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JAY KELLY Starring: George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, and Stacy Keach Director: Noah Baumbach QUENTIN As a person who loves movies about movies (and, by proxy, movie stars), Jay Kelly was right up my alley. George Clooney is perfectly cast, essentially playing himself (a running joke in the movie), as a superstar actor grappling with the shallow relationships and disheartening loneliness of mega fame. It deftly walks a tight rope between self-indulgent navel-gazing and brilliant meta subtext. And as good as Clooney is, it’s Adam Sandler who steals the movie as he once again proves that he is a legitimate actor. If this were to be Clooney’s final movie (it won’t be), it’d be something pored over for years to come. AMARÚ There has yet to be a Noah Baumbach-directed film I’ve enjoyed. I often find that his characters have empty, first-world problems, or in the words of those in my inner circles, white people shit. But Jay Kelly ’s introspective look into the psyche of good people who make bad decisions makes this story a little more relatable. The titular character (George Clooney) and his manager, Ron (Adam Sandler), still make choices that seem counter to their narrative momentum; however, placing their seemingly superfluous conflicts in the chaotic day-to-day of movie stars allows for much more emotional resonance surrounding their work-life balance issues. ADRIANO I was on and off Jay Kelly' s wavelength consistently. I loved Noah Baumbach's Fellini-esque direction and the ambitious approach to the titular character's (George Clooney) reflection, but while Clooney and Adam Sandler are excellent at the centre, Billy Crudup stole the movie. With that said, the attempt to erode the barrier between an out-of-touch actor and the audience didn't always land. The journey was lacking in emotional familiarity and was mostly just sad. The ending, however, sticks the landing and made me wish the rest of the meandering movie matched what the finale delivered. BODE Some have critiqued Noah Baumbach’s latest picture, Jay Kelly , for its sentimentality. To that, I would say: don’t be so easily fooled. It’s there, yes, but it’s constantly balanced out with the sourness that Baumbach initially made his name on. It causes some tonal whiplash, but in a way, that just makes this bittersweet character study more compelling - especially as George Clooney does some of his best work in years exploring the contradictions of this pathetically successful Hollywood figure. Adam Sandler, Riley Keough and (especially) Billy Crudup also shine amidst a star-studded ensemble. Solid - if not spectacular - stuff. NICK I know “aura” is a big buzz word these days, but that is the best way to describe what George Clooney has. Be it his charm, screen presence, or overall likeability, Clooney is the quintessential movie star, which makes him perfect for this character. He's wonderful in a role that looks at the cost and ramifications of fame. Kelly is a flawed character, but Clooney ensures we never turn on him; a great supporting turn from Adam Sandler helps, as well. I don’t think Jay Kelly is going to bring Clooney another Oscar, but it shows those aspirations are far from over. KATIE Jay Kelly is undoubtedly self-indulgent and sentimental, but sincere and with enough humour that I didn’t really mind. The dialogue doesn’t always work, and some characters are too underdeveloped for me to care about them, but it's driven by great performances. George Clooney, playing the titular Jay Kelly, is, as always, a perfect movie star: compelling and charming, with an endlessly watchable screen presence. Adam Sandler is also fantastic, again proving his dramatic talent. The score is lovely, and the cinematography is gorgeous. For all its sentimentality, I enjoyed the A-list performances and nostalgic appeal. ROBERT Ambiguity can be either the life raft that lifts a film and its message or the anchor that sinks it completely. The life of Jay Kelly, as portrayed by George Clooney, is designed to make the audience question reliability in the narrator’s account of the past, forcing them to consider whether they should root for him, right until the end. For me, Jay Kelly is wildly successful in its journey of retrospection, sold beautifully by Clooney, Adam Sandler’s beaten-down charm, and whirlwind stints by Billy Crudup and Riley Keough. Some might find it saccharine, but as a father, it leaves me contemplative and emotional. PAIGE Noah Baumbach’s Jay Kelly is an intriguing meta yet sentimental piece that explores themes of regret and the cost of choosing fame over authenticity. While I found the first half of the film a bit difficult to connect with, mainly due to clunky dialogue and a lead character who initially feels unrelatable, George Clooney’s performance slowly drew me into the narrative. As the story unfolds, you begin to put yourself in Jay’s shoes and reflect on the memories we wish we could have had with the people we love, and that, right there, is the power of cinema. Not to mention Nicholas Britell's beautiful score, which truly enhances the emotions you feel by the end of the film. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

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KILL BILL: THE WHOLE BLOODY AFFAIR Starring: Uma Thurman, Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah, David Carradine, Julie Dreyfus, and Sonny Chiba Director: Quentin Tarantino NICK Although I'm a big fan of director Quentin Tarantino, Kill Bill Vols. 1 & 2 have never been among my favourites. The Whole Bloody Affair doesn't change that. Although I do think condensing everything into one film actually improves the pacing, the new aspects don't feel necessary (or substantial). Even the trademark Tarantino violence doesn't hit as well when matched up against his later films or even things like the John Wick franchise. If you liked this as a two-parter, you’ll like it as a singular entity; if you’re looking for something new, don’t expect The Whole Bloody Affair to offer much. PAIGE To see Kill Bill: The Whole Bloody Affair on the big screen is a true cinematic event because this is how the film was meant to be seen. Fusing Vols. 1 & 2 into a single feature allows for the Bride’s (Uma Thurman) revenge saga to flow better while making for a more cohesive character arc. Although the new anime sequence and Fortnite chapter aren’t really necessary, the extended scenes and colorization of originally black-and-white sequences enhance the action and violence to make this feature even more badass than it already was. Ultimately, there’s no better way to experience Quentin Tarantino’s epic. ADRIANO What do I say about Kill Bill: The Whole Bloody Affair that film lovers haven't said for the past two decades? If you love Quentin Tarantino's chaotic, maximalist revenge films, this is obviously a treat. As someone who adores Vol. 1 as a classic but finds Vol. 2 just solid, it was a joy seeing them as a complete package, unashamed of the weirdness to the degree that they extended the anime sequence. It even helped fill some holes for Vol. 2 . This is a cinephile and Kill Bill fan's dream right here, and watch it on 70mm if possible.

FIVE NIGHTS AT FREDDY'S 2 Starring: Josh Hutcherson, Piper Rubio, Elizabeth Lail, Matthew Lillard, Freddy Carter, Wayne Knight, Mckenna Grace, and Skeet Ulrich Director: Emma Tammi ROBERT A movie being bad does not preclude it from being entertaining, but if it meanders without much to say — or is just set up for a future film — it commits a mortal sin of cinematics. Five Nights at Freddy’s 2 should be cast into the seventh circle of movie Hell as it hits every pain point. I think the first film is engaging for a PG-13 horror effort, and it had real stakes for the characters. This one is poorly acted, terribly scripted, and had me asking silly logistical questions throughout instead of holding my focus to the action. Please, no more nights at Freddy’s. ADRIANO This feels like low-hanging fruit, but Five Nights at Freddy's 2 is such an embarrassment. Like the first film, it's a hollow joke of a horror film with no tension or narrative cohesion. Now, if you're a long-time fan of the games and you love hearing the names you already know, then have at it, because that's all you get as it ditches the easy-to-adapt terror of the games for nonsense. These are horror films designed for children at the end of the day, and if the non-ending cliffhanger is any indication, we may have to suffer through more of these disasters.

Previous Next December 11, 2025 WRITTEN BY: KATIE I’ve recently emerged from a reading slump. Whilst films are a constant in my life, I often easily forget how much I enjoy reading. But then I get absorbed by a new book. Then I’m reading every day. Then I’m searching for a new novel every week. I’m sure my fellow readers can relate. For my fellow film fans, I’d bet many of your favourite films are book adaptations. I’d even say the best films usually are based on novels, and recently, I have read several that I believe would make fantastic films. They span a range of genres and forms, but all of them are well-written and compelling enough that I could imagine them as feature-length stories. I tend to gravitate towards books that feel somewhat realistic, even if there are supernatural elements, because I like authentic-feeling characters and reading about the human experience. Max Porter’s Grief is the Thing with Feathers is a perfect example. In hindsight, I would have loved to write this article earlier because I was shocked when I learned a film adaptation of Porter’s debut novella was releasing. This story, specifically, is one I thought had potential to be an amazing film. Dylan Southern’s film shortens the title to The Thing with Feathers and stars Benedict Cumberbatch as a grieving father (happily, I loved it, but you can read more about that in my review HERE ). Despite only having read it recently, the book is very close to my heart, and it struck me in the same way that I’m moved by horror films about grief and loss. The story’s imagery is rich and distinctive, and the writing is completely unique. It reminded me a lot of Jennifer Kent’s The Babadook, conceptualising grief in a way that’s brutal yet poignant, speaking to the real-life experience of losing someone close to you. So, before any other adaptations beat me to the punch, let's talk about some books that would make terrific films, and the reasons I think they would translate so beautifully to the screen. HEART-SHAPED BOX , JOE HILL Joe Hill’s Heart-Shaped Box absolutely gripped me from the first few pages. Recommended by a colleague who described Joe Hill aptly as “Stephen King (Hill’s father), if he got to the point quicker,” Heart-Shaped Box follows Judas Coyne, a rock star who collects occult and horribly niche items only for the sake of maintaining his hardcore public persona. Eventually, he purchases a dead man’s suit, which results in him and his loved ones being horrendously tormented by its malicious spirit. The descriptions of the ghost are deeply creepy and visually compelling, particularly in the ways it's described while moving and its terrible eyes: “Then he saw the dead man in the hallway behind her. His skin was pulled tight across the knobs of his cheekbones, and he was grinning to show his nicotine-stained teeth.” “Craddock McDermott moved in stop motion, a series of life-size still photographs. In one moment, his arms were at his sides. In the next, one of his gaunt hands was on Georgia’s shoulder. His fingernails were yellowed and long and curled at the end. The black marks jumped and quivered in front of his eyes.” In addition to the spine-chilling descriptions, the story and characters are engaging and interesting. Judas is cynical, self-centred, and not very likeable, but a victim of abuse that you empathise with. His reaction to the situation feels realistic and relatable, and he deals with it the best he can whilst battling his pre-existing issues and trauma. Like my favourite horror films, Heart-Shaped Box explores these themes by terrifying the audience. It’s a strong contender for my favourite horror novel, threatening the place of Pet Sematary as the scariest book I’ve ever read, and would make an excellent horror film. THE TENDERNESS OF WOLVES , STEF PENNEY The Tenderness of Wolves is a novel that I could see making an incredible adventure epic with a Western feel. Stef Penney’s murder mystery is set in Canada, 1867, told from Mrs. Ross’s grounded perspective. Mrs. Ross discovers her neighbour, trapper Laurent Jammet, with his throat slashed in his cabin. On the same day, her son, prone to being withdrawn, goes missing. From there, a Native American tracker, considered a suspect himself, helps Mrs. Ross search for her son. They set out into the wilderness, with the only thing between her and death is the trust she places in the tracker. Despite how she is perceived as a woman, Mrs. Ross is pragmatic, capable, and driven, and she’s a character I would love to see brought to life on the screen alongside her quietly romantic relationship with the tracker. Every side character is well-developed and compelling too, and there’s a surprising same-sex relationship storyline that is unexpected but feels authentic. More importantly, Penney’s descriptions of life in the small frontier town in mid-19th-century Canada and the desolate, freezing landscape paint a clear picture. The sense of place is very distinctive and visually realised. Even though I read The Tenderness of Wolves for the first time by a pool in sunny Albufeira, Portugal, I could almost feel the icy winds and numbing cold, so I wasn't surprised to learn that Penney is a visually driven author who could also see her stories as films: “I always wanted to be a filmmaker, but I never distinguished between writing a story and imagining the way that story would look.” THE LAST CHILDREN OF TOKYO , YOKO TAWADA The Last Children of Tokyo is a very interesting read. Yoko Tawada’s speculative fiction mostly follows Yoshiro and his grandson, Mumei. Due to some kind of unspecified ecological disaster caused by pollution and damage mankind has done to the environment, old people seemingly live forever whilst younger generations live with a myriad of health issues and often die before adulthood. Tawada presents a compelling premise that I could see as an off-kilter, dystopian satire — Japan has isolated itself from the rest of the world, foreign languages and colloquial phrases have been phased out, odd laws are randomly enforced, common technology no longer exists, and people experience random changes in their sex. In the story, Yoshiro adores his grandson and occupies his long lifespan by caring for him however he can. As an older person, he’s energetic, physically fit, and remembers a world before his generation poisoned it, but he feels immense guilt that Mumei doesn’t know life without pain and can only read about wild animals and foreign countries. Ultimately, a secret organisation is at work to remedy the issues, and Mumei may be destined to be part of the cure, but the dreamlike narrative focuses more on Yoshiro and Mumei’s relationship and experience in the dystopian world. STONER , JOHN WILLIAMS Stoner is my favourite book. It’s a fairly straightforward story, but it has stuck with me like no other because its profundity sneaks up and devastates you by its end. It’s about William Stoner, born 1891 in Central Missouri, and his ordinary, largely insignificant life; from childhood on his parents’ farm through his University life, academic career, and marriage. Stoner is a successful man in many ways, and not so much in many more. Stoner is about the quiet struggles, regrets, and joys of everyday life, and how one man searches for meaning and purpose with no assurance he’ll ever find it. As a character, Stoner is incredibly frustrating. He falls in love with literature and philosophy but can't find it in himself to express his passion in any impactful way. He marries the wrong woman, and after meeting the right one, cannot find the courage to do anything about it. He loves his daughter but doesn’t save her from his overbearing wife’s parenting. He knows what he wants but feels too disengaged from his own life to get it. Thankfully, the faultless storytelling and compelling prose save the story from being simply depressing, instead creating profound and, in some ways, heartbreaking complexities. Author John Williams described the novel as “an escape into reality.” In this sense, Stoner would make an amazing film about one man’s life, with a similar tone to The Holdovers , in the way that it's bittersweet and moving. This sentence on the opening page sums up the vibe I’m imagining for the film, starting off with a disarming bluntness before immersing the reader in the whole of Stoner’s life: “Stoner’s colleagues, who held him in no particular esteem when he was alive, speak of him rarely now; to the older ones, his name is a reminder of the end that awaits them all, and to the younger ones, it is merely a sound that evokes no sense of the past and no identity with which they can associate themselves or their careers.”

WAKE UP DEAD MAN: A KNIVES OUT MYSTERY Starring: Josh O'Connor, Daniel Craig, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Thomas Haden Church, and Jeffrey Wright Director: Rian Johnson NICK I hate to pigeonhole a director, but if Rian Johnson continues making murder mysteries for the rest of his career, I'd be fine with that. Johnson has a knack for this, and his pairing with the now iconic Benoit Blanc (Daniel Craig) is magic. Although Blanc takes a backseat to Rev. Duplenticy (Josh O’Connor) here, he still has moments to shine as Johnson tries his hand at creating a gothic horror film. It's ambitious, but it works, though not quite as well as the previous two entries. That said, I will still gladly take a fourth film on the work of one Benoit Blanc. ADRIANO Wake Up Dead Man is Benoit Blanc's (Daniel Craig) most ambitious mystery yet. Continuing the trend of writer/director Rian Johnson's Knives Out films, Johnson flips audience expectations on their heads in ways that had my eyes glued. Even if you guess who the killer is, the “how” will still shock you. Easily the darkest of the franchise so far, it has great Poe-esque iconography and an interesting take on the radicalizing power of organized religion, all while keeping that Knives Out humour intact. You could argue this is the best of the franchise, and I wouldn't fight you on that. QUENTIN By default, one of the Knives Out movies must be considered the “least good,” a mantle that falls upon Wake Up Dead Man . Don’t get me wrong, it’s a worthy franchise entry, but it’s so different that it’s comparatively weaker. The biggest change is that Benoit Blanc (Daniel Craig) isn’t really the main character, playing second fiddle to Rev. Deplenticy (a fantastic Josh O’Connor). Also, although it maintains a sense of humor, it’s much heavier and somewhat predictable, which makes it less lively and fun. Lastly, Josh Brolin aside, the ensemble cast mostly fades away as glorified cameos. Still, it’s a highly recommendable mystery. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

DUST BUNNY Starring: Mads Mikkelsen, Sophie Sloan, Sigourney Weaver, Sheila Atim, and David Dastmalchian Director: Bryan Fuller AMARÚ Dust Bunny is a fun and imaginative action romp that grows on you after a slow start. Director Bryan Fuller mixes colorful visuals and dynamic cinematography with a playful score to highlight the fantastical (dis)agreement between the monster-plagued eight year-old Aurora (Sophie Sloan) and her contract-killing Intriguing Neighbor (Mads Mikkelsen). At first, the playfulness is over-exaggerated, erroneously hoping its poorly edited, over-stylized action will bolster a limited-dialogue first act. But once they let the skillfully playful cast (including a movie-anchoring Sigourney Weaver) verbally interact, the story finds a campy, macabre groove that delivers on a deliciously wicked time. QUENTIN Stylish as it may be, featuring a production design that blends the fantastical sensibilities of Tim Burton with Wes Anderson’s whimsy, director Bryan Fuller is seemingly confused about who Dust Bunny is for. Although R-rated, it’s as safe for pre-teens as the PG-rated Gremlins and Ghostbusters , which means those coming for the hardened scares and violence advertised will walk away disappointed given how tame and cutesy it all is. The slow, virtually dialogue-free first act and extremely shoddy special effects won’t help win those people over, either. That said, if allowed to see it, younger audiences and fans of Goosebumps will eat this thing up. KATIE Dust Bunny wasn't for me. I liked the child-friendly, dark fairytale, horror approach, and the young Sophie Sloan is fantastic as Aurora, especially considering she’s opposite Mads Mikkelsen. However, it doesn’t work, overall. The story has too many unnecessary elements, and I found it tonally confusing; it's too gruesome and violent for younger viewers, but it felt like a kids' film through the style and characters. The physical setting and costuming are vibrant and interesting, but the CGI-heavy visual effects make some scenes look murky, nullifying the effect of any potential scares. BODE Bryan Fuller has created some of my favourite shows, from the boldly re-inventive Hannibal to the one-season gem Wonderfalls , so I had fairly high expectations for his feature debut. I can’t quite say Dust Bunny met them, but there are things to appreciate about it – from its gorgeous production design (reminiscent of Jean-Pierre Jeunet) to the fact that it's practically tame enough to work as a gateway horror flick for kids. It’s just a bit too simplistic and shockingly sluggish at times to fully standout. Still, it’s weird and tender enough to be an overall interesting watch.