The kind of funny thing about overlapping dialog is you don’t quite realize it’s there until it’s suddenly not. The typical cadences of interaction are abandoned in favor of a more stilted, expressive manner of speech in La Sapienza. It’s the newest film from American-born but French-naturalized Eugéne Green (and his first since 2009’s The Portuguese Nun). La Sapienza serves as the filmmaker’s love letter to 17th century architecture, and the work of Italian architect Francesco Borromini. Green frames this homage through the martial difficulties of a modern couple, Alexandre and Alienor Schmidt (played by Fabrizio Rongione and Christelle Prot Landman, respectively).

Alexandre is an architect as well, one who touts the factories he’s helped design as modern-day churches. At the film’s onset, he’s receiving a lifetime achievement award. Meanwhile Alienor works as a psychoanalyst, conducting studies of cultures on a macro-scale. Their outer successes would seemingly indicate a happy marriage; however, the couples’ awkward dinner date and stiff communications indicate otherwise. Alexandre decides to travel to Italy in hopes of completing his long-gestating book on Borromini, and informs Alienor as if it were an announcement.

Green has Rongione and Landman often speaking to one another but facing outward, as if cheating their posture toward an unseen theater audience. This technique can make these exchanges appear uncomfortably sincere, but the effect also highlights each line of dialog, nearly all of which contains a precisely articulated feeling from one of the film’s characters. Green seems intent on allowing unfiltered expressions of a dissolving marriage provide the context for La Sapeinza’s narrative thrust, regardless of how rigid that approach feels in moments of the film. Sometimes it feels like we’re just waiting for the next character to speak.

The couple arrives in Italy and quickly meets a pair of siblings—Goffredo and Lavinia (Ludovico Succio and Arianna Nastro)—just as Lavinia is struck by one of her infrequent dizzy spells. Without deliberation, Alexandre and Alienor help their new, young friends catch a taxi back home to help Lavinia rest, then take Goffredo out to lunch only to learn he soon plans on beginning his studies as an architect. This chance encounter gives Alienor an idea: she will stay in Stresa while Lavinia recuperates and Goffredo will accompany Alexandre to learn about architecture. By this point, it’s clear the married couple hasn’t been enjoying their time together, yet this suggestion still feels hasty.

Giving over to the exploration of fleeting love and Baroque architecture in La Sapienza might elicit a thoughtful response in some; however, the narrative imposed on the movie is jarringly blatant, with subtext delivered as text. Where La Sapienza seems primarily concerned is in its explanations of the life of Borromini, matched with artfully framed shots of his work. The church façades and intricately crafted vaults are discussed while Green’s camera slowly pans across the design, occasionally making a full 360-degree spin around the ceilings of particular churches. This studying of Borromini’s work takes Alexandre and Goffredo to the Church of Saint Yves at La Sapienza in Rome that gives Green’s film its title. The beauty is undeniable, but it seems obvious from the film’s preoccupancy with Borromini that Eugéne Green simply finds 17th Century architecture much more fascinating than the average filmgoer (or myself at least).

Perhaps the most compelling sequence among a slew of dialog-heavy exchanges comes during a bout of Alexandre’s insomnia when he’s decided to work on his Borromini book. As we see close-ups of Borromini’s work, as well as a vignette of his final night, Alexandre speaks in voice-over the words he plans to include in his book. When the sequence intersperses shots of Alexandre in bed, it becomes clear that the scene is meant to illustrate his writing process, a process that often appears uncinematic in movies. With La Sapienza, Green manages to articulate the struggle to put words to the page without simply showing Alexandre slouching over a laptop.

Ultimately, the blending of past with present does little to inform either. Eugéne Green’s ode to the legacy of Francesco Borromini is able to beautifully capture the architect’s iconic constructions, yet it’s unfavorably matched with a non-engaging narrative. It’s intriguing to see Rongione and Landman navigate such odd conversations, and both deliver fine performances (stronger ones than their younger counterparts), but there is so much empty space within the margins of La Sapienza that your attention is drawn to the voids rather than the substance.

Waiting is the hardest part, and if you follow major film festivals like Cannes or TIFF that saying might be all too familiar. Plenty of new films premiere at these festivals, earn raves across the board and get picked up by a distributor, only to take what can feel like an eternity before finally getting a public release. Last year, Foxcatcher premiered in May at Cannes before finally coming out in November, but that’s not as long as the nearly 8 month wait Under the Skin endured before it finally hit theaters—it premiered at Venice in August 2013.

With many of our writers covering a variety of major film festivals across the world at Way Too Indie, we’ve seen our fair share of great films in 2014 that haven’t come out yet. So we put together this list of movies we’ve already seen and loved. No guarantees that any of these films will wind up making our top ten lists come December, but at least you’ve got a few movie recommendations to go off as you start a new year of new films. Read on to see our picks, as well as information on how and when to see them. Some of these films are actually available to watch right now, so if you see them (and we’re telling you to), be sure to let us know what you think. And as for the ones still unavailable, well, just know that they’re all well worth the wait.

10 Great 2015 Films We’ve Already Seen

Backcountry

Interview with director Adam MacDonald

Trailer

As a genre fan, I simply couldn’t leave Adam MacDonald’s Backcountry off this list. Directorial debuts, especially ones covering familiar ground like this, rarely come out as assured and all-around good as this film. A couple from the city (Jeff Roop & Missy Peregrym) spend a weekend camping in the woods, only for things to start going south. MacDonald lays the dread on thick from the start, introducing one possible tragic outcome after another for the (un)happy couple before settling on one. Roop and Peregym also do a great job together, but it’s Peregrym who gives it her all as she goes through hell to try and escape the woods. Backcountry is a solid film through-and-through, one that starts out with a general feeling of unease before ratcheting up the tension considerably. No one will blame you if watching this film ends up killing your interest in camping for a while. [C.J.]

When does it come out? IFC Midnight is handling US distribution, so expect a VOD and/or theatrical release some time this year.

Buzzard

Trailer

Imagine the most despicable and remorseless character you know, one with no regard for social standards or the consequences of their actions, now multiply them by two and you’ll have a character close to Marty Jackitansky. Working as an office temp at a bank, Marty spends his days conjuring up scams for pure entertainment. His schemes range from returning his office’s supplies for cash to forging endorsements on checks. Indie director Joel Potrykus conceives a brutally offensive protagonist without being remotely apologetic, and yet it’s somehow impossible to condemn him. Buzzard is a remarkably compelling and wildly entertaining character study that goes places most films wouldn’t dare. It’ll be a surprise if anything else in 2015 ends up as uncomfortable and unforgettable as Buzzard. [Dustin]

When does it come out? Oscilloscope Films will release Buzzard in theatres and VOD on March 6th.

The Duke of Burgundy

Trailer

A runaway hit with critics at the 2014 Toronto International Film Festival, The Duke of Burgundy had some of us swooning when we caught it back in the fall. Peter Strickland’s follow-up to Berberian Sound Studio takes place in a timeless, fairy tale world where men don’t seem to exist. Two women engage in an erotic ritual with each other—one where dominant and submissive roles are redefined several times over. But take away the fantasy qualities, the gorgeous aesthetics, the sublime asides into the abstract, or the BDSM elements, and The Duke of Burgundy is a simple, beautiful love story about the compromises that come with any relationship. It’s the strength of the film’s core ideas, combined with how beautifully they tie into form, that make The Duke of Burgundy a near-masterpiece. Expect this film’s bewitching power to maintain a strong hold on critics and audiences throughout the rest of the year. [C.J.]

When does it come out? Very soon! IFC Films will release the film in theatres and VOD on January 23rd. If you’re able to see this one in theatres, do it.

It Follows

Trailer

This film has been a hype machine ever since it wowed critics last year at Cannes, and now it’s finally (finally!) coming out. It Follows plays out like a more adult version of an Are You Afraid of the Dark? episode. A young woman (Maika Monroe) gets a sort of curse put on her. One that’s only contracted through sex. Once a person has it, a figure emerges, walking towards that person at a slow, steady pace. Only they can see it, and it can take the form of any human being. Once it eventually catches up with its prey, it kills them. Its slow movement means outrunning it is possible, but the only way to stop it is to pass the curse on to someone else (and even that doesn’t guarantee they’re in the clear). Writer/director David Robert Mitchell takes this concept and runs with it, providing one unnerving moment after another as Monroe’s character continually tries to escape this malevolent being while it slowly comes for her. Don’t be surprised if this little film spawns a new franchise. [C.J.]

When does it come out? March 27th in theaters and on VOD. See this one with as many people as you can. It’ll be a lot more fun that way.

Jauja

Trailer

There are films that play within the boundaries set up by cinema over the last century, and then there are some that dare to step outside the box. Jauja, Lisandro Alonso’s fifth film, goes to places that even the director admits he’s unsure of. The film starts off with an accessible set-up: a Danish captain (Viggo Mortensen) exploring a South American desert sets off to look for his teenage daughter after she runs off with a young soldier. The film’s first act certainly feels a lot different than Alonso’s earlier films, containing more plot and dialogue than most of his other works combined. But once Mortensen’s character ventures into the desert alone (the middle section feels more like Alonso operating within his comfort zone), well…some people have happily revealed what happens in Jauja’s last half hour, but it’s better to find out for yourself. Whether or not Alonso’s bold moves succeed is a matter of opinion, but it’s exciting as hell to watch someone brave enough to go places others wouldn’t dream of. Jauja is strange, unique, beautiful, frustrating and even maddening at times, but it’s also a reminder that we still haven’t scratched the surface of what cinema can do. [C.J.]

When does it come out? Cinema Guild will release Jauja in theaters on March 20th.

La Sapienza

Clip

A famous architect undergoes a crisis when he suddenly loses interest in his work and marriage. He takes his wife to visit the works of his favourite architect and, during their trip, befriends two young siblings. The brother, an aspiring architect himself, winds up tagging along with the husband for the rest of the trip, while the wife stays in Switzerland and bonds with the younger sister. The set-up for Eugene Green’s La Sapienza sounds a little trite in its tale of an older couple learning to love again through their experiences with younger, more hopeful people, but it’s actually a surprising delight. That’s largely due to Green’s unique and highly formal approach, having characters speak to the camera in a deliberately stilted manner. It sounds pretentious, but it’s quite the opposite, with each conversation cutting directly to the point (it’s also hard not to stay involved when characters stare directly into the camera so often). And Green knows how to shoot buildings, too; he films various pieces of Baroque architecture in ways that make it hard not to admire the astounding work on display. [C.J.]

When does it come out? Kino Lorber haven’t announced a release date yet, but it should come out some time this year.

Li’l Quinquin

Trailer

If you told me at the beginning of 2014 that Bruno Dumont would make a critical and mainstream hit TV series, I would try to commit you to the nearest asylum. But then Li’l Quinquin premiered at Cannes to absolute raves, followed by smashed ratings records when it premiered on French television. Now Kino Lorber will screen the series in US theatres this year. Li’l Quinquin starts out as a murder mystery in a small countryside town, only to build into something quite strange, dark and funny. Dumont’s usual traits—non-professional actors, the northern French location, stunning cinematography, philosophical themes, and shocking violence—all remain, but with plenty of flat-out hilarious moments peppered throughout. Dumont’s break into the mainstream turned out to be more of an evolution than a compromise. [C.J.]

When does it come out? It’s out right now! Kino Lorber released Li’l Quinquin in theaters on January 3rd, and it’s currently streaming on Fandor.

Welcome to New York

Trailer

Abel Ferrara’s film, inspired by former IMF chief Dominique Strauss-Kahn’s alleged sexual assault of a hotel maid, has already inspired plenty of controversy. DSK’s lawyer promised to sue the filmmakers for slander, and now IFC Films intends to cut the film’s explicit sex scenes down to get an R rating for its US release. Ferrara has been quite vocal about his displeasure with IFC’s decision to cut his film, and hopefully they’ll change their minds. Gerard Depardieu (a genius casting choice) plays Devereaux, the character unabashedly intended to represent DSK. Ferrara uses the film’s opening act to coldly observe Devereaux’s horrifying, grotesque debauchery before turning the film into a procedural covering his arrest. Ferrara layers his film in ways that feel paradoxical and exciting. The recognizable star and excellent cinematography clash with Ferrara’s detached, observant, and docu-like style, to the point where some moments feel incredibly realistic. The results of this clash turn out riveting thanks to the film’s two excellent central performances. Depardieu does his best work in years here, but the real star is Jacqueline Bisset, who outshines her co-star as Devereaux’s wife. [C.J.]

When does it come out? No word from IFC yet on when it’ll come out, but it’s already available on DVD and Blu-Ray in the UK. And for any pirates with a guilty conscience out there: Ferrara encourages stealing the film if it means being able to see it in its proper form.

What We Do in the Shadows

Trailer

Just when the vampire movie appeared to be reaching the point of exhaustion, 2014 provided three refreshing, exciting takes on the legendary creature. The first two, Only Lovers Left Alive and A Girl Walks Home Alone at Night, are already out, but the third, What We Do in the Shadows, will finally get a proper release next month. Jemaine Clement (Flight of the Concords) and Taika Waititi (Boy) direct and star in this mockumentary about four vampires living together in New Zealand. The film’s style, obviously inspired by Christopher Guest’s films, helps break down the mystique surrounding vampires, putting them in pretty ordinary and banal situations. It’s a simple, silly joke that’s surprisingly versatile, and the top-notch cast (who improvised almost all their dialogue) make it all look effortless. People sick of vampires, or anyone who just likes really silly humour, should check this one out. [C.J.]

When does it come out? Unison Films will release What We Do in the Shadows in theaters on February 13th.

Wild Tales

Trailer

I knew I was in for a treat when I saw Pedro Almodóvar’s name as the producer of Wild Tales, but I didn’t expect this anthology film to completely blow me away. Argentinian writer/director Damian Szifron delivers exactly what the title says: six distinct wild tales, all involving dark humor, plenty of irony, and just the right amount of Almodóvar-esque style. The film opens with the strongest (and shortest) story, as passengers on a plane discover unexpected connections with each other. Szifron’s reveal of a truly ridiculous outcome perfectly lays down the groundwork for the rest of the film. Each set of stories stand on their own yet link together thematically, with everyday situations exploding into absurd revenge tales that end with an epic conclusion. Wild Tales is the most fun I’ve had watching a film in years. [Dustin]

When does it come out? Sony Pictures Classics will give Wild Tales a limited release in theaters on February 20th.

Other notable 2015 Films to Watch For

We couldn’t cover all the good films we saw last year that will head to theaters and/or VOD in 2015, but here are some more that impressed us: Roy Andersson’s A Pigeon Sat on a Branch Reflecting on Existence; Ramin Bahrani’s 99 Homes; Pedro Costa’s Horse Money; Christian Petzold’s Phoenix; and Shlomi & Ronit Elkabetz’s Gett: The Trial of Viviane Amsalem. And since our feature on the best undistributed films of 2014, three titles have been picked up for a 2015 release: Hard to be a God, Wild Canaries and Welcome to Me. Let us know if we’ve missed any other awesome titles from last year’s festival circuit, and tell us what you’re personally looking forward to seeing. We certainly can’t wait to see all these films again.

With Toronto now in our rearview mirror, we’ve had time to reflect on which films at the festivals left the greatest impression on us as well as ones that left us with a bad taste (check out our coverage hub). Unlike last year’s 12 Years a Slave or Gravity, the lineup this year seemed to lack a headliner film that everyone flocked towards, but this allowed us to put on our exploring gear to discover some hidden gems. And we certainly found some surprises. We compiled our favorite and most disappointing films of the 2014 Toronto International Film Festival, listing any films we already saw at other festivals like Cannes and SXSW as part of our honorable mentions.

Favorite Films of TIFF 2014

Bird People

Pascale Ferran’s film defines whimsy, but don’t take that as a red flag. Split into two parts, Bird People (review) tells a similar story through two slightly connected lives. An American businessman on a trip in France makes a major, life-changing decision in the first part, and in the second one of the cleaners at the hotel the American stays at has a life-changing decision made for her. It’s best to go into Bird People not knowing too much, because the shock of where Ferran takes her film is a large part of what makes the experience so pleasurable. By finding an utterly audacious way to tell the same story twice, Bird People serves as a reminder of the limitless possibilities of storytelling. [CJ]

The Duke Of Burgundy

Wonderfully acted, sumptuously shot, vibrantly edited, Peter Strickland’s The Duke Of Burgundy (review) was one of those festival films that floored most critics, and became the unofficial recipient of the “Critic’s Choice Award.” You can count me among those who fell ecstatically in love with this intoxicating and deliciously spirited picture. Tracing the waning stages of a relationship, it may sound conventional on paper but you’ll be hard-pressed to find a single conventional frame here. Chara D’Anna and Sidse Babett Knudsen play lesbian lovers Evelyn and Cynthia, deeply involved in a relationship founded on BDSM and Cynthia’s profession in lepidoptera, and the emotional core of the film is the lovers’ attempt at holding on to the passion that binds them. It’s creative in every imaginable cinematic way, and with US rights secured by IFC Midnight, I urge readers to keep a look out for release date because this is one you won’t want to miss. [Nik]

In the Crosswind

Director Martti Helde’s debut, based on Stalin’s purge of Baltic residents to Siberia, was one of the fest’s more surprising discoveries. Shot in black and white tableaux vivants, the camera slowly floats around each meticulously staged scene (each shot took months of preparation) while the protagonist narrates her experiences. It’s a bold stylistic move that pays off in spades, providing one moving image after another. At its worst, In the Crosswind (review) can be admired for its exquisite cinematography, but it’s much better than an excuse to show off some terrific camerawork. Helde merges the story’s emotional impact with the meticulous staging, delivering something completely unique and awe-inspiring. [CJ]

La Sapienza

Eugène Green’s newest work sounds trite on paper. When a famous architect loses the passion for his livelihood, along with his marriage, he sets off with his wife to study a famous Baroque architect’s work in Italy. A stop along the way has them crossing paths with two young siblings, and their experience with the brother and sister cause the couple to fall back in love again. But leave it to Green, whose formal approach is something entirely his own, to make La Sapienza (review) a thought-provoking, altogether pleasant experience. Even if one can’t adjust to Green’s habit of placing the camera directly in front of his actors, the inventive and evocative ways he films Baroque architecture will surely wow viewers. [CJ]

Nightcrawler

Jake Gyllenhaal plays a creepy thief who stops at nothing to earn himself a buck in Dan Gilory’s directorial debut Nightcrawler. Shot by the extraordinary Robert Elswit (There Will Be Blood, Magnolia), the film shows a side of Los Angeles that you’ve never seen before. Eager to get into any job field that will accept him, Lou Bloom (Gyllenhaal) stumbles into the dark and dirty world of racing ambulances to crime-scenes to capture gruesome footage for local television stations. Gyllenhaal plays a perverse anti-hero who somehow has us rooting for him in more times we care to admit. Nightcrawler keeps you on the edge of your seat with twists and turns down to the very end. For my money, it’s a better version of American Psycho. [Dustin]

Phoenix

Christian Petzold returned to the festival circuit this year, to remind us why he’s one of Germany’s most accomplished and leading directors working today. In a sixth collaboration with his muse Nina Hoss, he has directed the most sophisticated film I saw at TIFF. Phoenix (review) tells the story of Nelly, a Holocaust survivor who returns to her native Berlin to try and piece her broken life back together. She searches for her husband Johnny (Ronald Zehrfeld, also fantastic) who may or may not have betrayed her to the Nazis, and in an intricate narrative, ends up pretending to pretend to be herself. It’s a brilliant storytelling move by Petzold, who explores an identity crisis and symbolizes it in the context of post-war Berlin. The ending is probably the greatest thing Hoss and Petzold ever achieved together; it will eat you alive. [Nik]

A Pigeon Sat On A Branch Reflecting On Existence

Featured in our Top 15 Most Anticipated films for TIFF, it’s safe to say that Roy Andersson’s Golden Lion winner did not disappoint in the slightest. With a title you just want to hug, A Pigeon Sat On A Branch Reflecting On Existence begins in typical Andersson style; a stationary camera angled at a beige-colored museum room, and a pasty-white overweight man walking around, looking at fossils and relics, with his wife impatiently waiting in the background. One of these fossils turns out to be a dusty pigeon, sitting on a branch, frozen in stuffed reflection. A series of vignettes proceed to flow and connect in Andersson’s philosophizing world full of contemplative, existentialist, and often hilarious, characters and actions. Some of the scenes, including one where two eras meet in a café, are reminiscent of the superior Songs From The Second Floor in their astounding choreography and technical fortitude. For the third part of his trilogy about “being human,” Andersson has proved yet again that he is one of the most fascinating directors working today. [Nik]

The Theory of Everything

Here’s a challenge for you. Try watching the Stephen Hawking biopic The Theory of Everything (review) without shedding a tear. Based off the memoir of Jane Hawking, the film chronicles the life of famed theoretical physicist Stephen Hawking from the time the two met at Cambridge and the difficulties they faced after Stephen was diagnosed with the paralyzing Lou Gherig’s disease. Most people only hear the scientific side of Stephen’s achievements, but this film sheds light on his personal life and the emotional struggles he and Jane went through trying to raise a family while battling a vicious disease. Don’t be surprised if you hear Eddie Redmayne’s name called come Oscar time. Portraying Stephen Hawking before and after the disease required a difficult physical transformation that Redmayne brilliantly performs. It may be a little sappy and conventional at times, but The Theory of Everything remains an incredibly uplifting film about love and hope. [Dustin]

Tokyo Tribe

Sion Sono tops himself yet again which his biggest and most ambitious film to date. Taking place over one night in a dystopian Tokyo run by 23 different gangs, Sono’s hip-hop musical/action/comedy/horror/whatever-you-want-to-call-it throws everything it can on the screen at once. At times overwhelming and exhausting, Tokyo Tribe (review) is nonetheless frequently hilarious and twisted, filled with incredible scenes and violence galore. This might not be the best introduction to Sono’s insanity (last year’s Why Don’t You Play In Hell? might work better for that), but fans of the Japanese madman have no need to worry. Sono continues to fire on all cylinders, and for all we know this could be his masterpiece. [CJ]

Wild Tales

The Argentina film Wild Tales (review) was easily the most fun experience I had at the festival. Consisting of six completely insane short stories, director/writer Damian Szifron takes these episodic segments to hilarious levels by combining pitch-black humor with creative ways to show vengeance. Each story begins with an ordinary situation most people can relate to, but as they unfold Wild Tales shifts into overdrive with exaggerated circumstances filled with irony. For example, one of the stories involves a slow driving hillbilly who serves across lanes so that they only other car on the country highway can’t pass him. When the guy finally manages to pass the slow driver, he makes an explicit gesture towards him and speeds off, only to get a flat tire a few miles later. The scene becomes chaotic and ends on an epic note. Wild Tales is packed with a lot of laughs, claps, visual style, and plenty of shock value that you would expect from a film produced by Pedro Almodóvar. [Dustin]

Most Disappointing Films of TIFF 2014

Cub

Ever read a synopsis for a movie and thought “that sounds so fantastic, it’s almost impossible to mess up,” only to walk away totally disillusioned and disappointed? That’s pretty much exactly what happened to me and this promising Belgian horror film about a 12-year-old boy scout caught in a booby-trapped forest with his troop, trying to avoid the fatal antics of a “wolf-boy” called Kai. Playing in the Midnight Madness, promoted with a tasty festival trailer, Jonas Govaerts’ Cub is, sadly, a neutered, declawed and defanged puppy, completely harmless in terms of true horror. With a unique setting in the woods, in the context of scouts and their “be prepared” motto’s, and the deliciously-sounding booby trap techniques, Cub has all the potential to be an inventive, visceral, experience. It’s nothing of the sort; relying on conventional scares, uninteresting characters, and a painfully flat finale. [Nik]

Mommy

Xavier Dolan wants you to know he’s a serious director. The Quebecois filmmaker with many job titles to his name (including actor, director, writer, producer, and editor, to name a few) made a huge splash this year when Mommy received a rapturous response at Cannes, getting a 12-minute standing ovation and a Jury Prize. Count me as someone who doesn’t get the fervent support around Dolan. With almost no plot or story, Mommy follows a mother and her troubled teenage son around as they befriend their new neighbor. Dolan shoots in a 1:1 aspect ratio, a completely useless gimmick, and tends to repeat a formula of shrill, violent fights between mother and son before dancing the pain away to a poorly chosen pop song played in full. Mommy is bad melodrama, plain and simple, a surprising step down for Dolan after his previous two features, Laurence Anyways and Tom at the Farm, showed a lot more promise. [Nik]

The Voices

The only time I felt the urge to walk out of the theater at the festival was during incredibly underwhelming The Voices. Unfortunately, I didn’t leave early thinking (nay hoping) the film would get better, a decision I would later regret. Jerry Hickfang (Ryan Reynolds) plays a seemingly normal blue-collar worker, but his home life reveals a dark secret behind this disturbed man. He hears the incredibly silly voices from his evil cat and angel-like dog who convince him to do unthinkable things. None of the performances are especially good in the film, which is disappointing considering Ryan Reynolds, Anna Kendrick, and Jacki Weaver were involved. The tone of The Voices is completely inconsistent, beginning with an overly playful musical then shifting into a dark comedy, and eventually ventures to nonsensical horror, without an ounce of cohesiveness. During moments when the film was trying to be funny I found myself laughing at it instead of with it. Despite being a rather stylish film, The Voices is an awkward mess of genre mashing gone horribly wrong. [Dustin]

Honorable Mentions

Other films that are definitely worth checking out that played at TIFF (and other festivals): Adam Wingard’s rapturous and playful The Guest, Palm d’Or winner Winter Sleep, latest from master filmmakers Jean-Pierre and Luc Dardenne Two Days, One Night, 3 and a half hour epic Li’l Quinquin, harrowing street life portrait Heaven Knows What, ambitious and transcending Jauja, and Mike Leigh’s exemplary Mr. Turner.