This magical element of surprise hit me when I attended a screening of Arco, a visually splendid animation by director Ugo Bienvenu, on the fourth day of the Toronto International Film Festival. For those who relish animation, imagine a blend of Scavengers Reign, Time Masters, and a dash of Castle in the Sky. As impressive as that sounds, it totally delivers.

During the festival, I also watched a couple of films venturing into the now popular genre highlighting the flaws of affluent individuals. One attempted to tackle the subject with humor, while the other mixed comedy with unusual drama. Both weren’t entirely successful in execution, though the latter featured Keanu Reeves as a bumbling angel.

Arco stands as a time travel narrative intertwined with Earth’s environmental issues. Its striking visuals initially capture your attention, exhibiting a retrofuturistic sci-fi vibe reminiscent of Moebius and the natural aesthetic of Hayao Miyazaki, set in a future where rainbows trace the paths of soaring time travelers. The story unfolds as a boy from the distant future mistakenly travels back to 2075 and seeks the assistance of a young girl and her robot nanny to return home. Arco‘s charm extends beyond its visual appeal, weaving a heartfelt story with a poignant environmental message. However, those striking visuals do give it an edge.

_{In select theaters on November 14th.}

The comedic aspect of this film leans heavily on its humor. It combines elements of Freaky Friday with It’s A Wonderful Life, as Keanu Reeves’ angel Gabrielle endeavors to show gig worker Arj (played and directed by Aziz Ansari) the value in his life by orchestrating a swap with a wealthy tech mogul (Seth Rogen). Complications arise when Arj hesitates to switch back, as wealth has conveniently resolved his issues. This predicament results in several amusing scenarios, particularly for Reeves, who plays an endearing celestial being fixated on tacos and chicken nuggets. However, the film fails to present fresh insights on the gig economy or the economic divide, leaving it somewhat shallow.

_{In theaters on October 17th.}

Initially, Sacrifice plays out as a satirical dark comedy. The elite gather on an isolated island for a climate change gala under the slogan “make the earth cool again,” and the absurdity is notable, especially when a faded star (Chris Evans) delivers a muddled motivational speech. But then a radical faction of armed activists captures the guests, convinced that human sacrifice is necessary to avert an apocalypse. The film abandons its comedic tone, morphing into a peculiar and sluggish action-drama that, despite its stellar cast — including Evans, Salma Hayek Pinault, Anya Taylor Joy, and Charli XCX — fails to sustain interest.

_{No word yet on a wider theatrical release.}