Steve Pond's Blog, page 23

Donald Trump Says Charlie Kirk Shooter Is in Custody: ‘With a High Degree of Certainty’

Charlie Kirk’s shooter is in custody, according to President Donald Trump.

“I think, with a high degree of certainty, we have him in custody,” Trump told “Fox & Friends” on Friday. “Everyone did a great job. We worked with the local police, the governor, everybody did a great job getting somebody that you start off with absolutely nothing.”

The president’s update was corroborated by local law enforcement sources, who told The New York Times that the suspect was apprehended at 11 p.m. local time Thursday night after Wednesday’s assassination at Utah Valley University.

Trump continued, “We started off with a clip that made him look like an ant, that was almost useless — we just saw it was somebody up there. So much work has been done over the last two and half days.”

More to come…

The post Donald Trump Says Charlie Kirk Shooter Is in Custody: ‘With a High Degree of Certainty’ appeared first on TheWrap.

Jimmy Kimmel Wonders What ‘Crazy’ Thing in Epstein Files Trump Is Trying to Hide: ‘Nude, Riding a Jet Ski?’ | Video

Jimmy Kimmel was confused during his monologue on Thursday night, about just what it is that makes Donald Trump act the way he does about matters pertaining to Jeffrey Epstein. And it got him speculating about some of the “crazy” things it might be.

The catalyst for this joke was something that happened in congress. “In Washington, the lawmakers are still squabbling over these Epstein files,” Kimmel said.

“Republicans Senators blocked a motion to force a vote on making the Department of Justice release the files,” he continued. “The vote went 51 to 49. If you’re keeping score, Republicans spent the last four years demanding the release of these Epstein files – and the last four months screaming, ‘Do not release these Epstein files!'”

“It’s very suspicious. As far as I see, there are only two plausible reasons for refusing to release the files. Either Trump’s in it, or they are. There’s nothing else,” Kimmel went on.

The host then speculated that the Epstein-related documents have captured the public imagination because of how Trump acts completely the opposite of his normal behavior.

“We know literally everything else about Donald Trump. We know what he eats, we know what he thinks, we know when, we know when he’s tweeting from the toilet. There are tell-all books and tell-all books about the tell-all books. But these files are the one thing that’s still a mystery when it comes to the world’s most famous orangutan,” Kimmel explained.

“Which means there must be something truly crazy in them, like video of him, nude, riding a Jet Ski? Or maybe Polaroids of a crooked little mushroom stump? I don’t know, I’m just asking questions, okay?” he added.

Watch the full monologue below:

The post Jimmy Kimmel Wonders What ‘Crazy’ Thing in Epstein Files Trump Is Trying to Hide: ‘Nude, Riding a Jet Ski?’ | Video appeared first on TheWrap.

Stephen Colbert Jokes a Broken Clock ‘Was Close Friends With Jeffrey Epstein’ After Trump Differs With RFK Jr. on Vaccines | Video

Stephen Colbert had a back handed compliment for Donald Trump on Thursday’s “The Late Show,” after the surprising moment when Trump disagreed with Robert F. Kennedy on Vaccines.

“Oh, there’s trouble in paradigm, because Republicans have been concerned with the Mad ramblings of Health and Human services secretary RFK Jr,” COlbert said during his monologue. The mention of Kennedy’s name elicited loud boos from the audience, prompting Colbert to joke, “we can edit that out right?”

“Last week,” Colbert continued, “the bad Bobby testified to Congress that children receive up to 92 vaccine doses in early childhood, when, in fact, children generally receive roughly 30 vaccine doses, many in combined injections. Yeah, Mr. Secretary, do your research. When your kid gets the measles, mumps and rubella vaccine, that’s just one shot.”

“Same situation as when your girlfriend says, ‘wow, that shower was so fast. How did you have time to shampoo and condition?’ And you say, ‘darling, let me introduce you to a little scientific miracle called Pert Plus.'”

“All this crazy talk about vaccines has driven a wedge between RFK JR and the president. Listen to what Trump said the day after Kennedy’s testimony,” Colbert continued. He then played a clip in which Trump said, “I think you have to be very careful when you say that some people don’t have to be vaccinated. Tough stance. Look, you have vaccines that work. They just pure and simple work. They’re not controversial at all.”

“Wow. That is shockingly sensible. But you know what they say about a broken clock? It was close friends with Jeffrey Epstein,” Colbert joked.

“But instead of ditching Bobby, Trump is trying to pretend that Bobby’s liabilities are actually assets by saying things like this,” Colbert continued, playing another Trump clip.

“Well, he’s a different kind of a guy, we’re coming up with the answers for other things that normal people, regular people, easy to get along with, people wouldn’t be able to do,” Trump said.

“That’s a pretty backhanded compliment. ‘Cindy, I love dating you because you’re different from normal people, smart people, attractive people. Where are you going? I haven’t talked about how weird you are,” Colbert joked.

Earlier in the monologue, Colbert repeated his comments urging against political violence and calling for national unity. This also included an amusing joke in which he said he looks very similar to House Speaker Mike Johnson.

You can see that and the whole monologue below:

The post Stephen Colbert Jokes a Broken Clock ‘Was Close Friends With Jeffrey Epstein’ After Trump Differs With RFK Jr. on Vaccines | Video appeared first on TheWrap.

‘Adulthood’ Review: Alex Winter’s Darkly Fun Thriller Knows Where the Bodies Are Buried

No matter who you are, growing up can often mean discovering your parents are more flawed and complicated than you realized when you were a kid. But if you’re Alex Winter and you’ve made the scrappy yet still darkly fun film “Adulthood,” this is nothing compared to what he puts his characters through.

If you thought you had family problems, strap in, as your otherwise messy loved ones are all going to look like downright angels in comparison to this film that’s one part peak Coen brothers, one part an episode of the outstanding HBO series “Barry,” and one hundred percent Winter. Lovers of the director’s underappreciated film “Freaked” can rejoice as, even as it isn’t quite as joyously bizarre as that, it’s still got the same unhinged spirit.  

What exactly this mashup entails requires being a bit coy, as much of the joy of “Adulthood” comes in the way everything starts in an already troubling place and proceeds to spiral out of control from there. What can be said is that death is always waiting in the wings and Winter captures that with often gruesome flair. Still, it’s far from perfect, with some moments of humor not quite hitting as hard as you’d hope for.

Though whatever is lost in laughter, Winter and company make up for in just how fully they commit to the bit, ensuring it ends up being less about how one’s parents are bad people and more about how it is we too are at risk of becoming them. It’s way more grimly profound than you’d expect and can feel like it’s having a bit of an identity crisis. However, all its bigger tonal swings ultimately pay off in spades just as everything is at risk of coming apart for its characters. 

The ones at the center of this are siblings Meg (Kaya Scodelario) and Noah (Josh Gad) whose lives are about to be upended after their mother is hospitalized following a stroke. What is already a tough time full of painful emotions and then also complicated logistics they must deal with alone — their father died years prior — becomes an absolute nightmare when the duo discovers something hidden away in the wall of their parents’ basement. After initially panicking, they decide they’ll have to cover up their discovery out of concern about what people will think if they were to find out who their parents really were. 

There’s something deeply tragic about this driving force of the film as both Meg and Noah, despite having vastly different lives from each other, are also not children any longer. Quite early on, you wonder why it is that they care about what people think of their parents and why it is that they are putting themselves at risk just to protect their reputations. Even as the film remains largely light on its feet, it’s in moments like this where you feel a more queasy throughline starting to rear its head about how Meg and Noah are still trapped in feeling like they have to look out for their parents, even if they didn’t always look out for them. 

From there, the film becomes about how the siblings go to greater lengths to cover up the family secret, with both Scodelario and Gad serving as believable emotional grounding points. With that in mind, it’s when a captivating Anthony Carrigan (most known for his excellent work in the aforementioned “Barry”) enters the film as their cousin who, among many things, has a sword collection unlike just about any other sword collection you’ve ever seen in a movie.

Rather than just feeling like a bit part, Carrigan brings a uniquely chaotic energy to the entire affair where you aren’t sure if his character cares about helping his cousins or just wants to get something for himself. He’s consistently funny, sometimes frightening, and always making different choices in each moment that still ultimately serve the scene perfectly. A final confrontation rests heavily on his shoulders and he delivers on every big swing with ease.

There is much along the journey that isn’t always as compelling as the cast, but there are also some maddeningly clever misdirects that see Winter complicating things at critical junctures. The film is not merely just a farce, but also something that cuts into something a bit more thoughtful. When it then brings everything to a head and Winter lands one final blow via a killer closing monologue from Scodelario, it ends up with a great deal more bite when it needs to. There are adults in the room in Winter’s film, and that’s the problem. They’re exactly the ones you have to look out for. 

“Adulthood” opens in select theaters on September 19 and is available to stream on digital on September 23.  

Read all of our Toronto Film Festival coverage here.

The post ‘Adulthood’ Review: Alex Winter’s Darkly Fun Thriller Knows Where the Bodies Are Buried appeared first on TheWrap.

‘Easy’s Waltz’ Review: Vince Vaughn Can’t Carry a Tune in Nic Pizzolatto’s Hollow Music Drama

“Easy’s Waltz,” Nic Pizzolatto’s feature directorial debut, is the type of baffling misfire that leaves you questioning the judgment and talent of all involved. Because nothing, not the writing, direction, or acting, even remotely works.

It’s a pressure-sealed disaster of a movie where nobody stepped in to avert the catastrophe, and you’re now trapped inside as it stumbles from one haphazard scene to the next, without even the slightest sense of vision or insight into its characters. It’s a fascinating watch in the abstract, but one that barely holds together on even a basic narrative level, and it feels almost as if it’s been made by an entirely different person than the one who worked on the acclaimed series “True Detective.”

You might expect an old school Vegas romp, but it’s more a derivative copy of countless other sin city-set movies you’ve seen before — including even last year’s infinitely superior “The Last Showgirl.” References are smashed together, and so little care given is given to its characters that you come away wondering who even any of these people were that you just spent all this time with.

That Vince Vaughn’s singing and the film’s dialogue ring equally hollow, despite the film’s insistence that all of this is actually great, would make great comedy if the entire experience wasn’t such a drag.

It’s like a tracing of what a movie like this should be, forcing the viewer to strain and squint to see what it was even going for before you realize the effort is futile. Even when there is the rare, serviceably charming line in isolation, it all gets lost in the one-note song that is the rest of the film.  

This all begins with Easy (Vaugmhn), a Vegas crooner who never made it despite his supposed talents (an already dubious assertion that the film treats as fact) and has fallen on some rather hard times after losing his job managing a restaurant after hitting a drunken jerk who harassed his staff. But he soon catches a lucky break: a nearby club needs someone to fill in for night to replace a comedian (fittingly played by Shane Gillis) who bombed left and right. 

When Easy steps up to the microphone and belts out some songs, he catches the attention of the former performer Mickey Albano (Al Pacino) who now runs entertainment for the Wynn resort. Mickey offers Easy a job performing at the resort, and he starts to make a name for himself as a must-see singer. Unfortunately, Easy’s troublemaker brother Sam (Simon Rex) arrives, threatening to upend this good thing he’s got going and rob him of his dream once more.

Alas, the film mostly just robs us of our time, and never makes a compelling case for its own existence. 

The singing scenes are awkwardly staged and with no real life behind them. And the dialogue, never natural-sounding, is a series of painfully stiff lines read like they should have done another take. And all of it overly reliant on clunky exposition, or on characters who telegraph so clearly that something significant is about to happen so clearly that its arrival merely elicits a shrug. Was it all a stylistic choice? Or just that what we’re seeing was the best they could get?  

Everything in “Easy’s Waltz” plays out with such tired and obligatory inevitability, it almost seems like Pizzolatto is attempting to pull one over on us. But instead of being funny or at least entertaining, it’s just exhausting. Subplots get picked up and dropped with little thought about any of them, leaving such a strange feeling of whiplash for a film where almost nothing actually happens.

When we get a quick series of time and location jumps near the end that it then backpedals from, “Easy’s Waltz” loses whatever possible potential it could have had to end on a high note. It’s like a bad cover of a song you’ve heard before, leaving you just wishing you could go back to the original and drive this one out of your mind. 

Read all of our Toronto Film Festival coverage here.

The post ‘Easy’s Waltz’ Review: Vince Vaughn Can’t Carry a Tune in Nic Pizzolatto’s Hollow Music Drama appeared first on TheWrap.

Rachel Reilly Says Her ‘Big Brother’ Life Flashed Before Her Eyes Before Surprise Season 27 Elimination

Note: This story contains spoilers from “Big Brother” Season 27.

“Big Brother” legend Rachel Reilly was eliminated in a shocking Season 27 twist, but she’s walking into the show’s jury house with a smile and a killer red dress.

Thursday’s episode of the CBS competition series saw Reilly, who previously competed in Season 12 and won Season 13, sit with host Julie Chen Moonves for an exit interview to unpack her surprise elimination — the result of a competition dubbed “The White Locust,” which Reilly failed to complete.

“I saw my ‘Big Brother’ life flash before my eyes in that hamster wheel,” she said, reliving the maze game. “I knew I was toast, unfortunately.”

Reilly shared some regrets about how her actions led to the competition not going her way. Chen commended Reilly’s performance and acknowledged how she had not been up for eviction and was running the game from the start of the season in July.

Despite becoming the first member of the jury in a twist ending, Reilly shared her gratitude for the chance to return to the longrunning series and play one more time, shouting out her husband Brendon Villegas — whom she met on the show — and her two daughters as gifts she received from her time on the show.

“I’m so grateful to come back. It’s my favorite show. I’m a huge fan,” the reality TV veteran said.

Reilly’s note might help soothe longtime fans, who were incensed by the twist ending to her story. After learning of Reilly’s fate via the show’s live feeds, viewers began to share the outrage on social media.

The comments were soon joined by show alums, like Villegas, who faulted show producers for stepping away from the show’s traditional mix of competitions and social game that resulted in an elimination outside of the weekly vote. Many fans speculated that ratings would be impacted by the outcome.

But the season moves on, as Thursday’s episode featured the eviction of Cliffton “Will” Williams. Next week will only see the airing of two-hour episodes on Wednesday and Thursday — since the Primetime Emmy Awards telecast will take over its usual Sunday timeslot. Thursday’s episode will also feature a double eviction, as the houseguests’ numbers dwindle to the final three ahead of the season finale on Sept. 28.

“Big Brother” airs on CBS and streams on Paramount+.

The post Rachel Reilly Says Her ‘Big Brother’ Life Flashed Before Her Eyes Before Surprise Season 27 Elimination appeared first on TheWrap.

No New Info About Charlie Kirk Shooter, Utah Gov. Warns of Disinformation Meant to ‘Encourage Violence’ in Latest Update

Flanked by local and federal officials, including FBI Director Kash Patel, on Thursday night Utah Gov. Spencer Cox had almost nothing new to share about the investigation into the murder of Charlie Kirk.

But he did express concerns about the spread of disinformation, and repeated earlier calls for help from the public in a terse, 9-minute press conference held in Orem, Utah.

It was immediately clear Thursday night’s update would include no new information, when it began with Utah Department of Public Safety Commissioner Bo Mason discussing in detail the video and photos authorities had already released hours earlier.

The video, taken from two locations around the Utah Valley University campus from considerable distance away, show the suspect on the roof of the building from which the shot that killed Kirk was fired, before climbing down the building and quickly walking off campus. It’s difficult to make out identifying characteristics from those clips, but photographs clearly showed that the suspect is a tall, white male who appears to be in his 20s, wearing sunglasses, a black baseball cap, a black long sleeve t-shirt with an American flag on the front, and blue jeans.

After also walking through the physical evidence authorities made public on Thursday — a high-powered bolt action rifle found in the woods neighboring UVU, as well as a footwear impression and a palm print and forearm imprints on the roof of the building — Mason turned things back over to Gov. Cox.

Cox thanked federal law enforcement officers as well as the media, and among other things said that in response to their earlier request for help from the public in identifying the suspect, they have received more than 7,000 phoned-in tips.

Mid-way through his remarks, Cox also alluded to the increasingly violent online rhetoric — almost exclusively from right wing figures — as well as reports of purported details about the investigation that turned out not to be true, urging calm and warning of disinformation.

“There is a tremendous amount of disinformation we are tracking… our team, the state team, and I’m sure the federal team as well. What we’re seeing is our adversaries want violence,” Cox said. “China, we have bots from Russia, China, all over the the world, that are trying to instill disinformation and encourage violence. I would encourage you to ignore those, to turn off those streams and spend a little more time with with our families. We desperately need some healing.”

Also discussed during Thursday night’s press conference was the FBI Salt Lake City tip form, and the $100,000 reward offered for information leading to the suspect’s arrest. Cox also reiterated that they will seek the death penalty.

No one else spoke during the press conference.

Kirk died Wednesday afternoon shortly after he was shot from around 200 yards away by a single bullet that penetrated his neck, during a speaking event at UVU.

Despite the widespread description of Kirk’s death as political violence, aside from the video and photographs of the suspect, nothing is known about the shooter or his motivations. However, because of the nature of the crime — the only shot fired was the one that killed Kirk — authorities believe he was the intended target.

Donald Trump plans to give Kirk a posthumous Presidential Medal of Freedom.

The post No New Info About Charlie Kirk Shooter, Utah Gov. Warns of Disinformation Meant to ‘Encourage Violence’ in Latest Update appeared first on TheWrap.

‘The Paper’ Star Domhnall Gleeson Answers if Ned Sampson Is a Better Salesman or Journalist

Note: This story contains spoilers from “The Paper” Season 1, Episode 8.

On the eighth episode of “The Paper,” Ned Sampson (Domhnall Gleeson) unveiled a secret superpower as a salesman when he rescued Enervate from a PR nightmare after its Softees’ product Man Mitts — a supposedly flushable wet wipe — clogs up a sewage pipe for an entire city block.

And now, it begs the question: Is Ned a better salesman or journalist. We asked Gleeson to weigh in.

“He’s a better salesman — definitely a better salesman,” Gleeson says assertively “But he wants to be a better editor. So I think there’s something really inspiring about somebody who has stopped doing something they’re good at because it’s not fulfilling them anymore and trying to be good at something. He thinks he’s going to be amazing at being an editor, and he is incorrect about that.”

And that’s exactly what Ned tries to do in Episode 8, titled “Church and State.” As the newsroom’s editor-in-chief at The Toledo Truthteller, Ned decides that it would only uphold journalistic integrity if the newspaper covered the Man Mitts drama. But after some reprimanding from strategy manager Ken (Tim Key), who forbids Ned from publishing the story, Ned decides to quit.

Luckily, earlier in the episode Mare (Chelsea Frei) and Nicole (Ramona Young) discover a motivational video that features Ned from his days as the top toilet paper salesman at Softees. Mare then comes up with the bright idea to have Ned return to his post … but not as a journalist, as a salesman. The goal is to sell all the leftover Man Mitts so that Marv doesn’t find out about all the shenanigans.

“Stick and sell, people! Stick and sell!” Ned hollers out to his team. By the end of the episode Ned sells all of the mitts and the move forward with publishing the story.

“Sometimes the best way to serve the paper is by publishing an important story,” Ned says as the episode closes. “Sometimes it’s by quitting. And sometimes it is by selling a boatload of rebranded kitchen wipes. Today, it was all three.” 

Gleeson says Ned’s most inspiring attribute is his willingness to drop a job his good at to pursue he enjoys and loves.

“The fact that he is willing to leave all that behind, all of the great things that lifestyle would have brought him to take this risk, to go and tell the truth and try and make the world a better place, I just think that’s so it’s really inspiring,” Gleeson said. “Then it’s really funny when it doesn’t quite go the way he wants it.” to.”

“The Paper” Season 1 is now streaming on Peacock.

The post ‘The Paper’ Star Domhnall Gleeson Answers if Ned Sampson Is a Better Salesman or Journalist appeared first on TheWrap.

Puck to Acquire Graydon Carter’s Air Mail

Puck is closing in on a deal to acquire Graydon Carter’s Air Mail, reuniting the storied Vanity Fair editor-in-chief with his former staffer, Jon Kelly, who co-founded the newsletter outlet in 2021.

“Puck has entered into an exclusive agreement to acquire Air Mail,” the two outlets said in a joint statement. “This will unite Air Mail’s distinctive journalism, stable of luxury advertisers, and sophisticated commerce platforms with Puck’s portfolio of venerated journalists, scale, and proven subscriber engagement model.”

The merger would mark a key point of consolidation in the world of subscription-based newsletters that have become popular for news distribution but that lack scale. Consolidation has swept digital outlets and broadcast and cable companies alike.

Specifics about the deal including a purchase price have not been confirmed. Puck and Air Mail share investors with private equity firm TPG and Standard Investments, which is under Standard Industries.

Since its launch, Puck has raised more than $17 million and, as of last year, had 40,000 paying subscribers, according to the Wall Street Journal. Air Mail had raised $32 million since its launch, according to a New York Times report from last year, and Carter’s newsletter had amassed 500,000 subscribers.

In his time at Vanity Fair, Kelly founded the site’s business vertical, The Hive, which the magazine ended last month. He co-founded Puck with Max Tcheyan and Joe Purzycki, the latter of whom served as its CEO through 2023. It named former Twitter executive Sarah Personette as its CEO last year.

Carter co-founded Air Mail, a subscription-based weekly newsletter, with New York Times journalist Alessandra Stanley in 2019 after stepping down from his role at Vanity Fair in 2017.

Air Mail covers a variety of subjects, ranging from politics, art, environment and more, according to its website. It released its first issue on July 20 with Carter and Stanley serving the platform as co-editors. An individual with knowledge of the deal told TheWrap Carter, 76, would enter a consulting contract as part of the acquisition before he’s set to retire.

“We sensed that there was an audience of readers who were both tired of overly earnest news publications and found the ceaseless churn of the daily news cycle predictable, unnerving, and, quite frankly, unmanageable,” Air Mail’s description reads. “We also understood that this audience was a driving part of the world’s affluent intelligentsia — catholic in its tastes and curious about the world, not just the country they live in. How were we so sure? Because we counted ourselves among that group.”

Breaker’s Lachlan Cartwright first reported the news.

The post Puck to Acquire Graydon Carter’s Air Mail appeared first on TheWrap.

‘Glenrothan’ Review: Brian Cox’s Dreadful Directorial Debut Is Not a Serious Movie

In the acclaimed series “Succession,” which centers on an absurdly wealthy family constantly at each other’s throats over who will take control of their massive media empire, one of the most memorable scenes came when Brian Cox’s menacing, manipulative patriarch Logan Roy tells his children he loved them, but that they were “not serious people.” It’s the last thing he ever said to them.

In Cox’s directorial debut “Glenrothan,” which centers on a less wealthy family that’s still frequently at each other’s throats over who will take control of their whisky distillery, there are no such devastating, well-written scenes. Instead, the only thing that’s fundamentally unserious is the film itself. 

This lack of seriousness is not for lack of trying. If anything, the film is constantly trying — too hard. Each scene feels overwritten to within an inch of its life and each development in the story so contrived that it lands with an agonizingly dull thud. Written by David Ashton and Jeff Murphy, it hits just about every saccharine note possible while never once achieving the bittersweet balance it is constantly reaching for. You never wonder what it is that you’re meant to be feeling or where it is all going, though it falls short at every turn. All that it leaves is a sense of grim resignation as you realize this is going to be the film you’re in for the next approximately 90 minutes that ends up feeling like an eternity. 

Right out of the gate, as we get several sweeping shots of the beautiful Scottish Highlands, “Glenrothan” begins to stumble. The opener and everything that follows is merely about setting up the story, not making us genuinely feel any earned emotion. As we get bombarded by clunky narration from Cox, who plays distillery owner Sandy, you can feel the strings of the superficial narrative already being pulled. 

We learn of how Sandy’s brother Donal (Alan Cumming) left their home behind to go make a go of it in the United States, where he’s been for the past 30 years. But when a crisis upends his life, he decides to return with his daughter (Alexandra Shipp) and granddaughter with what may be ulterior motives. As he explores his hometown, he begins to awkwardly reconnect not just with Sandy, but with his close childhood companion Jess (Shirley Henderson), whom he also hasn’t spoken to for decades. As the family’s painful past starts to come to the surface, both their future and that of the distillery hang in the balance. 

All of this is communicated through the most cloying flashbacks imaginable that play more like parodies of themselves than they do actual scenes. Everything is so broad and each line of dialogue so blunt that you feel as though you’re being hit over the head at every turn. Any deeper questions “Glenrothan” tries to raise about the tension between duty to family and personal fulfillment are never grappled with in any meaningful way. Subtlety is not a word it seems to know.

Even when Donal and Sandy literally grapple on the ground after an obligatory betrayal, it’s played more as a patronizing joke on the older brother than it is genuinely funny or revealing. It’s borderline insulting to its characters, with Shipp getting so little to do as the goodhearted daughter that you continually wonder if something was cut.   

It’s a shame, as Cox is a great actor. However, not all great actors make for great directors, especially when working with a story as superficial as this. There are plenty of more crowd-pleasing dramas to be made about family, but they need at least some emotional punch behind them. “Glenrothan” has no such heart behind it, proving to be less of a halfhearted swing and more of a sad shrug. All one can say by the time it wraps in an overly neat and forced finale is I love you Brian Cox, but this is not a serious movie. 

Read all of our Toronto Film Festival coverage here.

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