‘The Fabelmans’ review: Spielberg’s latest is the best movie of the year

arrivederci the week before that. So, at this point, critics and pundits have viewed just about every Oscar hopeful.There are just two holdovers that could crash the Hollywood hootenanny: “Black Panther: Wakanda Forever,” out Nov.

the first Oscar front runner of 2022 in Steven Spielberg’s The Fabelmans following the film’s win of the People’s Choice Award at the Toronto International Film Festival. And now Spielberg himself has spoken out in thanks to all those that have supported his film. It’s somewhat surprising that Steven Spielberg had never previously entered a film he directed into the competition of TIFF,  but he certainly had a memorable experience the first time.

The 2022 Toronto International Film Festival came to an end on Sunday and with it the announcement of its always-hyped People’s Choice Award. And it was no surprise that Steven Spielberg’s “The Fabelmans” took the prize voted on by festival moviegoers.

Steven Spielberg is enjoying another triumph, with his quasi-autobiographical drama “The Fabelmans” earning this year’s People’s Choice Award at the Toronto International Film Festival.

The 2022 Toronto International Film Festival came to an end on Sunday and with it the announcement of its always-hyped People’s Choice Award. And it was no surprise that Steven Spielberg’s “The Fabelmans” took the prize voted on by festival moviegoers.

The People’s Choice Award from the just wrapped 2022 Toronto International Film Festival has gone to Steven Spielberg’s The Fabelmans.  First Runner Up is Canada’s own Sarah Polley’s Women Talking. And Second Runner Up was Rian Johnson’s Glass Onion: A Knives Out Mystery. The Documentary Award went to Black Ice, and the Midnight Madness winner was Weird: The Al Yankovich Story             .

Rebecca Rubin Film and Media Reporter Steven Spielberg’s autobiographical coming-of-age story “The Fabelmans” took home the Toronto Film Festival’s People’s Choice Award, providing a major boost to its awards season chances. TIFF’s People’s Choice Award is one of the most reliable predictors of eventual Oscar success.

Clayton Davis Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages are Davis’ assessment of the current standings of the race and do not reflect personal preferences for any film or performance. Like any organization or body that votes, each individual category is fluid and subject to change. Predictions are updated every Thursday. LAST UPDATED: Sept. 15, 2022 CATEGORY COMMENTARY: We’ll see if the science fiction and the action genres can get representation in the race with Claudio Miranda for “Top Gun: Maverick,” Russell Carpenter for “Avatar: The Way of Water” or Larkin Seiple for “Everything Everywhere All at Once.” When it comes to “Top Gun,” if the studio wants to get into the best picture category, it needs to stay gain at least four tech noms to stay in the discussion, and cinematography could be its ticket as it looks “assured” recognition for best film editing, sound and visual effects (so far).

Marcus Mumford released “Cannibal,” the lead-off song for his first solo album, he was very much declaring a different set of lyrical as well as musical intentions. But for most of the press and public, the focus immediately got put on peripheral matters. Like: Did the existence of a solo project mean Mumford and Sons were breaking up? Had tension over one of the band members leaving last year amid controversy forced a fissure in the group? And then, on the lighter side, hey, how about that Steven Spielberg clip for “Cannibal,” the first music video the filmmaker had ever done? All good, reasonable questions… and all of them burying the lead, as it were. But when Brandi Carlile, who co-wrote and sings on the new album’s final track, “How,” publicly praised him for his bravery and described the album — “Self-Titled” — as “a trust fall,” something more seemed to be afoot than the very modest amount of courage it might take for a star frontman to go solo. And then Mumford went public in confirming what fans who’d listened carefully to “Cannibal” had already figured out: that it was a song addressing someone who sexually abused him in his childhood. The rest of “Self-Titled,” which arrives this weekend, is not so strictly focused on that particular trauma as “Cannibal” and “How” are, but they all touch on points in a lifelong series of reconciliations that will strike deep chords in any listeners who may be on the same journey from horror to healing.

Toronto Film Festival returned in spectacular fashion after two years of virtual premieres or limited capacity screenings. The parties were packed (which may lead to COVID outbreaks down the road, but… that’s showbiz?), the red carpets were glittering and the atmosphere was electric, bordering on euphoric, as director Rian Johnson’s acclaimed sequel “Glass Onion: A Knives Out Story,” Steven Spielberg’s semi-autobiographical “The Fabelmans” and the Harry Styles-led romantic drama “My Policeman” debuted to blockbuster-starved audiences in Canada. Hollywood seemed eager to make up for lost time. So, as the curtain comes down on TIFF, here’s a look back at the major trends and takeaways from the 10-day festival.

TORONTO – Venice, Telluride, and TIFF have pretty much come and gone, and, as such, the Oscar race is slightly more clear than it was just two weeks ago. Sure, there are a number of major players yet to show their wares such as Damien Chazelle’s “Babylon,” James Cameron’s “Avatar 2,” David O.

TORONTO – Venice, Telluride, and TIFF have pretty much come and gone, and, as such, the Oscar race is slightly more clear than it was just two weeks ago. Sure, there are a number of major players yet to show their wares such as Damien Chazelle’s “Babylon,” James Cameron’s “Avatar 2,” David O.

Of all the directors making TIFF debuts this year, none are more revered or accomplished than Steven Spielberg. The highest-grossing director of all time normally premieres his films in late fall.

Steven Spielberg has described his semi-autobiographical picture The Fabelmans, delving into the teenage experiences that led him into filmmaking, as the most “daunting” project of his six-decade, blockbuster filmmaking career.

My favorite Toronto premiere memory was the one where eventual Best Picture winner Spotlight played to a raucous crowd reaction at the Princess of Wales Theatre, the emotion ratcheted up even further when the Boston Globe journalists who cracked the Catholic Church pedophile scandals took the stage and stood next to the actors who played them onscreen. It has been several years since TIFF has been able to show why this is such a special festival, because of the Covid epidemic and Canada’s protective lockdown of its borders. Last night marked a turning point for TIFF as a preeminent showcase for awards season movies, with the back to back Princess of Wales Theatre world premieres of Netflix’s Rian Johnson-directed Knives Out sequel Glass Onion, followed by the premiere of Amblin/Universal’s Steven Spielberg love letter to his family and a movie camera, The Fabelmans. Both of these films land squarely in the awards conversation.

Steven Spielberg’s The Fabelmans, the director’s semi-autobiographical movie based on his own family and upbringing, has released its official trailer.

Manori Ravindran International Editor Steven Spielberg has said that mining his family history to make “The Fabelmans” was a “very daunting experience” that was at times “very, very hard to get through.” The iconic filmmaker’s latest project world premiered at the Toronto International Film Festival on Saturday night to raves from critics and largely favorable reviews. The semi-autobiographical movie, which is already being tipped as an Oscar contender, tells the story of Sam Fabelman, a young boy who falls in love with cinema, but finds himself fighting family turmoil to keep his dream alive. In a so-called press conference on Sunday, that was effectively a Q&A with TIFF CEO Cameron Bailey (the festival did not take any questions in the room from the gathered journalists, who had to submit questions almost 24 hours in advance), the “Jaws” director said he thought making the movie “would be a lot easier than it turned out to be because I know the material and I’ve known the characters for my entire life.”

“The Fabelmans” made its debut at the Toronto International Film Festival on Saturday, and a new trailer offers a glimpse of the latest film from acclaimed director Steven Spielberg.

Sift through some of his best work, and you will find that Steven Spielberg has always been a filmmaker charged by notions of love and ache for families, both those we are born into and those we select for ourselves. Though his tender devotion to domestic, often suburban bonds and rhythms—a well-documented and endlessly discussed through-line in his filmography—has perhaps never been as evident as in the soul-baring “The Fabelmans.” It’s Spielberg’s most personal film, one that gorgeously revives the memories of his childhood and youth with a lavish sense of wistfulness and an aptly Hollywood-ized, fable-like touch.  That beautiful Hollywood sheen is fitting for the on-screen autobiography of an escapist filmmaker, one whose name we came to pronounce synonymously with the magic of movies.