Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! NEW REVIEWS FILMS SERIES SPOTLIGHT WATCH READ READ READ

Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! NEW REVIEWS FILMS TV SPOTLIGHT READ READ READ

RUNNER Starring: Alan Ritchson, Owen Wilson, Rodrigo Santoro, Leila George, Kate Box, and Peta Sergeant Director: Scott Waugh ROBERT With Runner , the inner turmoil for me is considerable as it is reminiscent of 2000s action films I really admire (Shanghai Noon , The Transporter , Smokin’ Aces ), while also being fairly shallow and chock full of plot conveniences. They leaned into the Alan Ritchson fight choreography playbook, which led to some creative set pieces and deaths, but that also made it feel derivative. The chemistry and some of the acting was richer than I expected but expanding out past the leads, it became boiler plate silliness. Thus, with the scale tipping this way and that, the term “mid” is as apropos as it gets. AMARÚ Owen Wilson was the 2000s’ lovable mid-budget comedy star, and based on my Saturday at 12:45pm packed showing, Alan Ritchson might be today’s lovable mid-budget action star. Their combined charm carries Runner past ridiculous character choices and comically bloodless, yet brutal action to land an entertaining 90s throwback. From director Scott Waugh’s best spinning-shot Michael Bay impression to Rodrigo Santoro’s unexpected depth for a mustache-twirling villain, every cliché beat is balanced with surprising swings. This ultimate dad movie is outlandish and laughable at times, but also weirdly fun, so I’m not too mad at it.

RESIDENT EVIL Starring: Austin Abrams, Paul Walter Hauser, Kali Reis, Zach Cherry, and Sara Paxton Director: Zach Cregger NICK Resident Evil is like watching someone step into a video game, and I mean that in the most complimentary way. Whether it’s the shot composition, the usage of first- and third-person perspectives, or Austin Abrams’ screams that channel Ryan Gosling from The Nice Guys , this thing fires on all cylinders. It’s a great blend of horror and humour with a surprising amount of laughs and some of the most effective jump scares I’ve seen in ages. Most importantly, it’s genuinely scary. I’m sure video game fans may have some issues, but I’m not sure what more you could ask from this. QUENTIN Most of my familiarity with Resident Evil comes from the not-great Paul W. S. Anderson series of movies. Compared to those, Zach Cregger’s take on the material is stellar. However, relative to Cregger’s two previous offerings, Barbarian and Weapons , this new adaptation is a distant third when ranking his filmography. I imagine fans of the video game will be pleased since the presentation is so video game-y, complete with first-person angles and obvious homages to the game that I recognized without ever having played it. There also is far more humor than I expected. Ehh…it’s fine, I suppose, but it didn’t do anything for me.

THE UNION Starring: Mark Wahlberg, Halle Berry, J.K. Simmons, Adewale Akinnuoye-Agbaje, Alice Lee, Jackie Earle Haley, Jessica De Gouw, Stephen Campbell Moore, Mike Colter, Dana Delany, and Lorraine Bracco Director: Julian Farino QUENTIN It seems like 2024 has had a never-ending string of mediocre buddy comedies, and The Union is just another entry on the pile. Honestly, my reviews of this, The Instigators , Axel F , Jackpot!, and several more are all pretty similar. The acting is fine, the plot is predictable, there are a few chuckles to be had, and the action, though generic, is entertaining enough. That said, of all the recent offerings in this genre, I guess this is one of the better ones, but that’s a low bar and it’s really splitting hairs. It’s a decent yet disposable distraction on Netflix – no more, no less. PRESTON Perfectly unlikely, but predictable events unfold in a cliché spy action-comedy that is the Netflix-iest movie to ever movie on Netflix. Halle Berry (Roxanne), Mark Wahlberg (Mike McKenna), J.K. Simmons (Tom Brennan), and Mike Colter (Nick Faraday) form a pleasurable enough cast that suits the format just fine, and they are able to inject enough charm to make the film an ok watch. No need to overcomplicate things here, this is after-work fodder for the masses that you may enjoy if you want to just shut down the old thinker for a couple of hours.

HERETIC Starring: Hugh Grant, Sophie Thatcher, and Chloe East Directors: Scott Beck and Bryan Woods NICK I believe your enjoyment of Heretic will be closely linked with how religious you happen to be. Right off the top, the film unabashedly dissects religion as it attempts to challenge or affect not just the characters, but the viewer. Had this been the entire movie, my rating would have gone up a reel. Also, Hugh Grant is devilishly good, which is why the opening act works as well as it does. It’s when the film devolves into more traditional horror that it doesn't work quite as well. It’s still a very good, enjoyable film, but it can’t quite keep its early momentum. ADRIANO At its best, Heretic presents a wonderfully tense chamber piece with fascinating conversations about religion. Writer/directors Scott Beck and Bryan Woods show off their horror talents when, even in seemingly mundane conversations, something obviously sinister is under the surface. Sophie Thatcher and Chloe East are great, but it is Hugh Grant's deceptive politeness that blew me away. That said, when the movie gets into the back half, it gets a bit too silly. The conversations in the first half struck a good line between silly and intense, but when it leaned too hard into horror, I felt the impact lessen. QUENTIN In Heretic , the villain, played by a disarmingly deranged and against-type Hugh Grant, poses questions and tests of faith to two Mormon missionaries (Sophie Thatcher and Chloe East, both excellent). On premise alone, I had extremely high hopes because I love anything that deconstructs religion. Thankfully, the film delivers. While it isn’t “scary” in the traditional sense, it is a powder keg of tension and palpable suspense, featuring deceptively menacing dialogue and thought-provoking questions. In what has been a strong year for horror, Heretic proves to be one of 2024’s best. I’m not sure it works with anyone else but Grant, though. KATIE The best thing about Heretic is Hugh Grant’s deliciously sinister performance, but even his fiendish charm could not sustain the film’s muddled premise and contrived plot. The religious discourse is rudimentary at best, which is disappointing since the film positions itself to make some interesting or challenging assertions. Instead, it reminded me of class debates I’d have in my A-level theology lessons. The narrative choices in the second half of the film curtail the psychological intensity that’s established early on, and, frustratingly, it moves into the familiar horror territory of torturing young women, leaving me underwhelmed. PAIGE While writers/directors Scott Beck and Bryan Woods’ screenplay does a fantastic job presenting some interesting thoughts and ideas on religion in Heretic , I felt that this tense cat-and-mouse thriller lacked a clear climatic moment that really challenged its viewers. Having said that, Sophie Thatcher and Chloe East play off each other extremely well, and Hugh Grant is commanding in every scene he’s in. Nonetheless, the film has an intriguing premise that, regardless of your religious beliefs, will leave most walking out with an unchanged outlook. PRESTON The religious musings and theological debates that dominate most of Heretic are particularly engaging, but require the viewer to also have had some type of religious experience, familiarity of skeptic ideas, or at least some interest in existential thought processes. I wish the movie would have committed to the thrilling tension that is built expertly through the opening acts, but it tends to fizzle as it tries to wrap up its dichotomous message. Hugh Grant is really the true revelation here, as he uses his charismatic nature to twist his victims’ minds with the audience also firmly in tow. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

ROOMMATES Starring: Sadie Sandler, Chloe East, Billy Bryk, Sarah Sherman, Aidan Langford, Martin Herlihy, Josh Segarra, Carol Kane, Nick Kroll, and Natasha Lyonne Director: Chandler Levack BODE With her previous features I Like Movies and Mile End Kicks , Toronto-based filmmaker Chandler Levack has shown that she’s got a real knack for coming-of-age stories, infusing much lived-in authenticity into them. Roommates finds Levack trying to smuggle those sensibilities inside the Happy Madison template, and due to an uneven script, it doesn’t have quite the same punch as her other movies. But the film still contains enough charm, solid craft, a great soundtrack, and strong performances from Sadie Sandler and Chloe East that it’s a mostly worthwhile watch. Shoutout to Peter Kuplowsky. ROBERT Having no real history with the filmmaker and the two leads, I figured Roommates would reek of nepotism and desperation. Well, low expectations breed high rewards as the effort was unexpected and refreshing. Despite it treading on overly stomped ground, it was pinpoint accurate with its portrayal of a loner trying to find friends in college and what being a new freshman on campus is like. I found it inspired how they didn’t try to redeem certain characters who usually find that arc, and the parent energy of Nick Kroll and Natasha Lyonne was magnetic; Single White Female meets Booksmart , what a combination! KATIE Roommates tells a story that has been told many times before, reminding me of a lesser version of films like Easy A and Booksmart . It doesn’t do anything new with the coming-of-age college drama, but it is mostly entertaining and got a few laughs out of me. However, the framing device felt unnecessary and a little odd, sometimes feeling like it was aimed at a younger teenage audience with splashes of adult humour. The cast was good, but unfortunately, I did not find Sadie Sandler’s performance as Devon at all convincing.

QUIZ LADY Starring: Sandra Oh, Awkwafina, Will Ferrell, Holland Taylor, Jason Schwartzman, and Jon 'Dumbfoundead' Park Director: Jessica Yu KATIE Quiz Lady is an uneven yet entertaining comedy, rescued by the wholehearted performances of Sandra Oh and Awkwafina as estranged sisters who couldn’t be more different. Despite a bumpy script, the pair have an undeniable chemistry and seem to be having a lot of fun with their wacky roles. The film sharply pivots from slapstick and lowbrow comedy to tender moments of sisterly bonding, but I cannot deny that some scenes are laugh-out-loud funny. Plus, the opposing dynamic paired with the familiar chemistry between the sisters is hilarious. PAIGE Despite a somewhat conventional, ridiculous story and an uneven script, Quiz Lady is surprisingly effective in the laughs department. Both Sandra Oh and Awkwafina are outrageously hilarious playing against type, and their fantastic dynamic alone makes this cheesy but charming comedy worth watching. They compliment each other effortlessly, making this film such a fun, wild ride. With that said, the movie works better when it focuses on its sweeter, more intimate scenes between these two estranged sisters rather than its bombastic comedic scenes.

DEAR YOU Starring: Li Sitong, Wang Yantong, Wu Shaoqing, Wang Xiaohui, Fang Peisong, Zheng Runqi, and Zhao Shuguang Director: Lan Hongchun AMARÚ Dear You is a sweet romance film that highlights the heartfelt nature of compassion, found family, and caring for one another. Its surprising humor enhances the heart that its actors put forth on screen, and the narrative structure reveals each family’s story in a way that gets you further invested with each passing second. Full of love, tragedy, and a sense of community that would inspire the masses, Dear You packs a punch of emotion that will leave you with a smile on your face and a tear in your eye. KATIE Dear You is sincere and old-fashioned in a comforting kind of way, with a warm sense of humour and great performances. The drama unfolds satisfyingly; the story is compelling with some surprising reveals, and it absolutely pulls on the heartstrings whenever it can. Emphasised by its moving score, Dear You is a heartfelt film that focuses on themes of family, kindness, and understanding. It’s not groundbreaking nor flashy, but its cast of endearing characters, beautifully realised setting, and emotional drama make for a heartwarming watch that’s easy to get invested in.

THOR: LOVE AND THUNDER Starring: Chris Hemsworth, Christian Bale, Tessa Thompson, Natalie Portman, Taika Waititi, and Russell Crowe Director: Taika Waititi NICK Unlike other MCU entries, my anticipation for Love and Thunder was low. That’s less a commentary on the character than it is the heavy dose of MCU fatigue stemming from the sheer volume of content and muddled franchise direction. The movie itself is fine. It has some good moments, but it’s not as funny as Ragnarok . In fact, as much as this film is being labeled a comedy, its best moments come when the story is at its most serious, thanks in large part to an enigmatic Christian Bale. It’s certainly not a bad film, but like much of Phase Four, it’s a little disappointing. QUENTIN While it lacks the grandeur and cohesiveness of Ragnarok , Love and Thunder is another hilarious MCU entry that should become a rewatch staple. Some important plot points get glossed over a little too hastily, which creates a slight air of triviality (think Ant-Man and the Wasp ), but the jokes are so rapid fire that you hardly notice in the moment. I suppose it does create some tonal mismatches, but ultimately, I’m just being nitpicky. With the excellent additions of Russell Crowe, Christian Bale, lots of Guns N’ Roses, and two screaming goats, Love and Thunder belongs in the upper echelon of solo MCU adventures. AMARÚ Unlike Ragnarok , which uses a captivating story and engaging characters to create hilarious moments, Love and Thunder uses humor as a foundation to which the story is haphazardly attached. It makes the plot an afterthought, thereby creating my least favorite first-time MCU watch. Weirdly, the story’s bones feel like they could have worked as the MCU’s first rom-com; However, when 95% of the dialogue is, for me, forced jokes that don’t land, it’s hard to be endeared with any major plot point. As a result, by the time the better balanced final act came around, I was already too checked out to care. JOSEPH I am utterly confused at the distaste so many have for Thor’s latest outing. It’s funny, sweet, and touching, all while sporting stunning visuals and a kick-ass soundtrack. Some jokes try too hard or go on for too long, but that wasn’t enough to take me out of this wondrous space epic. Christian Bale steals each scene as Gorr, but he wasn’t as present as I’d hoped. Still, Love and Thunder does a great job of exploring its characters, even if that means creating some plot-based issues. It’s great fun and even better on rewatch. PAIGE Love and Thunder is an entertaining popcorn flick that brings director Taika Waititi’s sense of humor back to the MCU. I enjoyed the film’s rom-com feel, which made me believe that love will always overcome revenge, and it’s so fast paced that it will keep you onboard through the entire runtime. However, it’s still a reduced version of Ragnarok . Overall, it’s a mediocre MCU film that further exemplifies the inconsistency and wobbliness of Phase 4. Still, if you're just looking for a fun superhero adventure, then you’ll enjoy the film as much as the cast and director seemed to have enjoyed themselves when making it. JACOB Like Ragnarok before it, Love and Thunder is full of humor and heart. What it lacks is a compelling story and a proper sense of pacing. Christian Bale is excellent as Gorr the God Butcher (and his makeup design is great), but he doesn’t actually get to do a whole lot when he’s on screen. Add to that the reintroduction of Dr. Jane Foster (Natalie Portman) and some half-baked Guardians of the Galaxy material, and the film doesn’t seem to have an identity to cling to. It’s fun when it wants to be, but it lacks the emotional depth of director Taika Waititi’s usual output.

THE LOST CITY Starring: Sandra Bullock, Channing Tatum, Brad Pitt, Daniel Radcliffe, and Da’Vine Joy Randolph Directors: Aaron Nee and Adam Nee JACOB What its adventure elements lack in awe and adrenaline, The Lost City makes up for in pure charm. Channing Tatum and Sandra Bullock’s terrific chemistry carry a mainstream studio comedy the likes of which just don’t really happen anymore (with a brief appearance from Brad Pitt absolutely stealing the show). Where the film falters, ultimately, is in not making Abigail Fairfax (Daniel Radcliffe) as fun a villain as Radcliffe clearly wants him to be, and some particular subplots feel woefully underdeveloped. That said, this is about as fun as it could have been, given what it had to work with. AMARÚ The Lost City tries really hard to be charming, but it’s mostly just a run-of-the-mill romantic comedy. Every trope, relationship, and plot point from every 90s/2000s rom-com you’ve ever seen is reused here. The film tries to coast on the starpower of Sandra Bullock, Channing Tatum, and Brad Pitt to keep you interested, but they aren’t enough. We’ve seen Bullock play the hard-shelled lead as much as we’ve seen Tatum play the more-than-meets-the-eye-candy. Pitt gives a little more intrigue (as does Daniel Radcliffe), but it doesn’t offset the predictable, forced comedy that only garners a chuckle or two. PAIGE Paramount has struck gold with this generation’s take on Romancing the Stone with the Sandra Bullock-led The Lost City . This film is as charming and adventurous as you’d hope, working perfectly as a hilarious popcorn flick. Have we seen films like this before? Of course! However, the effortless chemistry between Sandra Bullock and Channing Tatum, who truly sparkle together, make the movie a cut above the rest. Give me more rom-coms with these two, Hollywood!

THE WOMAN KING Starring: Viola Davis, Lashana Lynch, Sheila Atim, Thuso Mbedu, John Boyega, and Jordan Bolger Director: Gina Prince-Bythewood NICK All hail Viola Davis! Forget male vs. female led, this is one of the best action films of the year, period. Director Gina Prince-Bythewood has crafted a culturally rich story that’s fierce, ruthless, and emotional. Davis continues to prove she’s the most powerful woman working in film, while Lashana Lynch, Thuso Mbedu, and John Boyega give tremendous performances of their own. The one thing holding this back from a higher rating is the score. The African tribal music is great, but some of the generic “movie music” that is used really dulls the emotional punch of some scenes. That aside, a superb film. QUENTIN The Woman King , which is like if Black Panther ’s Dora Milaje was given the Braveheart treatment, boasts excellent action sequences and cinematography, but it’s really the performances that set it apart. Viola Davis is fierce, and while she has proven to be a certain kind of badass in the past, I never would have guessed she could pull off tribal warrior badass. She’s remarkable, but truth be told, Lashana Lynch (and even John Boyega) almost steal the movie from her (Thuso Mbedu is no slouch either). There are a few story beats that are a smidge too convenient, but this should be a major awards contender. ADRIANO I really liked The Woman King …for the most part. It’s very well made from a craft point of view, mainly its costumes and production design, and the entire ensemble is really good. Viola Davis is, of course, fantastic…I mean, she’s Viola Davis for heaven's sake…but her co-lead Thuso Mbedu is also outstanding. The action scenes are brutal and well choreographed, but the editing can get super choppy at times. Although the story is nothing we haven’t seen before, this is still a fun time at the theaters, no doubt. JACOB The Woman King has a few things holding it back from being an outright masterpiece, but it’s supremely entertaining and easily the most thoroughly African mainstream release since at least Black Panther . Director Gina Prince-Bythewood’s chronicle of the Dahomey people’s breaking from the slave trade is rich in cultural depth, set-piece thrills, and stellar performances, especially from Lashana Lynch and Thuso Mbedu. Viola Davis and Sheila Atim are great too, but they’re in it less than one might think, ditto the action sequences. John Boyega also provides another strong performance to his continually impressive resume, and Terence Blanchard’s score is excellent. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.