alien

TORONTO — Greetings from the Great White North, where the Toronto International Film Festival rolls to the end of its first weekend.

As packed as our viewing schedules have been, Amy Nicholson notices something lacking at this year’s festival: big Hollywood. In her first critical dispatch, she sees no “Frankenstein” or “Wake Up Dead Man” in the lineup.

Toronto has even resorted to rebooking the under-the-radar smash “Obsession,” the little movie that grew from a 2025 midnight TIFF launch into a global phenomenon.

Director Curry Barker and star Inde Navarrette delighted festgoers who lined up around the block to watch a special conversation.

There’s still plenty of time left. Amy is finding indies to like. Some of her early recommendations are here.

Our portrait studio is heating up

Cynthia Erivo of the film “Prima Facie,” photographed in the Los Angeles Times Studio at RBC House during the 2026 Toronto International Film Festival.

(Jason Armond / Los Angeles Times)

Cynthia Erivo stunned us in our studio space, looking fierce in a dark ensemble and scary nails. We also saw the likes of the luminous Laura Linney and the dapper Korean cast of “Possible Love.” Click through for more celebrity photos and daily surprises.

And do we have video interviews? Do we.

Sarah Paulson, Naomi Watts, and director Cody Fern discuss their new film, “Closing Night.” Chase Infiniti of “One Battle After Another,” Jason Isaacs and more talk “The Julia Set.”

And only minutes after they won the grand jury prize at Venice, we were speaking to the cast of “Possible Love.”

What are we watching tonight?

‘Club Kid’

Jordan Firstman, center, in the movie “Club Kid.”

(A24)

It takes thermonuclear moxie to write, direct and star in your debut feature — and cast yourself as the cad. No wonder Jordan Firstman‘s uproarious dramedy “Club Kid” blew away expectations at Cannes and has landed in Toronto ready to shake up awards season.

Firstman plays Peter, an aging New York City party promoter whose scene-y shindigs and subsequent hangovers are starting to feel old.

Enter Arlo (a self-possessed Reggie Absolom) the 9-year-old kid he never knew he had and never fathomed he would have, given that women aren’t his thing (except for that one drug-fueled night with a British girl he barely remembers).

You may think you know where the story is headed and you aren’t entirely wrong, but the route there is a riot. — Amy Nicholson

‘Alpha Gang’

A scene from the movie “Alpha Gang.”

(TIFF)

The latest from filmmaking siblings Nathan and David Zellner rolls into Toronto after having just had its world premiere at Telluride.

Their oddball sensibilities and elastic imagination means that you never quite know what to expect from one of their films and this is no exception: a wholly unpredictable story of an alien invasion told from the aliens’ point-of-view that is inscrutably absurd and touched by a startling romantic fatalism.

Two alien cadres, having assumed the looks of 1950s biker gang members, bicker and fight with one another even as they largely overlook their common enemy, the humans.

The cast is likewise a preposterous mash-up of performers you would not wholly expect to see together, including Cate Blanchett, Kelvin Harrison Jr, Léa Seydoux, Riley Keough, Chris Pine, Dave Bautista and others, making the film’s very existence seem like something dropped from outer space. — Mark Olsen

‘The Spiral’

A scene from the movie “The Spiral.”

(TIFF)

Italian horror is my happy place and this is where I’ll be tonight at midnight, sopping up what many early viewers have already described as stylish and vicious.

Director Paolo Strippoli’s domestic drama got sharp reviews out of Venice; it sounds like a cross between a Bava film and “Parasite.” I’ll investigate. — Joshua Rothkopf

Phil Tippett, the visual effects artist who crafted aliens in “Star Wars” and dinosaurs in “Jurassic Park,” is shutting down his Berkeley-based studios after more than 40 years of business.

The closing was marked by a weekend liquidation sale, where fans purchased memorabilia from movies like “Star Wars,” “Jurassic Park,” “RoboCop” and “Starship Troopers.” The sale included models of Imperial Walkers from “The Empire Strikes Back,” “Starship Troopers” miniatures, signed posters and equipment like computers and 3D printers.

“We have recently decided to evolve our physical footprint and production approach, and to exit our longtime Berkeley facility,” said the company in a statement on social media. “As we make this transition, Tippett Studio continues its visual effects and animation work across film, television and entertainment.”

The closure follows Tippett‘s sale of a majority stake in the company to PhantomFX, an India-based VFX studio, in 2024 and the Chapter 11 bankruptcy filing that followed. PhantomFX has completed the acquisition of Tippett Studio and will operate the studios under the same name.

Tippett and his wife, Jules Roman, founded the studio in 1984, by which point he’d already made his name in the world of visual effects through his work on the original “Star Wars” trilogy. He was instrumental in doing the stop-motion miniature chess scene in “Star Wars: A New Hope,” bringing the Imperial Walkers to life and creating aliens like Jabba the Hutt and tauntauns.

Under his own studio, he became best known for the dinosaurs in Steven Spielberg’s “Jurassic Park,” using computer generation to animate the prehistoric creatures. He also worked on effects for “The Matrix” films, “Hellboy” and the “Twilight” franchise.

Tippett had occupied the 6,200-square-foot Berkeley facility for 35 years, but as technology evolves, the studio no longer needs the large space.

“Stop-motion remains an important part of our creative capabilities, but maintaining a large permanent physical footprint is no longer necessary for our current requirements,” wrote Tippett Studios. “When projects require dedicated stages, fabrication, motion-control photography or other specialised physical infrastructure, we will work with appropriate external facilities to meet the needs of each production.”

The company‘s Toronto studio will keep running and is “currently in active production on a large feature film,” per the same statement.

The downsizing comes amid a particularly challenging stretch for film and TV productions in California. Following Covid-19, labor strikes and the flight of major Hollywood productions to other states and countries, many specialty businesses such as prop houses and VFX studios are struggling to stay afloat.

Despite the sale, Tippett told CBS News he isn’t giving up or planning to retire. He does not have plans to retire. “I will die with my sword in my hand,” he said. “We had almost a 40-year run. It was a good run.”

For all their vaunted power, superheroes are at the mercy of the people who write them, draw them, play them on the screen, and by extension the producers and executives who decide what should go where and for how much. Sort of powerless, really.

Sometimes this combination of forces works out well for the hero, and sometimes not so much. The Green Lantern, a secondary figure in the DC Comics pantheon, had the ill luck to be trapped in a 2011 Ryan Reynolds film even its director didn’t like. Fifteen years later, he has had the very good fortune to be played by Kyle Chandler, and additionally to star in a television series — “Lanterns,” premiering Sunday on HBO — rather than a theatrical feature, with its investment in noisy set pieces and earth-shaking battles royale.

I’ve often championed the supposedly humbler medium as the best place to tell these stories, with the time to investigate character, in all its shadings and ambiguities, and a haven for concepts too quirky or niche or … conceptual for conservative big-budget theatrical IP exploitation. And here again, I have been proved right.

Creators Damon Lindelof (“Lost,” “Watchmen” and, best of all, “Mrs. Davis”), comic book writer Tom King and Chris Mundy, who wrote for “Criminal Minds,” “Ozark” and “Bloodline” (in which Chandler starred), have expressly looked to television for inspiration — specifically to “True Detective” (on which Mundy worked), with its uncomfortable partnerships, and “Slow Horses” (for its disreputable hero, I guess), with “Slow Horses” director James Hawes helming the first two episodes. (I detect a hint of “Fargo” as well, for its Midwestern plainscape, dark comedy and bigger-than-life yet somehow ordinary characters.)

“I’m a regular person, like you,” Hal Jordan (Chandler) says in a 1996 TV interview that opens the series; indeed, he’s only super powerful by reason of the gear that comes with the job, a human “beat cop” working as part of the Green Lantern Corps, an extraterrestrial galactic peacekeeping organization — the special ring and the lantern-shaped gizmo that charges it. It gives him the ability to fly and to manifest objects at will, most often a protective green bubble, but also a bottle opener and a $10 bill. (There’s a uniform, but for the most part, he leaves it in the closet.)

Watching that interview is young John Stewart (then a Lantern-obsessed child). We’ll meet him again in 2016, played by Aaron Pierre (“The Underground Railroad”), when most of the action takes place, as a former Marine sniper and art student — human talents that will prove useful — assigned to Hal as a “trainee,” ostensibly to provide backup if something happens to him. Hal, after two seemingly successful decades in the job, is unused to the company and suspicious of the arrangement. (“The big blue bosses may think you’re hot s— but you’re just a f—ing substitute teacher.”) He sets John tests that might kill him, if he is not actually trying to kill him. But he’s also the more genial of the two.

Through an agent whose identity the producers are counting as a spoiler — I’m sure I don’t know why — Hal receives a message that there’s hail in Rushville, Neb. (i.e., aliens!), at which point he jets off from the taco stand where he’s happily been signing autographs and posing for selfies, leaving John to fly there on his own, in the usual way, while the Stooges’ “No Fun” plays on the soundtrack.

They arrive, separately, in the aftermath of a high school football game that has left dead bodies on the field. (Hal suspects some sort of alien rumble.) Here we meet Kelly Macdonald, suppressing her Scottish accent as tough but tender Sheriff Kerry, asserting her jurisdictional rights. Hal finds her “something incredible.” (John: “I think she hates your guts.” Hal: “Yeah, but it’s the way she hates them.”) Kerry is married to lawyer Billy Macon (Jason Ritter), whose father, William (Garret Dillahunt), is a local bigwig, with a cowboy militia and a wife, Zoe (Poorna Jagannathan), who possibly not coincidentally meets John in a bar.

At 60, Chandler is arguably more attractive than ever, with the sort of seasoning that served James Garner so well as Jim Rockford, TV’s greatest detective. Five seasons of “Friday Night Lights” have cemented him in the popular consciousness as a preternaturally decent guy, which allows us to excuse Hal’s less creditable moments, or at least to see things through his eyes. Pierre, 32, who competes in Brazilian jiu-jitsu, has the body of a superhero; he plays John wound tight, humorless, grimly ambitious — he grew up letting his father shoot apples off his head to prove his fearlessness, the primary requirement for a Green Lantern — though the character warms up across the course of the season (which also takes place in 2026). The actors are at their best in their scenes together, which the writers make happen even when it seems impossible. (Spoilers, or I’d explain.)

Combining detective work and science fiction is nothing new — see “Sugar,” currently; “The X-Files,” classically. (And there’s an interrogation scene I’m pretty sure nods knowingly to “Blade Runner.”) “Lanterns” isn’t totally free of cliches, which is practically impossible for sci-fi and crime stories anyway, so many have been told over the years, and to some degree that’s just what we come for. But the series is fresh enough in its details and execution, and strong enough in its writing, and so well performed, that it feels quite original.

I watched “Lanterns” without any particular knowledge of the character, who has been around since 1940, and in this particular version since 1959. (I did a little reading afterward.) Happily, the show is not up to its cowl in DC cross-references and crossovers. There are fleeting mentions of Gotham and Metropolis (where Superman works) and Nathan Fillion reprises his bad-hair Green Lantern from the 2025 “Superman” movie (a long story), but “Lanterns” comes equipped with everything you need to know. Bringing in extra mythology wouldn’t make the confusing parts any less confusing, and would just confuse the parts that aren’t confusing at all. Most every character, whichever side they’re on — and it’s not always easy to tell, given that the aliens look exactly like the humans — comes with layers.

Did I ever fully understand what these factions were after, or even what exactly the factions were? Nope. Did it matter? Nope.