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THE SEA BEAST Starring: Karl Urban, Zaris-Angel Hator, Jared Harris, Marianne Jean-Baptiste, Jim Carter, Doon Mackichan, and Dan Stevens Director: Chris Williams JOSEPH The Sea Beast is a film split in two. The first half is a bit generic, borrowing heavily from other stories, namely How to Train Your Dragon , but the second half is great! It’s so great, in fact, that even the visuals seem to improve with the storytelling. While the color palette is brilliant, some of the textures are lacking; that doesn’t stop some scenes from being truly beautiful, though. The characters are likable, the world is intriguing, and the ultimate message is bold and relevant. I only wish the first half felt more interesting and necessary to the plot. QUENTIN As far as story and vocal performances go, The Sea Beast isn’t anything special. It’s basically a variation of King Kong , with a smidge too much sappiness and a very preachy ending. That said, it’s still a swashbuckling good time, and it’s worth watching if for no other reason than the animation. It looks absolutely incredible, putting Pixar to shame with sequences so realistic that they genuinely look live action. It might be the best animation I’ve seen since Into the Spider-verse , and it’s wild to me that no one is really talking about it. Netflix Animation took a major step forward with this one.

FOE Starring: Saoirse Ronan, Paul Mescal, and Aaron Pierre Director: Garth Davis PAIGE Foe is an ambitious film that is more of a domestic drama than a world-building sci-fi spectacle. Don’t expect it to feel like the Black Mirror episode “Beyond the Sea” because its purpose is very muddled. While I actually quite enjoyed this character-driven flick, I do admit it’s a slow burn that needed a stronger story and better structure to fully come together. Still, the film does manage to play to the strength of its actors. Saoirse Ronan and Paul Mescal manage to deliver emotionally deep performances, even when the rest of the film stumbles along the way. ADRIANO Foe is a movie that drained me by the time it was over. The pacing is non-existent, and while a film doesn't need to be fast paced to be good, it usually needs to have compelling writing to drive the story through slower pacing. Sadly, that's not the case with Foe . The writing is confusing, lacking the deep insight into love and A.I. that co-writers Garth Davis and Iain Reid clearly thought they were providing. Paul Mescal and Saoirse Ronan are not on their A-game, either. Overall, although it looks nice, this movie is disjointed and uninteresting. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.

ROLE PLAY Starring: Kaley Cuoco, David Oyelowo, Connie Nielsen, Rudi Dharmalingam, Simon Delaney, and Bill Nighy Director: Thomas Vincent QUENTIN Prime’s Role Play is exactly what you would expect from a gender-swapped True Lies -ripoff that is quietly dropping on a streaming service in January. Despite being rated R, it’s surprisingly timid, and although it’s billed as an action-comedy-thriller, there is very little action, very few jokes, and almost zero thrills. David Oyelowo does his best to elevate the material, especially on the comedy front, but it’s almost as if director Thomas Vincent held him back so he wouldn’t steal Kaley Cuoco’s limelight. Overall, despite a decent start, a solid (if unoriginal) premise, and a great single scene from Bill Nighy, this is a predictable dud. CALEB I can’t begin to understand what Role Play was trying to go for. It has the premise of a goofy rom-com, but is hell-bent on taking itself seriously. It’s not funny enough to be a comedy, but it’s not nearly exciting enough to function as a worthwhile thriller. It’s basically a dollar bin version of Black Widow (2021), but with far less action and twice the boring melodrama. The film can’t commit to a tone for longer than five minutes at a time, which makes the whole narrative feel hopelessly confused. From start to finish, Role Play is a total mess. PRESTON Yes, I fell asleep while watching director Thomas Vincent’s Role Play , and no, it wasn’t a particularly long day. Absolutely no chances are taken here, the fight choreography is rough, and the resulting boredom is quite impressive given my affinity for any story based on an assassin trying to live a double life. Kaley Cuoco and David Oyelowo have almost zero chemistry, and even if this were meant to be a comedy, the lack of commitment to that approach leaves it out of the realm of Mr. & Mrs. Smith and True Lies . Save this for chore day.

EVERYTHING EVERYWHERE ALL AT ONCE Starring: Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, Jamie Lee Curtis, and James Hong Directors: Daniels NICK The buzz for Everything Everywhere All at Once is sure to focus on its insanity and the wild effects, but at its core, it’s a wonderful story of family. Both Michelle Yeoh and Ke Huy Quan are tasked with performing in a variety of genre styles throughout, and they navigate each of them impeccably. However, it’s the directing duo of Daniels that elevates the story and its visuals to rare heights, as the film is a feast for the eyes. There are notes of The Matrix and Into the Spider-Verse , but the duo has created something that genuinely stands on its own. A true masterpiece. ADRIANO Everything Everywhere All at Once absolutely assaulted every one of my senses, and I could not get enough of it. Writing/directing duo Daniels’ multiversal film takes place mainly in an IRS building, yet it feels like we travel the entire planet. While absurdly funny and cool, it’s also a total rollercoaster of emotions. It’s the type of movie that had me audibly laughing at buttplug-related combat to being on the verge of an emotional breakdown in the very next scene. It is one of the best and most unique film experiences I have had in a very long time.

OPPENHEIMER Starring: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Jason Clarke, Alden Ehrenreich, David Dastmalchian, David Krumholtz, Benny Safdie, Kenneth Branagh, Rami Malek, Matthew Modine, Tom Conti, Dane DeHaan, Jefferson Hall, and Tony Goldwyn Director: Christopher Nolan NICK Oppenheimer is less a movie about the creation of the atomic bomb and more a deeply personal look into the mind and psyche of J. Robert Oppenheimer, played by a determined Cillian Murphy. This performance-driven film features a stacked supporting cast that could justifiably warrant praise for anyone, so needless to say, it will make awards voting quite interesting. It’s the story, however, that gave me some pause. It’s definitely engaging… though it’s also needlessly drawn out; it’s certainly informative… but it occasionally feels lecture-like. It’s very well done… but does it rank amongst my favourite Christopher Nolan films? Not quite. ADRIANO Oppenheimer is the best Christopher Nolan movie since Inception . His latest efforts, while wonderfully directed, were severely lacking when it came to the script. This time around, however, Nolan opts for a layered character study that fascinates and haunts at the same time. Also featuring Ludwig Göransson’s terrific score and a great ensemble, led by a mesmerizing Cillian Murphy, the film acts not just as a history lesson, but a mortifying look at the ramifications of this moment in history. The ending made me shake to my core, and I’m gonna think about this movie for a while. QUENTIN Over the course of his career, Christopher Nolan has become known as a director that pushes the envelope in terms of practical effects and story structure, but while Oppenheimer is very good, it’s more straightforward historical drama than spectacle. The acting is terrific, with Cillian Murphy and Robert Downey Jr. early front runners for Oscar nods, but it lacks the “wow” factor typically present in Nolan’s films. It’s also way too long, with entire subplots (notably Florence Pugh’s character) and transitional flourishes that could have been cut. Still, it’s Nolan, so Oppenheimer is better than most movies; it’s just not what I would call “Nolan Good.” AMARÚ Oppenheimer is a filmmaking masterclass told in three parts: the prologue, a 45-minute introspective into the man himself; the bomb, a 90-minute bottle of intensity racing against the speed of human progress; and the aftermath, a 45-minute epilogue highlighting the consequences of pitting powerful egos against morality. Director Christopher Nolan seamlessly crafts these parts into a thrilling narrative filled with Oscar-worthy performances. Should-be-nominees Cillian Murphy, Robert Downey Jr., and Emily Blunt lead an all-star cast through this striking history lesson, with not one wasted character, plot point, or brilliantly scored second. Nolan continues to prove he doesn’t miss. JACOB Even as its third hour works less than its first two, Oppenheimer sticks in my mind as one of Christopher Nolan’s most accomplished efforts, an examination of man-made horror and its fluctuating necessities buoyed by dread and inescapable nuclear age anxieties. The biopic is largely driven by its breakneck, Oscar-worthy editing and terrific performances, while its score, cinematography, and production design are all destined to be major contenders as well. Cillian Murphy is fantastic as the titular father of the atomic bomb, as is Robert Downey Jr. playing Lewis Strauss. This thing is going to be an awards juggernaut.

NOW YOU SEE ME: NOW YOU DON'T Starring: Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, Rosamund Pike, and Morgan Freeman Director: Ruben Fleischer ADRIANO I'm approaching Now You See Me: Now You Don't as someone who didn't like the other two, but aware that others really like them. With that, I found it as messy as the other films, with some additional bloat due to all the new characters. Simply put, I didn't find it that enjoyable, aside from Rosamund Pike's over-the-top campy villain. As a bonus, the big twist made me wonder if everything I saw was a waste of time. That said, I also didn't think it was especially better or worse than the others, so if you're excited, I can't imagine you won't enjoy yourself. AMARÚ I’ll always watch these silly magic movies no matter how dumb. But even though I had some fun with Now You See Me: Now You Don’t , it’s clearly a product of diminishing returns. Between its surface-level plot and the “gee whiz look at this” dialogue underselling a more than capable ensemble, this is the first entry where trying to dazzle the audience was more important than making a competent movie. What’s worse is that the end reveal showed promise of the good film it could’ve been. Too bad the build up didn’t trust the audience or cast enough with a more intelligent story.

SHELBY OAKS Starring: Camille Sullivan, Brendan Sexton III, Michael Beach, Sarah Durn, Robin Bartlett, and Keith David Director: Chris Stuckmann NICK The successful YouTuber turned successful director pool is rapidly growing, and you can add Chris Stuckmann to that list. In Shelby Oaks , Stuckmann shows a great eye behind the camera along with an ability to create an unsettling and eerie atmosphere without the need for much dialogue. It doesn’t always work, as some of the scenes can feel a tad tedious and overdrawn, but hiccups are expected for a debut feature. Oaks will have a lot of eyes on it thanks to Stuckmann and its historic crowdfunding campaign; however, I’m more excited to see what the director does next now that he’s gotten his feet wet. ADRIANO For his debut film, all eyes are on YouTube reviewer turned writer/director Chris Stuckmann, and I'm delighted to say that Shelby Oaks is good. It's unremarkable, sure, but good, nevertheless. Stuckmann wears his influences on his sleeves (The Blair Witch Project , Hereditary , etc.) and pours in tons of eerie tension, from its found-footage opener to the supernatural terror to come. He does it all with an excellent directorial eye, too, even if there are some cheap scare tactics thrown in. Admittedly, the third act shoots itself in the foot, but I'm still happy to say Stuckmann pulled it off. BODE Like many critics before him, Chris Stuckmann steps into the world of feature filmmaking with Shelby Oaks . Admittedly, as someone who followed his YouTube channel, it’s heartening to see him make it this far. That’s why I hate to say that I don’t think this fully works. While he has a decent handle of tone and atmosphere, the uninspired narrative ends up being its biggest crutch, increasingly becoming a hodgepodge of better horror movies as it goes. I’m not un-interested in seeing what he does next as a director, but he should probably think about working off someone else’s script. ROBERT The great rookie filmmakers in cinematic history know how to intersperse techniques and shots from their influences without it overwhelming their debuts. In Shelby Oaks , director Chris Stuckmann waves obvious imagery and homages in front of the audience’s face in service of a convoluted plot. The composition of the cinematography and the staging speak to an expert eye for directing, but the writing and story construction are where Stuckmann falls flat. I believe time and repetition will further solidify what Stuckmann can do, and I did have fun with this effort, but “effort” is how I would describe the viewing experience by the end.

THE QUIET ONES Starring: Gustav Giese, Reda Kateb, Amanda Collin, Christopher Wagelin, Jens Hultén, Granit Rushiti, and Amin Ahmed Director: Frederik Louis Hviid NICK The Quiet Ones , based on the largest robbery in Denmark's history, handles the heist elements with the level of high-octane, immersiveness that you'd hope. It has a realism similar to last year's How to Blow Up a Pipeline . Unlike that film, however, director Frederik Louis Hviid fails to get you invested in either the characters or the planning process, which makes for an opening hour without much tension. It also doesn't help matters that the motivations for the heist itself are murky at best. Unfortunately, one scene does not make a film, but it IS enough to bump up the rating a bit. BODE During the 2008 financial crisis, a number of men pulled off the biggest heist in Danish history. Frederik Louis Hviid’s solo directorial effort, The Quiet Ones , chronicles how they did it and what happened with a precision (one of the real-life robbers served as a consultant) and intensity that makes it clear that the style of Michael Mann is of great influence. In fact, his influence is so noticeable that The Quiet Ones unfortunately lacks a distinct personality all its own, especially in regards to its characters. Still, it’s gripping enough that it should please most heist film fans. QUENTIN It's heist time, baby! Unfortunately, The Quiet Ones barely gets a middle-of-the-road rating, which probably can be mostly attributed to my biased love for the genre. Falling more in line with gritty bank robbery movies like The Town than glossy capers like Ocean’s Eleven , this Danish film about the biggest heist in Danish history fumbles everything outside of the actual robbery. The characters and motives aren’t fully developed, so there just isn’t much to connect with (I admit that subtitles could be a factor here, too). That said, the robbery sequence is decently action-y and intense, but in a hollow video game kind of way. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

CHEVALIER Starring: Kelvin Harrison Jr., Samara Weaving, Lucy Boynton, Ronke Adekoluejo, Marton Csokas, Sian Clifford, Minnie Driver, and Alex Fitzalan Director: Stephen Williams ADRIANO Chevalier can often feel familiar in its approach, but it’s such a fascinating true story, told with such conviction and power, that I couldn’t help but revel at it. The aesthetic is something to behold, with its production and costume design going beyond just a typical period piece. There is genuine flair and pizzazz to be found here. Samara Weaving is delightful, and Kelvin Harrison Jr. soars with his performance as Joseph Bologne. He displays so much charm and humanity into this forgotten figure. A more nuanced look at Bologne’s life would have been nice, but it’s still a riveting tale, nonetheless. AMARÚ The opening of Chevalier plays like a rap battle, and it’s with that sort of relentlessness in which Kelvin Harrison Jr. attacks the title role. His unabating strength and insatiable charm is matched by director Stephen Williams’ use of tracking shots personably focused on foreground characters. This pushes an unwavering pace that initially highlights heavy-handed racial themes and an otherwise magnificent Samara Weaving’s spotty accent. But as these flaws are evened out further into the fierce narrative, the juxtaposition of Harrison and Williams’ brute force with touching points of tender subtext made for a thrilling retelling of lesser known portions of world history. JACOB For all of its posturing regarding how legendary Joseph Bologne was as a classical composer and virtuoso violinist, it is a bit disappointing that Chevalier only seems to want to play the most basic notes of his story. Don’t get me wrong, the movie works overall, standing squarely on the strength of Kelvin Harrison Jr.’s lead performance, but it also moves through most of the story without actually exploring the nuances of various situations, instead simply presenting them as being. That said, the first and last five minutes of the film are equally thrilling, and the music itself is beautiful. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

ONE FAST MOVE Starring: K.J. Apa, Eric Dane, Maia Reficco, and Edward James OlmosYPU Director: Kelly Blatz AMARÚ Eric Dane keeps doing this thing in One Fast Move where he repeatedly says “naw, naw, naw” only to eventually say, “wait… maybe I can” (or some variation of this sentiment). That feeling of seeing the same thing over and over kept recurring throughout the runtime because I’ve seen a lot of this movie’s plot points in plenty of other films. None of it is bad, but much of it is quite ordinary. Dane often overdoes his dead-beat characterization, but a solid KJ Apa and an always stand-out Edward James Olmos balance him out enough to get through the film unbothered. PRESTON One Fast Move is the epitome of a cliché racing movie, and it follows its pre-planned map to a T. The predictable character arc follows along the cursive wavelength path of troubled start to things looking up, then the decline before inevitable victory. There are some pedestrian inclusions for the motorcycle fan that include Sturgis shirts, a Tail of the Dragon ride, some motorcycle lingo, and fast bikes, but the true racing enthusiasts will likely walk away feeling let down. Ultimately, an unremarkable, middle-of-the-road offering that steers well clear of the fast lane.

MEMORY Starring: Jessica Chastain, Peter Sarsgaard, Brooke Timber, Merrit Wever, Josh Charles, and Jessica Harper Director: Michel Franco ADRIANO It's wild how much the performances of great actors can elevate a film, but in the case of Memory , that's exactly what Jessica Chastain’s and Peter Sarsgaard’s do. Their nuance in approaching these heavy roles is something to marvel at. Not that Memory isn’t great without them, mind you. Writer/director Michel Franco's deft hand at going about the subjects is delicate and precise, and though I don't see his slow-moving nature working for you if it hasn't before, it works for me. And, again, even if you're not totally into the plot, you still have two incredible performances that are beyond worthwhile. NICK I don’t want to take anything away from Memory. It’s a well-crafted film that features some heartfelt performances from Jessica Chastain and Peter Sarsgaard. It just doesn’t feel… special. There are times when director Michel Franco presents a devastating idea, but then be seemingly gun-shy of tackling it. There are a few of these missed opportunities in the film, so what we’re left with is a well-acted story that doesn’t feel wholly unique. The great performances of Chastain and Sarsgaard do almost all the heavy lifting, which is necessary because this story would certainly be lacking without them. QUENTIN Having missed Memory at Venice Film Festival, I was happy to get a second chance when I attended Zurich Film Festival a month later. Sadly, I learned that I didn’t miss anything worthwhile. Sure, it has good performances from Jessica Chastain and Peter Sarsgaard, but neither are performing at the top of their game. Most importantly, though, the story sets up several fascinating pathways to explore, but never follows through. In fact, it leaves so many intriguing plot threads dangling that one must wonder if this final product is the director’s true vision, or if the studio made cuts to remove some potentially controversial story beats. PAIGE Memory could end up being one of the most delicate films of the year. With profoundly touching performances from Jessica Chastain and Peter Sarsgaard that should not go overlooked, the film offers a tender yet heartbreaking look at two wounded individuals: one who can’t remember and the other who remembers too much. While providing this introspective look at one’s traumatic memories from multiple perspectives, writer/director Michel Franco does a fine job of gently crafting these moments, even though it can all feel slightly repetitive and sluggish at times. This film was reviewed by Adriano, Nick and Quentin as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 Zurich Film Festival, respectively.

YOU HURT MY FEELINGS Starring: Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Arian Moayed, and Owen Teague Director: Nicole Holofcener JACOB Similarly to Kelly Reichardt’s Showing Up from earlier this year, Nicole Holofcener’s You Hurt My Feelings operates on a more low-key playing field than a lot of other indies, even from A24. There are no huge revelations, plot twists, or abundance of dramatic tension, but that doesn’t keep the film from being any less compelling. Julia Louis-Dreyfus is excellent in the lead, working off a well-written script that has more depth than it lets on at first, and Tobias Menzies’ understated turn seeps into your soul. It’s hardly a mind-blowing watch, but it’s a nice time. PAIGE Writer/director Nicole Holofcener set out to deliver a sweet and light-hearted dramedy, and she succeeds with You Hurt My Feelings . While the film leans toward the more boring side of the tracks, I’m fairly certain an older audience, especially married couples, will enjoy this one. The film is filled with solid performances, and the comedic timing of the entire cast is executed fairly well overall. The message that it’s sometimes okay to tell white lies to those we love also will resonate with many. ADRIANO You Hurt My Feelings is the kind of slice-of-life dramedy that writer/director Nicole Holofcener knows how to do. It’s very low stakes…and maybe a little too lowkey…but Julia Louis-Dreyfus commands the screen with funny moments that don’t undermine the more effective serious notes dealing with the turbulence of fragile egos. Is this gonna change anyone’s life? No. But it’s an easy watch that could get to your core and make you laugh along the way.