Welcome to Toni Collette Online, your premiere web resource on the Australian actress and singer. Best known for her iconic performances in "Muriel's Wedding", "The Sixth Sense", "United States of Tara" and "Hereditary", Toni Collette has emerged as one of her generation's greatest talents. In its 13th year online, his unofficial fansite provides you with all latest news, in-depth information on all of her projects on film, television and the theatre as well as extensive archives with press articles, photos and videos. Enjoy your stay.

Upon its April 22 release around the world (minus Germany) on Netflix, reviews from all outlets have been released – all praising the film’s cast and story approach – with quite a few criticising its slow-paced storytelling. A selection of reviews have been collected below. New production stills, on-set pictures and posters have been added to the photo gallery as well. There has been a virtual press junket for the film, but Toni didn’t attend, so unfortunately no promotional material this time.

TIME, Stephanie Zacharek (April 23, 2021)
Collette has little to do beyond look at first annoyed, and then resigned, and then anguished by her responsibilities – but Collette, who can do anything, ultimately makes us feel the weight of the latter. Stowaway pulls plenty of pages from the generic space-movie handbook, but it still builds a mood of dread and contemplative ennui, finding its resolution in a final, somber shot.

The Hollywood Reporter, Frank Scheck (April 22, 2021)
Stowaway is more confined and claustrophobic than most films of its type, set entirely aboard the confines of a spaceship and featuring but four characters. That there are four rather than three proves the springboard for the tense scenario in which a crew, manning a rocket bound for Mars, discovers an interloper. For all its thematic heft, however, Stowaway sometimes feels too restrained for its own good. There are times during the extremely slow-paced and talky proceedings that you’ll find yourself desperately wishing for an alien to burst out of somebody’s chest.

Vulture, Bilge Ebiri (April 23, 2021)
Penna keeps the film focused on the people: Each member of the crew responds to the situation differently, and there’s power in watching their differing personalities clash. The cast keeps things admirably grounded as well. Kendrick’s earnestness plays off against Kim’s practicality. Collette, the queen of reaction shots, looks on and mulls her options in gathering horror, anxiety, and despair. Anderson strikes a touching balance between guilt, disbelief, and sorrow. The film’s central tension, between hand-wavingly vague science and the contagious immediacy of the characters’ emotions, becomes most pronounced during the final act, which is somehow both impressively suspenseful and frustratingly confusing. Still, Stowaway is never boring, even as it leaves you with a million unanswered space questions.

The Independent, Clarisse Loughrey (April 22, 2021)
Collette, who makes rare use of her native Australian accent, is especially good. There’s a hardness to her performance that speaks not to cruelty, but to a knowledge that the price of leadership is often some small chunk of humanity.

RogerEbert.com, Christy Lemire (April 22, 2021)
Penna portrays the increasing feeling of doom not with histrionics and a hyperbolic score but rather through long tracking shots and muffled bits of conversation in faraway corridors. As in “Arctic,” he’s wise enough to let his actors convey so much of what their characters are experiencing though their faces: subtle expressions of disappointment, anguish, fear. One call in particular to ground control reveals Collette’s ability to balance the truth of Marina’s anxiety while sounding poised and capable to the folks on the other end about options.

Related Media

Photo Gallery – Career – Stowaway – Production Stills
Photo Gallery – Career – Stowaway – Promotional Stills
Photo Gallery – Career – Stowaway – On-Set Pictures
Photo Gallery – Career – Stowaway – Posters & Key-Art