So, correct me if I'm wrong (I haven't read it), but doesn't the original Wicked book already cover Elpheba's childhood?

Joseph Gordon-Levitt's literal entire function in the movie is "explain the plot as it is happening."

I mean, true, but counterpoint: floozy is a great word and more people should use it.

Now this is the kind of niche reference I can get behind.

Though to be fair, most of the time when she's playing his mother, her face is covered with a veil or something. I knew this coming in, but if I didn't, I don't think I would have picked up on it.

Watch out, they're gonna be flooding your comments now.

For the record, he's done a LOT worse things.

The most crucial misstep the movie makes is making the main villain be a minor character from the Hulk movie, partly because no one remembers who he is, but mostly because once they explain who he is, you're thinking "why is Sam fighting this guy who has nothing to with him?"

"Spinal Tap II: The End Continues": surprisingly well made! A lot of laughs, Guest, McKean and Shearer are as sharp as ever, and the numerous callbacks and cameos don't overwhelm the narrative. I must say, it's funny that at this stage, they have to use the format of "A Mighty Wind" instead.

"The Ice Tower": a teenage runaway becomes obsessed with Marion Cotillard's Snow Queen in this slow, dreamy drama that requires a LOT of patience (which many in my screening clearly did not have), but is somewhat rewarding by the end.

"A Story About Fire": a monkey and his wolf buddy go on a promethean quest in this gorgeous animated film, that plays a bit like a scrappier Chinese version of Genndy Tartakovsky's "Primal." May be a bit too intense for children - several kids were audibly upset in my screening.

"Honey Bunch": throwback to 70s psychological thrillers in the vein of Polanski, while somehow also one of the most romantic film I've seen in a while. Starts to drag a bit near the end after all the major revelations. Also, epilepsy warning: a few sequences of strobing lights.

"Red Sun": classic western with Japanese flair, relying almost entirely on the charisma of Bronson, Delon, and especially Mifune. Ursula Andress is mostly a living prop, despite having second billing. The movie's portrayal of the Comanche is, uh... not very respectful.

"Picnic at Hanging Rock": in the year 1900, several girls go missing in the Australian bush in this dreamlike thriller (I guess) that boasts strong performances but suffers from the slow pacing common at the time. I admit, I was probably too tired to fully absorb it - nearly fell asleep many times.

"Olivia and the Invisible Earthquake": charming and imaginative stop-motion movie that deals with heavy topics - poverty, depression, racial disparaties - in a way that is engaging for children and adults. The multiple rap songs came off a bit try-hard, though.

And finally, Canadian psychological thriller "Honey Bunch"!

"What Marielle Knows": a girl develops telepathic powers, which puts her family in disarray in this german dramedy, that is amusing and surprisingly affecting, despite some subplots being underdeveloped. Also, probably the filthiest film I've seen in the festival thus far.

"Rider on the Rain": stylish noir with new wave sensibilities, anchored by the undeniable charisma of its two leads. Some of the acting and dialogue is a bit stiff, as was the style at the time. Also, interesting question: is this where the term Macguffin comes from, or was that a clever joke?

"Dandelion's Odyssey": four dandelion seeds look for a new home in this silent animated collage, using various techniques to create a unique look. Not unlike "Flow," without any traditionally cute animals. Pretty cerebral and abstract - NOT for children.