Steven Spielberg's warm semi-autobiographical memory piece and Rian Johnson's twisty sequel to 'Knives Out' deliver old-school razzle-dazzle at the Toronto International Film Festival.
From the moment they were announced, these were the festival’s two hottest tickets, and unveiling them back-to-back felt like both a boast and a promise: After a few years of COVID-19 pandemic disruption, Toronto was back in full force, baby, and so perhaps were the movies themselves and their power to captivate hundreds — nay, thousands — of strangers clustered together in the dark.
Sammy is accompanied on this journey by the other members of his close-knit Jewish family: his younger sisters, who delight in acting in his early home movies, and his parents, who are variably supportive of his obsession. His father, Burt , a computer developer on the rise, is patient and kind, if also too much of a pragmatist and workaholic to fully appreciate Sammy’s gifts.
By the end, young Sammy has made action, horror, westerns and war pictures; he’s also learned to use the medium to conceal and distort truth, to bend reality to his narrative will. Exerting control over his art — and as Spielberg’s partisans and detractors know, few filmmakers control their material so rigorously — becomes a means of dulling, displacing and sometimes sanitizing his own acutely felt pain.
Speaking of bullies and comeuppances: The first “Knives Out” was both a densely plotted whodunit and the story of a monstrously wealthy family’s well-earned downfall. “Glass Onion” continues to give America’s entitled scumbags their due, though this time the focus isn’t on a family but rather an inner circle of self-styled disruptors.
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