"Gold Rush columnist Nate Jones is on parental leave until mid-November, and his compatriot Joe Reid is taking a much-deserved weeklong vacation from leading our Emmys season and stepping in to helm early Oscars coverage, so you know what that means: While they're out, it's time for the critics - namely me, Alison Willmore, and my colleague Bilge Ebiri, who'll be weighing in later - to run amok on this newsletter with our insufferable opinions"
"For decades now, a trio of late-summer film festivals has been the launching pad where most of the films we expect to spend the next six months talking about have their premieres. Each has its own flavor. Venice, which begins at the tail end of August, is all glitz and a gloss of European worldliness, perfect for photo ops of big stars in boats along canals and for the canceled to test the waters to see how temperate the reception for their return might be"
Late-summer festivals have long served as the primary launching pad for films that dominate the awards conversation for the following months. Each festival carries a distinct identity: Venice offers glitz and European worldliness suited to high-profile photo ops and cautious returns; Telluride cultivates a deliberately casual, exclusive atmosphere where industry figures mingle; Toronto historically provided broad access and strong value for sampling major titles. Some films follow strategic festival paths, sometimes hitting multiple events and New York to build sustained buzz. This fall, despite a slate of high-profile premieres, the usual awards momentum failed to fully materialize.
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