Hey, look at me! I survived the festival!

… well, barely. I’m wrecked, to be honest; exhausted and wrung-out and now dealing with having caught an actual old-school cold in the last weekend of the festival. Also I swallowed a bug on Saturday morning and my throat is still ragged; you can hear it in the intro and outro to this week’s Someone Else’s Movie.

Fortunately, the episode itself was recorded just before the start of TIFF, so I’m hale and hearty and even pretty sharp — which is what you need to be to discuss a film as challenging as Stanley Kubrick’s A Clockwork Orange, which somehow went unchosen for the first nine and a half years of the show.

But writer-director RJ Daniel Hanna — whose clever techno-horror hybrid Succubus lands on DVD and digital next week — went for it, and I’m so glad he did; it led to a knotty conversation about how Kubrick forces his audience to sympathize with a monster, and then to even empathize with him — and how Malcolm McDowell might have been the only person on the planet who could have played Alex DeLarge.

Also I have a great story about how Kubrick managed to protect his film from its studio, which McDowell told me during the 40th anniversary press tour. (I know he’s told it to a whole bunch of people, but that’s not the point. It’s a great story.)

Join us, won’t you? You can subscribe at all the usual spots — Apple, Spotify, YouTube Podcasts —or download the episode directly from the web and listen to it when Beethoven no longer appeals.

And after that,  subscribe to Shiny Things so you don’t miss a single word of verbiage on all the physical releases I can eat, starting with this week’s look at Criterion’s masterful release of Andrew Haigh’s All of Us Strangers and Arrows frankly preposterous three-disc special edition of David Twohy’s The Chronicles of Riddick. The man shot his shot, and you kinda have to respect that.

People don’t believe me, but working for TIFF is so much easier than covering it.

Attending a film festival as a journalist and critic is a gauntlet — three weeks of prep, ten days of screenings and interviews — and it’s exhausting.

On the programming side, it’s months of work, but all the hard stuff — the screenings, the inviting (and the passing), negotiating the various logistics — was finished weeks ago. The festival is the celebration, the part where we introduce the movies to audiences and the larger world, and I tell you, it is the most fun I will have all year. It turns out I really love this job.

And one of the movies I’m most excited to put in front of a crowd is Shook, the feature debut of Amar Wala, who joins me for this week’s episode of Someone Else’s Movie. It’s a charming, spiky and unapologetically authentic movie about a young writer figuring himself out in today’s Toronto, and people are going to love it.

Amar picked Lulu Wang’s The Farewell, with which his own film has certain emotional resonances, even though the characters and storylines are completely different. I’ll just say this: Saamer Usmani’s Ash and Awkwafinia’s Billi would have a lot to talk about if they ever ran into each other in an airport.

It’s a fun conversation, and you should listen in. Subscribe at all the usual spots — Apple, Spotify, YouTube Podcasts —or download the episode directly from the web and listen to it while you sit in  impotent silence at a family gathering. We’ve all been there.

Also, I’m still keeping up with the Shiny Thingses — the next couple of weeks may be spotty, but last week I wrote about Ishana Night  Shyamalan’s The Watchers, just released on 4K by Warner Home Entertainment, and Robert Rodriguez’ Mariachi Trilogy, newly remastered and reissued in an impressive boxed set from Arrow Video. Go on, subscribe! You know you want to.

On this week’s episode of Someone Else’s Movie, I’m joined by writer-director Ian Harnarine, who spent a decade expanding his 2011 short film Doubles with Slight Pepper into a very satisfying feature film, Doubles, that makes its VOD debut today after its festival and theatrical runs. It’s a story of a father and a son separated by oceans both literal and emotional, and the long road to reconciliation. It’s good!

And Ian chose a film entirely unlike his own: The Harder They Come, Perry Henzell’s reggae-inflected cult classic starring Jimmy Cliff as a musician-turned-outlaw racing through Kingston for revenge on the shady promoters and dirty cops who derailed a promising career. It’s got a body count, and you can dance to it. There’s really no downside.

So crank the sound and get subscribed at all the usual spots — Apple, Spotify, YouTube Podcasts —or download it directly from the web and play it while you lie in wait for those greedy fat cats who done you wrong. It’ll pass the time.

And when you’re done, catch up to the latest editions of Shiny Things! Last week I wrote about VVS’ new release of Josh Margolin’s Thelma and the Shout! Studios 4K special edition of the animated classic (?) The Last Unicorn, which is both very special and not quite as special as it might have been. What am I talking about? Only one way to find out.

On this week’s episode of Someone Else’s Movie, I sit down with Irish filmmaker Paul Duane to discuss movies that explore cosmic horror at a slight remove.

He picked a doozy: Kiyoshi Kurosawa’s Cure, a 1997 thriller that starts out as a police procedural about a detective trying to solve (and stop) a spate of brutal murders and discovering that the only thing that connects the killers is a drifter who claims to have no malice in his heart whatsoever. But that might be an understatement.

Paul’s new film, All You Need is Death, is also enthralled by the idea of incomprehensible forces at the edge of our understanding, and it’s a corker; you can find it on VOD in the US right now, and it’ll be streaming everywhere fairly soon.

But first, the podcast! Which you can find at all the usual spots — Apple, Spotify, YouTube Podcasts —or download it directly from the web and play it as you walk aimlessly through the world.

And then go catch up on Shiny Things, because I’ve been busy! Last week was all Warner all the time, starting with the studio’s spectacular 4K release of Furiosa: A Mad Max Saga and  finishing up with Arrow’s new When Titans Ruled the Earth set and Shout! Studios’ 15th anniversary release of Observe and Report. All good stuff, really.

The catalogue titles are only accessible to paid subscribers, mind you. But it’s really not that hard to subscribe. You should try it!

Joanna Hogg is one of my favorite directors, and someone whose films celebrated ever since I saw her first, Unrelated, at the BFI London film festival back in 2007. I was on the FIPRESCI jury that gave her our prize — I even got to be the one who presented it to her at that year’s awards gala, which was a genuine thrill — and I’ve been a fan ever since.

I’ve also gotten to know her just the tiniest bit over the years, and she’s the best, staying true to her vision and remaining resolutely herself as she gains more and more stature on the global stage. (Have you seen the Souvenir movies? You should see the Souvenir movies.)

Anyway, I’ve been waiting for someone to bring one of Joanna’s films to the podcast, and on this week’s episode of Someone Else’s Movie, I got my wish: India Donaldson, whose excellent debut feature Good One is in US theaters now and opening across Canada this Friday, picked Archipelago, Joanna’s second feature and one that further sharpens Unrelated‘s motif of curdling affection, isolated gatherings and uneasy generational interaction. And the conversation was everything I’d hoped for.

So go listen! You’ll find it at all the usual spots — Apple, Spotify, YouTube Podcasts —or download it directly from the web and play it while you wait for the ferry to the island.

And go see Good One, which is a knockout debut; India is subtly in conversation with Joanna’s films (and Kelly Reichardt’s, and Debra Granik’s) in intriguing ways while finding her own cinematic language. James Le Gros as you’ve never seen him before. We’ve got it at the Lightbox. You should come.

Also, I seem to be back on track with Shiny Things; last week I wrote about A24’s new 4K edition of The Zone of Interest, Via Vision’s exquisite Martin Scorsese: Films of Faith boxed set and Warner’s latest 4K set of the Rocky movies, which fixes the previous set’s issues in more ways that one. Of course, you can’t read that last bit without a subscription — but there’s an easy way to fix that.

Well, Someone Else’s Movie is up and running on YouTube Podcasts now, and we’re back on track with a brand new episode, just as I promised you. Or is this just a disquieting echo of a broken promise from another time, come back to haunt me with terrible force?

Nah, it’s the first thing. But one could make a case for the second, given that this week’s episode features writer-director Tilman Singer, and he chose to discuss David Lynch’s neo-noir nightmare Lost Highway, which exists almost entirely as an invitation to deep readings and heavily symbolic interpretations.

Still, it’s all in good fun, and I had a great time exploring Lynch’s infinite darkness with Singer, whose fascinatingly bizarre new film Cuckoo opens across North America this Friday and features a great horror turn from Hunter Schafer and an absolutely delightful supporting performance from Dan Stevens in a polo neck. So go see that!

But first, listen to the episode! It’s in all the usual spots —  Apple, Spotify, the aforementioned YouTube Podcasts — and of course you can just download it directly from the web and listen to it while you gun your car down the freeway at top speed, trying to outrun the demons that will never stop pursuing you.

You should also catch up on your Shiny Things, as I’ve been busy going through a whole batch of July releases myself — Alex Garland’s Civil War and Moritz Mohr’s Boy Kills World, and Arrow’s new editions of Guy Ritchie’s The Man from U.N.C.L.E., Howard Hawks’ Red Line 7000 and The Nico Mastorakis Collection (ugh).

You need to be a member of the paid tier to read the Arrow stuff, but that’s easily solved: Just subscribe already! I’ll be right grateful, I promise.

There’s no new episode of Someone Else’s Movie this week.  Don’t freak out.

Everything’s fine, really, but a confluence of events — a release date shifting, a recording getting pushed, the gentle drift towards program lock turning into a roller coaster at the last minute — made it impossible to put something out yesterday. Factor in the show’s long-overdue migration to a new home on YouTube Podcasts, and it ultimately just more sense to let the chaos happen for bit. But the show will be back next Tuesday, and it’ll be like nothing ever happened.

Until then, there’s always Shiny Things! Last week I wrote about The Fall Guy and I Saw the TV Glow — two very different films about media literacy, as it turns out — and Criterion’s glorious new 4K release of Chen Kaige’s Farewell My Concubine, which is just as powerful as it was thirty years ago. Maybe even more so. And if you subscribe, you can see what I mean by that!

That is all. See you next Tuesday. It’ll be okay, I promise.

This week on Someone Else’s Movie, actor and filmmaker Cat Hostick — whose new show Poly Is the New Monogamy dropped on Tubi in the US and Hollywood Suite in Canada last week — wanted to talk about Ari Aster’s  Midsommar, the director’s 2019 follow-up to his breakout Hereditary that’s as much about a disintegrating relationship as it is a study of four young Americans trapped in a folk-horror nightmare.

But there was a twist: It turns out Cat is a fan of the podcast, and she wanted me to talk about it — or at least to know how I felt about the movie she’d chosen. So for the first half of our conversation, she ended up more or less playing host. And that was fun, too.

You remember how this works, right? Find the show wherever you get your podcasts — Apple, Spotify, YouTube Podcasts sometime this week — or just download the episode direcly from the web and listen to it in a doomed attempt to block out the wailing of the villagers.

And then go catch up on Shiny Things! Last week I wrote about the new discs of Wim Wenders’ Perfect Days, Richard Linklater’s Hit Man and Luca Guadagnino’s Challengers, as well as the new Scream Factory 4K release of Dean Koontz’ Phantoms, the one where Ben Affleck and Peter O’Toole face down a sentient goo. Can’t read  that one without a subscription, though. So subscribe!

This week’s update is a bit late, I know — chalk it up to one final frenzy of logistics and organization before we lock everything down for September.  Honestly, I’ll be lucky if I get a newsletter out at all this week.

But I did get a fresh episode of Someone Else’s Movie onto the feed, featuring producer-director Ant Timpson — whose charming father-daughter story Bookworm just had its world premiere at Montreal’s Fantasia genre festival — discussing a remarkable film that fundamentally shaped his developing sense of cinema: Cornel Wilde’s The Naked Prey.

I’d known the film only by reputation, having somehow missed out on Criterion’s DVD and BD editions over the years, and catching up to it now was a revelation: Utterly unsympathetic and without an ounce of fat on it — and strikingly modern in its perspective for a film nearly sixty years old — Wilde’s film is a remarkable accomplishment in both practical and aesthetic terms. So jump on in, and keep an eye out for Bookworm when it gets its theatrical run. It’s all good.

As always, you can find the show wherever you get your podcasts — Apple, Spotify, YouTube sooner or later — or just download the episode directly from the web while you flee your pursuers across the merciless veldt.  Take your mind off things.

And if I don’t get the next Shiny Things out before the weekend, you can always catch up on the most recent issues! Last week I reviewed the new releases Ghostbusters: Frozen Empire, Immaculate and Tarot and spun up the new 4K editions of Twister, Matinee and UHF. Warner’s Twister turned out great, which is … not something I thought I’d say. But I did say it, and you can read that and everything else if you have a subscription. So get yourself set up! It’s worth it!

In this week’s episode of Someone Else’s Movie, it’s my distinct pleasure to talk to Dave Merheje, a very funny person who ventures into serious-ish acting opposite Daisy Ridley in Rachel Lambert’s Sometimes I Think About Dying, which is on Hoopla in Canada and on Kanopy and Mubi in the US. (It’s very good, and you should see it.)

And what movie did Dave want to talk about? Good Time, the chaotic 2017 feature from Josh and Benny Safdie in which Robert Pattinson plays Connie, a young man who spends a hectic day racing around New York like a toxic pinball, trying to gather the bail money for his brother after a robbery goes sideways. But that’s the thing with Connie: Everything he does goes sideways, and over the course of the film we watch him heedlessly derail or destroy the fortunes of pretty much everyone he encounters.

It’s a pretty potent angle for a character study, and Dave and I found plenty to discuss about the Safdies’ cinema, Pattinson’s career choices, and Dave’s path to the screen. The Varsity 7 also comes up. (If you know, you know.)

Join the fun! You can find the podcast at the usual locations — Apple Podcasts, Spotify, possibly YouTube by now — or just download the episode directly from the web and listen to it while you pinball around the Bronx ruining people’s lives. And check out Rachel’s episode on Midnight Cowboy, too. It’s very good.

And then catch up on Shiny Things, why don’t you? Last week I caught up to a lot of catalogue releases, covering the new 4K editions of American Gigolo, Mute Witness, Purple Rain and South Park: Bigger, Longer and Uncut in one dispatch and Twister, Matinee and U.H.F. in another. Sounds like something you’d want to read, doesn’t it? Subscribe and make it happen!