cillian murphy

Insolent schoolkids and educators with the stamina and sensitivity to reach them is a sentimental formula so familiar, it could stand a pantsing in the hallway between classes.

Which makes it a good thing that “Steve,” starring Cillian Murphy as a dedicated, troubled head teacher at a struggling reform school for chaos-inclined teenage boys, brings a raucously corrective attitude to bear.

Teachers are sorely undervalued in this world, and a more thorny, realistic view of the profession’s challenges has made its way into the culture of late, between the Oscar-nominated German film “The Teachers’ Lounge,” Hirokazu Kore-ada’s “Monster” and Netflix’s Emmys-gobbling hit “Adolescence.” And while “Steve,” which takes place over a day, is ultimately too messy itself to measure up to those more tightly coiled efforts, its energy makes a statement, as if the legacy of the late, system-smashing British director Alan Clarke were close at hand.

“Steve” marks the second feature collaboration between Murphy and Belgian director Tim Mielants, following their excellent 2024 adaptation of Claire Keegan’s story “Small Things Like These.” This one, too, derives from a book — “Shy” by Max Porter. In adapting his own work, Porter shifts focus from his novella’s title adolescent, a disturbed soul in mid-tumble, who in the film is still a central figure (vividly rendered by Jay Lycurgo), to the teacher character for whom the movie is named, which the Oscar-winning Murphy turns into another immersive portrayal of dark-hued, guilt-flecked intensity.

Steve’s compassion is the beating heart of Stanton Wood, a privately bankrolled school in an old manor in the English countryside, whose core staff — including Steve’s plain-talking deputy, Amanda (Tracey Ullman), and unflappable therapist Jenny (Emily Watson) — are committed to its last-chance ethos of pulling unhappy delinquents from the brink. But this is Britain in 1996 and these hot-headed young men (played by a lively mix of first-timers and experienced actors) prefer the numbing tempo of drum and bass or a well-timed punch or thrown object.

Stopping fights is a full-time a job, and Steve’s chummy de-escalation style attests to how much he cares. But on top of the day’s regular behavior management, there’s also a prying documentary crew, a visit from a local MP (a perfectly pompous Roger Allam) that goes south and what turns out to be a bad-news report from the school’s wealthy backers. When Steve explodes on them, one senses his volatile students have been teaching him something too.

And yet “Steve,” sincere in its hardcore concern, believably acted, is too scattered and schematically plotted to fully pull us into the emotional toll and scruffy joys of this work. Its social realist roots are kept from growing the more it relies on visual/sonic turbulence (hallucinatory images, a flashy drone shot) and narrative shorthands (the overdone documentary framing).

But when “Steve” zeroes in on its characters — Shy on a disturbing call with his fed-up mum, Steve fighting his own demons or in the zone — the movie captures the electric hum of unpredictability and vulnerability. At its best, we understand why these people want to keep the lights on in a dark, unforgiving world.

TORONTO — Welcome to a special daily edition of the Envelope at TIFF, a newsletter collecting the latest developments out of Canada’s annual film showcase. Sign up here to get it in your inbox.

Have you seen the images from our photo gallery? Staff photographer Christina House and her crew are truly capturing the best of the fest.

There are wonderful shots up now, including Elle Fanning, Ethan Hawke, Channing Tatum and more, but this link will be updated periodically with others.

Expect Cillian Murphy, the cast of Rian Johnson’s ‘Wake Up Dead Man,’ Jessie Buckley, Paul Mescal, Cillian Murphy and more surprises!

The day’s buzziest premieres

‘Good Fortune’

Aziz Ansari, left, and Keanu Reeves in the movie “Good Fortune.”

(Eddy Chen/Lionsgate/Eddy Chen / Lionsgate)

A low-level guardian angel righting a wrong feels like the set-up to a classic comedy. But amid a premise motivated by income inequality, there’s a distinctly current edge to “Good Fortune,” the debut feature of writer-director-star Aziz Ansari.

A struggling film editor who makes ends meet as a food delivery driver, Arj (Ansari) is at the end of his rope when said angel Gabriel (Keanu Reeves) switches his life with Jeff (Seth Rogen), a wealthy, self-important tech investor.

Except, instead of realizing things are tough all over, Arj decides he likes Jeff’s life better and doesn’t want to switch back. Which is only the beginning of the complications for these three lost souls.

Looking for hope in an out-of-balance world while laced with a righteously indignant anger (and set against distinctly L.A. locations), “Good Fortune” is social satire with a big heart. — Mark Olsen

‘Canceled: The Paula Deen Story’

Paula Deen in the documentary “Canceled: The Paula Deen Story.”

(TIFF)

Hungry for a brisk, witty documentary that’s as easy to enjoy as a plate of hot biscuits? Filmmaker Billy Corben analyzes the tabloid feeding frenzy that chewed up celebrity TV chef Paula Deen when she admitted to using a racial slur.

Going in, I only knew two things about Deen: the 2013 scandal and her staunch devotion to butter. Her full story is fascinating, especially buttressed by contemporary interviews with Deen and her two sons, Bobby and Jamie, who all specialize in Southern-fried zingers: “It came on like a snowball full of chainsaws,” says Jamie of the media blitz.

A complex schematic of the cancelation machine, “Canceled” argues that Deen was punished double that summer because Trayvon Martin’s killer wasn’t punished at all. The great archival footage makes you get why audiences once loved Deen — and it’s evident how much her family and friends still do, even if Corben greases her mea culpa to the point that you feel a little queasy. — Amy Nicholson

‘Wake Up Dead Man: A Knives Out Mystery’

Josh O’Connor, left, and Daniel Craig in Rian Johnson’s movie “Wake Up Dead Man: A Knives Out Mystery,” having its world premiere as part of the 2025 Toronto International Film Festival.

(Netflix)

One of the real pleasures of the witty, surprising films made by writer-director Rian Johnson starring Daniel Craig as Southern gentleman detective Benoit Blanc is that, within the confines of the murder mystery, they could take place just about anywhere: a patriarch’s creaky mansion, a billionaire’s private island and now a small town’s historic church.

Or at least that’s the best we know from the scant details made public about the new “Wake Up Dead Man: A Knives Out Mystery” ahead of its TIFF world premiere tonight. Craig returns as Blanc but joining the cast this time are Josh O’Connor, Josh Brolin, Mila Kunis, Kerry Washington, Jeremy Renner, Daryl McCormack, Cailee Spaeny, Thomas Haden Church, Andrew Scott and Glenn Close.

The festival has been a good luck charm so far, with the previous two “Knives Out” movies premiering at TIFF in the same theater, day and time slot and both going on to Oscar nominations for their screenplays. — Mark Olsen

They couldn’t stop talking, even before the cameras for ‘Poetic License’ were rolling

Andrew Barth Feldman, left, Cooper Hoffman and Leslie Mann in “Poetic License,” having its world premiere as part of the 2025 Toronto International Film Festival.

(TIFF)

Mark Olsen has a fun interview with the banter-ific Andrew Barth Feldman and Cooper Hoffman, costars of Maude Apatow’s new movie “Poetic Licence.” They were friends before they shot the film and their verbal mutual affection — honed to a crazy degree of anticipation — is something to behold. They’ve raised bromance to an art form.

His apocalyptic art film ‘Sirât’ dances in the face of oblivion. That’s why people love it

Director Oliver Laxe, photographed in the Los Angeles Times Studios at RBC House during the Toronto International Film Festival.

(Christina House / Los Angeles Times)

Director Oliver Laxe has made a truly unique art film about a restless group of ravers who drive out in the the desert on the eve of what could be the end of the world. Since its debut at Cannes, “Sirât” is acquiring superfans — critics and audiences alike — wherever it plays. On the occasion of his first TIFF screening, Laxe spoke to me about his commitment to risk.

Reach Screen Time spoke exclusively to Steven Knight about the Peaky Blinders universe

Fans of Peaky Blinders, desperate to fill the hole left by the BBC Birmingham gangster series, can now get a little fix of the Shelby family, ahead of the forthcoming Netflix film.

Peaky Blinders: The Redemption of Thomas Shelby is coming the legendary Sadler’s Wells Theatre this month after the 2022 ballet production’s successful UK and European tours.

In an exclusive interview with Reach Screen Time, Peaky Blinders creator and now James Bond screenwriter Steven Knight shared details from the stage show, including teasing a different side to Tommy Shelby (played by Cillian Murphy in the BBC series) and how the story fitted it into the TV drama.

The stage show charts the ill-fate romance between Tommy and his wife Grace Burgess (Annabelle Wallis).

Knight said: “I know that the people that love Peaky love that story, and it felt to me that a love story, a romance like that and the romance that comes with what happens, I felt all of that would translate into music, first of all, but also into dance.

READ MORE: Peaky Blinders ‘to return with new series’ after three years – but with huge twistREAD MORE: SAS Rogue Heroes creator shares update on season 3 of hit BBC WWII drama

“With Peaky, music has always been very important to the show. And also people move in a particular way, it’s quite stylised, the way people dress, the way they act, just made me think it’s a few short steps toward dance. And so that’s why I wanted to do this.”

Reflecting on audiences seeing a new facet to the Brummie don, Knight explained: “It’s a deeper version. I think what we get is inside insights into Tommy Shelby’s heart that you don’t get on the TV show. Because by his nature Tommy Shelby is a person who doesn’t show his emotions. He doesn’t let people in.

“But in this, we’re alone with him for quite a while and before the wedding we see how in love he is, and then after Grace’s death we join him on a journey towards redemption.

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“He goes through his grief and then discovers a connection with her again. So, it’s a much more intimate portrayal of who Tommy Shelby is.”

So has Peaky Blinders’ leading man and Oscar winner Murphy watched The Redemption of Thomas Shelby? Knight admitted he wasn’t certain if the actor had got around to seeing the show as yet, but said the ballet “definitely got his blessing”, particularly because of Murphy’s love of music.

Teasing the music and artists featuring in The Redemption of Thomas Shelby, Knight said: “We’ve got a fantastic score, fantastic needle drops. We’ve got [the Peaky Blinders’ theme tune] Red Right Hand in there, so yeah, it’s right up [Murphy’s] street.”

The collaboration between Knight and dance troupe Rambert came about after the company was enlisted to choreograph a Swan Lake sequence in a previous season of Peaky Blinders.

Working with Rambert’s artistic director Benoit Swan Pouffer, Knight put devised the story while the dance expert put together the choreography.

Rambert’s Peaky Blinders: The Redemption of Thomas Shelby will be heading to Sadler’s Wells from Tuesday, August 5 to Saturday, August 16. Tickets are available now here