Want to know the best movies at TIFF 2013? As the second half of this year's Toronto International Film Festival rolls on the majority of major titles have already screened for thousands of patrons (that is, as long as the projection system works).

Despite some early jitters and a slightly muted selection, it's unsurprising that out of the hundreds of films playing here there are gems to be found.

Besides the terrific films that bowed earlier in the year from places like Cannes - The Zone of Interest, Perfect Day, Anatomy of a Fall, Fallen Leaves, etc. - there's still plenty to discover here from the recent batch of releases.

What's also equally predictable is that some of the most hyped films didn't live up to expectations, an event's hyped conversation devolved into farce, and the A-list actors-turned-directors didn't always come through.

There are still days worth of screenings for locals, including many more to still explore.

Here are some of the best and worst of TIFF 23 at the midway part of the fest.

The Best

Stop Making Sense

It's churlish to recognize that by far one of the best films to play this year's fest was originally released four decades ago, but this remarakble 4K restoration of arguably Jonathan Demme's greatest film provided a truly unforgettable fest moment.

There was dancing in the aisles, a welcome reunion of a long fragmented band, and a chance to see on the biggest screening in the the city one of the greatest concert movies ever.

Green Border

A masterpiece from an underappreciated master of both big and small screen, Agnieszka Holland's searing look at the refugee crisis on the border between Belarus and her native Poland is as profound as it is provocative.

The performances are astounding, the narrative horrifying, resulting in a story that's deeply unsettling and emotionally raw.

The Promised Land

Ever since I caught him at TIFF in Nicholas Winding Refn's Pusher films I've been drawn to just about everything Mads Mikkelsen does, and this period drama provides yet another exceptional showcase for this legend of international cinema who has long had one foot in the Hollywood system.

A bold, brutal, beautiful film.

The Holdovers

Alexander Payne's Sideways became an instant classic after its TIFF debut back in 2004, and yet for his latest film may well be his best.

Dripping with nostalgia for early-1970's cinema, emphasized with its desaturated celluloid-like look, this moving yet never maudlin story about a teacher connecting with a student launches all the expected tropes like fireworks resulting in a dizzying display of acting chops, clever writing, and downright delightful.

His Three Daughters

I was crushed and yet completely captivated by the sublime performances by Carrie Coon, Elizabeth Olsen, and Natasha Lyonne in this truly remarkable film about sisterhood from director Azazel Jacobs.

A film of life, love, absence and the end of life, this is a tear jerker with a twist, a combination of whip-smart scripting joined by a talented trio of women.

Next Goal Wins

I get it, not everyone is still in love with Taika Waititi's brand of shtick, but this true story-turned-fictionalized account about a hapless attempt by an American Samoan soccer team provided some much needed laughs at a fest littered with tales of woe.

The comedy is broad, to be sure, yet the underlying story is quite inspirational, and the Pacific Islander cast with a few added Hollywood friends added in shines in this winning film.

The Worst

Stop Making Sense - Spike Lee's Q&A

I'm unfortunately no stranger to Spike's "unique" brand of Q&A incompetence, having witnessed at Cannes a meandering conversation with Elton John and one of the biggest faux pas in awards show history when he spilled the beans about the Palme winner at start of show. 

Even prepared for the worst he managed to make a magical reunion seem banal, the vapidity simulcast to theatres around the world just to rub it in.

Finestkind

Ben Foster and Tommy Lee Jones are often fine actors, and I have a soft spot for Brian Helgeland's 2001 film A Knight's Tale, but this fishing film flounders so badly it left a mental stench of rotten catch long after the credits rolled. The deep ocean crime drama is unfathomably wretched.

Knox Goes Away

More middling than truly egregious, it's no small irony that a hired killer losing his memory is so immediately forgettable. We hope for something special from Michael Keaton in the director's chair and instead we got a run-of-the-mill bit of mediocrity in its stead.