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There are a lot of movies that have tried to seamlessly integrate modern tech \u2014 text messages, livestreams, etc. \u2014 into their storytelling. Some of the most novel attempts have been in the genre space, like the Twitch-style horror flick Deadstream<\/em>. But the most chaotic to date might just be Vintage Violence<\/em>, an absurd crime thriller with lots of blood, jokes, and screentime.<\/p>\n<\/div>\n I was able to catch Vintage Violence<\/em>, the latest from director Eugene Kotlyarenko, on my fifth day at the Toronto International Film Festival. Kotlyarenko has previously explored our hyper-connected culture in 2020\u2019s Spree<\/em>, a movie in which Stranger Things<\/em>\u2019 Joe Keery plays a rideshare driver who starts murdering passengers while livestreaming the crimes. But Vintage Violence<\/em> takes things a step further by trying to replicate what it\u2019s like to constantly be on your phone as the movie plays out. It\u2019s a lot to take in, but I really enjoyed it. Unfortunately there isn\u2019t a trailer yet to give you a better sense of how things work onscreen, but I\u2019ll make sure to share it when they do release one.<\/p>\n<\/div>\n Vintage Violence<\/em> was one of three films I took in on day 5 of TIFF 2026; the others were a 4K restoration of a cult classic and a devastating drama that\u2019s on its way to Netflix. Here are my thoughts on all three.<\/p>\n<\/div>\n From the premise alone you can tell this movie is ridiculous. Carter (Cole Sprouse), a disgraced MrBeast-style influencer, finds a cache of vintage Levi\u2019s while livestreaming, and one of his fans, Izumi (Kiko Mizuhara), suggests he comes to Tokyo to sell the denim for some big cash. When he gets there, just about everyone is running some kind of scam \u2014 pretty quickly the yakuza get involved, including an enforcer with a prosthetic middle finger \u2014 and things play out like a toned-down, but still brutal and bloody, Takashi Miike film. But what really elevates Vintage Violence<\/em> is the way it constantly displays what characters are doing on their phones right alongside the main film. That means everything from sending text messages to livestreaming to listening to whale sounds to relax. It can get chaotic and a challenge to follow \u2014 at one point I was trying to read the chat on a Kick stream while an action scene played out beside it \u2014 but that\u2019s also kind of the point.<\/p>\n<\/div>\n In theaters on October 16th<\/sub><\/p>\n<\/div>\n The Devils<\/em> is one of those cult classics I\u2019ve always meant to watch but never got around to. But this new 4K theatrical rerelease was the perfect excuse. First released in 1971, The Devils<\/em> is a surreal and disturbing account of a witch trial in a small, independent town in 17th-century France. Run by an impossibly handsome priest (Oliver Reed) who openly defies a powerful cardinal, the town soon descends into pure hysteria following reports of demonic possession, which the church seizes on in order to oust the priest. This version is not only a remaster but also a director\u2019s cut \u2014 it\u2019s rated NC-17 \u2014 and while I can\u2019t speak to what\u2019s new since I hadn\u2019t seen it before, I will say the film rarely shows its age, with enthralling and disturbing sequences merged with a poignant story about the dangers of mixing politics and religion. And in 4K the stark architecture and uncomfortable violence really pop on the big screen.<\/p>\n<\/div>\n In theaters on October 30th; streaming on Netflix on November 18th<\/sub><\/p>\n<\/div>\n Marie Kreutzer\u2019s latest feature is a difficult watch. It follows a young family that is torn apart when the police arrive at their country home one day to seize the father\u2019s digital devices as part of a CSAM investigation. The story is primarily centered on the mother, Lucy (L\u00e9a Seydoux), a pianist who struggles with accepting a truth that threatens to upend her entire world. Gentle Monster<\/em> does a remarkable job of slowly taking you through Lucy\u2019s complicated, messy, and constantly changing understanding of the situation, but what really makes it work is Seydoux\u2019s raw and unnerving performance, which oscillates between wishing the problem would go away to doing anything she can to protect her son. It\u2019s a great film, but one that\u2019s certain to leave you unsettled.<\/p>\n<\/div>\nKen Russell\u2019s The Devils<\/em><\/h2>\n<\/p>\n<\/div>\n