them, offering a glimpse into parenting. *Babies* succeeds for two reasons: it’s genuinely hilarious, with Kendrick and Rogen showcasing great chemistry, and it resonates on a relatable level, regardless of one’s parental status.
*Drifter*
No theatrical date yet
Imagine a mashup of *Good Will Hunting* and *The Fast and the Furious*, and you might get something like *Drifter*. Directed by longtime *Fast* star Sung Kang, who also stars as Tree, a janitor at a small-town racetrack moonlighting as a driver for a drug kingpin, the film follows his desire to drift. As he prepares for a major competition against the world’s best drifters, he faces challenges beyond the racetrack, including learning to connect with others and extricating himself from crime. Unfortunately, *Drifter* leans too heavily on the familiar underdog sports formula, making many plot points feel predictable, aside from its wildly improbable ending. Additionally, aside from Tree, the supporting characters lack depth, and the crime thriller elements don’t mesh well with the feel-good narrative. At least the film features some stunning sequences that elevate drifting to an art form.
