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.
Oct
31
2024

USA Today has a nice interview and photo shoot with Toni Collette and Nicholas Hoult on “Juror #2″: Toni Collette played a mom in movies before she was one in real life, so she’s paid special attention to the career rise of her “About a Boy” co-star Nicholas Hoult. Twenty-two years after appearing with Hugh Grant in the coming-of-age dramedy, Hoult and Collette got a kick out of being cast together again in director Clint Eastwood’s new courtroom drama “Juror #2” (in select theaters Friday). And on their first day of filming – in a moment of emotion and confrontation – Collette felt very much in the scene but also “like a proud mother.” “Like, oh, my God, look at my boy go! He was so good,” she recalls in an interview alongside Hoult. “He’s become like this incredible actor.” The complete interview can be read over at USA Today.

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Photo Gallery – Editorial Photography – 2024 – Session 01

Oct
28
2024

After yesterday’s world-premiere of “Juror #2” at the AFI Fest, reviews for the film are coming in – and they are very favorable, receiving praise for Eastwood being still up to par and singling out Toni Collette’s multidimensional character as a Southern proscecutor. With reviews as good as this, it makes even less sense that Warner Bros. is keeping it in limited release. Here’s an overview of critics sites writing about the film.

IndieWire, Christian Zilko (October 28, 2024)
If there’s a downside to living to 94 and remaining healthy enough to work in Hollywood after being an entertainment icon in seven different decades, it’s that your films become impossible to separate from the arc of your life. When Clint Eastwood’s 40th directorial effort, “Juror #2,” premiered at AFI Fest 2024, it was accompanied by the hefty expectations that follow 65 years on the silver screen. Not only does the film rise to the occasion, it soars past it.

Variety, Peter Debruge (October 28, 2024)
It’s no coincidence the film is set in Georgia, where first-degree vehicular homicide is treated as a felony. The location gives Collette (and no one else in the cast) a chance to do a thick Southern accent, as her character alternates between court and the campaign trail. Faith is running for district attorney on a tough-on-domestic-abuse platform, and this case could push her to victory, which makes the truth as inconvenient for her as it is for Justin. Faith eventually starts to question her case, which could jeopardize her political ambitions, while giving Collette a chance to redeem a character who earlier read as a self-righteous obstacle to justice and now seems like its most Eastwood-worthy champion.

Screen Daily, Tim Grierson (October 28, 2024)
Faith is a potentially stereotypical ambitious prosecutor, but Collette instead portrays her as a noble, dedicated attorney who starts to have her own doubts about the case. Separately, Faith begins digging deeper, her revelations risking her chance of victory at the polls if it turns out James did not kill his girlfriend.

Deadline, Pete Hammond (October 28, 2024)
Clint Eastwood‘s 42nd and possibly last film as director (hope not), Juror #2, also happens to be his best since American Sniper. At 94, this remarkable filmmaker not only still has it, he actually has it in spades over some half his age. Collette as the assistant district attorney now running for the top job, is superb as a prosecutor who is certain she has her guy, only to have doubts she may have gotten it wrong.

Punch Drunk Critics, Travis Hopson (October 28, 2024)
At 94 years old, Clint Eastwood is still going strong. While speculation has run rampant about his future, the legendary star hasn’t said anything about Juror #2, his 40th feature as a director, being his swan song. And if it is, that would be fine. Collette’s role expands the further we get into Juror # 2, and she’s reliably great as a prosecutor who trusts in Lady Justice, but is clouded by her own ambitions. Despite the extreme nature of the plot and the nagging feeling this circus case should be thrown out, Collette, Hoult, and Eastwood keep the film grounded. You can drive a truck through some of the plotholes, but if you can shut yourself off to them and trust in Eastwood’s steady, workmanlike direction and the performances of his stars, Juror # 2 is an enjoyable morality tale.

Oct
28
2024

At yesterday’s closing night of the 2024 AFI Fest, Toni Collette and Nicholas Hoult delighted fans as they addressed their reunion on stage. “I hope you’ve all seen Juror No 1, if not this is going to make very little sense,” Hoult joked as he introduced the movie. “Hasn’t my boy grown up?” said Collette. “He’s so funny and handsome. We worked together on About a Boy 22 years ago and it’s taken the genius of Clint Eastwood to bring us back together.” Collette starred as Hoult’s on-screen mother, Fiona, who is struggling to manage her life as a single parent to Marcus in the Nick Hornby comedy. Pictures from the world-premiere have been added to the photo gallery.

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Photo Gallery – Public Appearances – 2024 – AFI Fest – “Juror #2” Premiere

Oct
25
2024

In case you have wondered already why there is so little press of next week’s theatrical release of “Juror #2” – which is not only Clint Eastwood’s latest film, but most probably his last – the answer lies within a very questionable move by Eastwood’s longtime distributor to release it just theatrically in 5 theaters in New York, Los Angeles and Chicago – and that will be it. According to a lengthy news item on Variety, “the hush-hush rollout for “Juror #2” remains a peculiar approach for a filmmaker who still has commercial appeal. “American Sniper” was the highest-grossing domestic release of 2014. Two of Eastwood’s follow-ups, “Sully” and “The Mule,” both earned more than $100 million in North America. But in the contemporary theatrical landscape, badly rattled by the COVID pandemic, original adult-skewing dramas are perceived by studios to be much riskier theatrical prospects than they were even five years ago.” Also today, Warner Bros. has released a clip from the film, featuring Toni Collette and J.K. Simmons, as well as a very short featurette with the entire cast praising their director (an apparently emotional tribute by Toni was cut down to a couple seconds). Both clips can be found in the video archive.

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Video Archive – Career Videos – Juror #2 – Film Scene 01
Video Archive – Career Videos – Juror #2 – Featurette

Oct
19
2024

You never know quite what to expect from a Bong Joon Ho film. Parasite took the world – and the Oscars – by storm with its shapeshifting, genre-mashing narrative. Memories Of Murder was a largely sober serial-killer thriller, but with a higher-than-usual number of dropkicking detectives. Amid rip-roaring monster movie The Host comes a slapstick-comedy setpiece at a funeral. But under it all, Director Bong often picks at stories of people ekeing out life under the crushing weight of capitalism, heightening the absurdity of our everyday world. That continues in Mickey 17, starring Robert Pattinson – multiple times over, in fact – as Mickey, who agrees to be an ‘expendable’, sent on an intergalactic colonisation mission where he’ll be ‘reprinted’ every time he dies. It is, Director Bong tells Empire in our world-exclusive Mickey 17 issue, “the most human story” he’s ever made. And, as with his previous work, it’s not necessarily painting the most flattering portrait of humanity. “Ultimately, the story is about how pathetic humans can be,” Bong explains. “It’s almost like you can smell every human character in the film — their piss stains and their smelly socks.” Stinking up the screen will be Pattinson, whose Mickeys are tasked with helping to prepare the ice world of Niflheim – crawling with creatures known as ‘creepers’ – for human habitation. Except, in a mishap, Mickey 18 ends up being printed prematurely, before Mickey 17’s demise – and both co-existing simultaneously spells potential disaster for his (or, their?) future. Especially when Mark Ruffalo’s virulently anti-expendable politician Marshall is in the picture. Read Empire’s full Mickey 17 feature – speaking to Bong Joon Ho, Robert Pattinson, Steven Yeun and Naomi Ackie about their oddball sci-fi odyssey – in the December 2024 issue, on sale Thursday 24 October.

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Photo Gallery – Career Photography – Mickey 17 – Production Stills

Oct
12
2024

Variety has published a list of the 100 best horror films of all time, among them “The Sixth Sense” and “Hereditary”. Thinking about, although Toni is best known for her work in drama and comedy, two of her most memorable and most-quoted characters have been in horror films – “The Sixth Sense” still standing as her sole Academy Award nomination of a long and varied career. “Hereditary” should have easily secured her another nomination as well, but that’s another story. Both essays on the film are very empathetic towards Collette’s performances. The full list can be checked out over at Variety.

Number 68: The Sixth Sense: Ghosts are terrifying. But grief and regret? Those deeply human concerns that incessantly haunt the living — and according to many a supernatural film, torment the dead as well — may be several shades scarier. This notion is at the heart of the petrifying film that made M. Night Shyamalan’s name synonymous with horror (and twist endings), launched its dead-people-seeing young actor Haley Joel Osment into temporary child stardom and gave Toni Collette one of the most heartbreaking roles of her career as a troubled single mom still grieving the loss of her own mother. Led by an ethereal Bruce Willis through a soul-crushing revelation and its merciful resolution, and caressed by studious Gothic hues, “The Sixth Sense” grasps that the best ghost stories are ultimately ones about all of us earthbound creatures with unresolved aches.

Number 36: Hereditary: Ari Aster’s deeply freaky trance-out of a supernatural thriller starts off as a sinister but familiar tale of a family being torn apart by ghosts. It’s full of things that would look right at home in the megaplex horror-bash-of-the-week: séances with moving objects, decapitated bodies and crawling ants, and the way that Charlie (Milly Shapiro), a gawky odd duck of a girl, glimpses apparitions who could be figures out of a “Smile” sequel. But Aster stages it all with a meditative menace (Toni Collette gives a performance as the anguished mother worthy of Liv Ullmann). And as the film’s mystery shifts over to Peter (Alex Wolff), the family’s morose pothead of a high schooler, you realize that what we’re seeing is a vision of the afterlife taking over the here and now. The climactic sequence is a stunner that makes you feel like you’ve passed through the looking glass.