Park Chan-wook’s No Other Choice is as bleak as it is hilarious

At my second day at TIFF 2025, the longest line I saw wasn’t for a movie: it was for the Criterion Closet. The space is housed in a van so that it could make it up to Toronto, and honestly, it felt a little wrong to see the outside of it after watching everyone from Michael Cera to Hideo Kojima spend time in its cramped interior digging through Blu-Rays.

The line was long enough that I didn’t even bother trying to get inside, which is probably a good thing since I’d just be overwhelmed anyways. Besides, standing in that line would cut into my movie time, which is already a precious resource given there are so many things to check out.

If there was a theme for the features I saw on day 2 it would be people on the margins being pushed to extremes. That was the vibe of both Nadia Latif’s The Man in My Basement, as well as No Other Choice, the latest from Oldboy and Decision to Leave director Park Chan-wook. They both explore the concept in very different ways, and naturally very different results.

I also saw a modern rendition of Hamlet (there are actually two Hamlets at TIFF this year; hopefully I can make it to the other one later on) and a very cute, and quiet, animated film.

Here are brief reviews on everything I watched. (And if you missed it, here’s my first day at TIFF, which included a spooky video game adaptation and a panic-inducing drama.)

Charles (Corey Hawkins) is broke and mostly alone, a combination that means he’s about to lose his house, which has been in the family for generations. Then a deal comes along that seems too good to be true: Anniston (Willem Dafoe), a wealthy businessman, offers an enormous sum to rent out the basement for two months. I won’t spoil the reason, but Anniston is trying to go on a “spiritual journey” of sorts, one tied to white guilt. But after a promising start the film becomes a little scattered and never really finds its footing. Still, it’s at least entertaining to watch Hawkins and Dafoe both steadily lose their shit (literally, at one point, for Dafoe).

_{Coming to select theaters on September 12th, streaming on Hulu and Disney Plus later in the fall.}

You Man-soo (Lee Byung-hun) has an idyllic life: beautiful family, incredible home, and a job where he was once named “pulp man of the year.” But when his paper company downsizes, he’s left competing for a dwindling number of jobs. So he comes with an elaborate plan to eliminate the competition — literally. What plays out is darkly hilarious, as You Man-soo might be the most hapless killer I’ve seen in a film. There are some wildly messy action sequences and punchlines that make very funny use of sound, including one memorable “tudum!” It drags a little towards the end, but otherwise this painfully relevant satire rushes forward with unexpected twists and turns. Think Parasite, but more slapstick.

_{In select theaters on December 25th, with a wide release in January.}

A reimagining of Hamlet set in present-day London that never really gels. It’s a slick thriller, with some really cool set-pieces, including a mesmerizing take on the “play within a play” that turns into a haunting dance routine. But the film sticks with the original Shakespearean dialogue, and this feels at odds with the modern setting. There’s just something off about hearing “to be or not to be” from a guy speeding down the road in a BMW. Riz Ahmed gives his all in the lead role, but it’s not enough here.

_{No word yet on a wider theatrical premiere date.}

A cute animated film that’s notable in particular for having zero dialogue. It tells the story of a young girl and her robot caregiver, and how their relationship evolves over time. The tale is very sweet; the bot deals with empty nest syndrome when the girl becomes an astronaut, and it has a glitch that causes it to watch old memories at random moments. The film feels like it’s stretching itself a little thin by the end, but there are some really charming moments — including an origami battle in a cozy diner — and an excellent soundtrack courtesy director Kid Koala.

_{No word yet on a wider theatrical premiere date.}