LILO & STITCH Starring: Mia Kealoha, Sydney Elizebeth Agudong, Zach Galifianakis, Billy Magnussen, Courtney B. Vance, Amy Hill, Tia Carrere, Kaipo Dudoit, Hannah Waddingham and Chris Sanders Director: Dean Fleischer Camp NICK Ohana means family, and who better to tell a live-action/animated hybrid story of family than director Dean Fleischer Camp? Although this doesn’t resonate as well as Marcel the Shell (this is, after all, more specifically geared to children), it’s still touching. Stitch (Chris Sanders) is an obvious highlight, but I really liked the way this became Nani’s (Sydney Elizebeth Agudong) story, as it gives the film a new angle. Not all of the changes work (I did not like Zach Galifianakis here), but at least attempts were made. I wouldn’t say this is the best live-action Disney remake, but it’s certainly one of the better ones. ADRIANO I may be beating a dead horse with some stuff I say about these live-action Disney movies, but Lilo & Stitch is another example of a shot-for-shot remake that is soulless and unfunny. The changes made range from minimal to non-existent, and they are all-around bad. Sure, Stitch (Chris Sanders) is cute. Go sell your toys, Disney. Otherwise, there is no sense of heart anywhere near this remake of one of the most heartfelt films ever. I'm perplexed by the people calling it one of the better Disney remakes because I think it's one of the worst. AMARÚ Director Dean Fleischer Camp proves once again that he knows how to endear audiences to great characters through great performances, as the relationship between Nani (Sydney Elizebeth Agudong) and Lilo (Maia Kealoha) is as emotionally strong in the live-action Lilo & Stitch as it is in the beloved original. Add in Stitch’s (Chris Sanders) chaotic cuteness, and there’s a lot to enjoy; however, there’s also the film’s superficial non-human aspects, which are rendered even more saccharine through light-speed editing, leaving a lot to… not enjoy. Luckily, Camp puts much more focus on the stronger elements, creating a touching and heartwarming experience.

LAST NIGHT IN SOHO Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg, and Terence Stamp Director: Edgar Wright NICK Last Night in Soho is a beautiful and haunting tale. Director Edgar Wright's ability to transport the viewer back to the 1960s is sublime, especially when paired with such wondrous visuals. On the technical side, this should be an awards juggernaut. On the performance side, ladies and gentlemen, Thomasin McKenzie. The actor's recent work has been good, but this is one of those performances that will make you seek out her next project. This is another triumph for Wright, who is on the shortlist of directors that can sell a film on name alone, an accolade the man has earned. ADRIANO It's hard to express how much I loved Last Night in Soho in under 100 words. Edgar Wright's time-bending psychological horror shows he's in full control of his unique and beyond-entertaining style. The writing has laughs, twists, and remarkable characters that balance incredibly well with the film's themes of exploitation and nostalgia. The two headlining actresses are the best they've ever been, but it's Thomasin McKenzie that blew me away. As for the film's technical aspects, everything is firing on all cylinders, especially the costumes and cinematography. The final 15 minutes goes a little overboard, but this movie floored me. QUENTIN Aside from most of his Cornetto trilogy (loved The World’s End , not so much the other two), I’m generally a fan of filmmaker Edgar Wright, which makes it all the more disappointing that I didn’t care for Last Night in Soho . Long story, short: this movie is the epitome of lipstick on a pig. Every bit of production design, from the sets to the costumes, is a beauty to behold, while the soundtrack is the absolute tits. However, all the goodwill that those things generate is wasted as they support a boring mess of a story full of uninteresting characters.

NIGHTBITCH Starring: Amy Adams, Scoot McNairy, Arleigh Patrick Snowden, Emmett James Snowden, Jessica Harper, Zoë Chao, Mary Holland, and Archana Rajan Director: Marielle Heller ADRIANO Nightbitch is an interesting movie for many reasons. No matter where you stand on the film itself, it's hard to deny that Amy Adams gives a great and committed performance. However, Nightbitch is a story of two movies. One of them is a grounded and effective domestic story with realistic disputes and challenges, which I've always found writer/director Marielle Heller best at. The second is absurdist, which really brings the total product down. A lot of it felt random without bringing much to the table. It’s just sloppily thought out. I'm in the middle on Nightbitch , leaning slightly towards negative. AMARÚ Director Marielle Heller’s Nightbitch is a challenging look at the sacrifices and strength of motherhood. It takes many forms, from an honest dark comedy to body horror-tinged thriller to sorrowful family drama, all of which are led by the always wonderful Amy Adams and the… well, unfortunate skill Scoot McNairy has of playing a punk-ass so well. While the writing and performances bring you viscerally into the splattering of emotions that each of the film’s varying tones presents, the constant and abrupt transitions between comedy, drama, and horror drown each other out, stopping it from fully exploring or committing to any particular conceit. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

BLINK TWICE Starring: Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Liz Caribel, Levon Hawke, Kyle MacLachlan, and Geena Davis Director: Zoë Kravitz PAIGE Despite exploring some heavy themes, director Zoë Kravitz skillfully weaves and executes them to create a fresh and entertaining viewing experience, even if the concept may not be entirely original. Blink Twice does a fantastic job of showcasing a twisted nightmare that is both hilarious and disturbing. With its flawless editing, clever script, and outstanding cast, this movie may be one of the biggest surprises of the year. I am very much looking forward to seeing what Kravitz does next behind the camera because Blink Twice is a promising directorial debut. QUENTIN Reminiscent of both The Menu and Get Out , although not near as good, Blink Twice is a generally worthwhile “rich people suck” thriller. That said, the pacing isn’t great. If not for the trailer, you wouldn’t have any idea that this is a psychological mystery thriller for the first hour. There are very few idiosyncrasies, telltale signs, or tension-building moments hinting that something might be amiss until someone just randomly suggests it, at which point it suddenly becomes suspenseful for an excellent third act. On the plus side, director Zoë Kravitz has a terrific ear for great needle drops and a tremendous eye behind the camera. AMARÚ Blink Twice is an indulgent fever trip that held me at the edge of my seat, with writer/director Zoë Kravitz gripping hold and squeezing tighter with every passing minute. Add in brilliant sound design, pitch-perfect music, and award-worthy editing from Kathryn J. Schubert, and the striking overall direction becomes its own brilliant character standing tall amidst an absolutely stacked cast. Naomi Ackie, Adria Arjona, and Alia Shawkat lead the captivating ensemble through a whirlwind story that is intense, hilarious, thought-provoking, and keeps you constantly guessing for what is one of the most surprising and entertaining movies of the year. Whatever Kravitz does next, I’m in, sight unseen. PRESTON Blink Twice is a refreshing endeavor that takes advantage of a fantastic cast, including an always cool Channing Tatum (Slater) and Naomi Ackie (Frida), who wins me over by the end of the film with a solidly charismatic performance. Writer-director Zoë Kravitz uses dark humor (my favorite) in the larger context of championing feminine power within a recognizably predatory world. That said, the party phase of the film drags too long before finally revealing the more troublesome components, but this psychological thriller remains within the top class of films this year, especially given the relatively drab offerings so far. ADRIANO Blink Twice has way too much wasted potential. In the director's seat, Zoë Kravitz shows she has a knack behind the camera, delivering shot compositions that always look good, which helps in making the movie successfully intense. That said, its commentary on the uber-wealthy and weirdo islandmen is paper thin, resulting in the film's twists and reveals coming off as an attempt at being the next Get Out . It fails to understand what made that film so effective, so it winds up feeling like it was for all cheap shock value. There are nuggets of greatness here, but not enough.

SEEDS Starring: Kaniehtiio Horn, Dallas Goldtooth, Meegwun Fairbrother, Dylan Cook, and Graham Greene Director: Kaniehtiio Horn ADRIANO Seeds is very messy. The movie attempts to comment on the preservation of reservation communities, but, instead, it winds up being as shallow as the Gen-Z archetypes the film is trying to satirize. The movie also can't pick a tone to save its life. I'm not saying I never had fun, but the movie never commits to the horror aspects while a lot of the comedy just falls flat. On top of that, a lot of the flashy concepts are underdeveloped to the point of being nonsense. The ending does leave the film on a high note, but it's an overall mess. PRESTON Seeds is a unique horror film in that it is a Native American/First Nations celebration, specifically of the Mohawk people, with a focus on their history, culture, and values. The lead actress, Kaniehtiio Horn (Ziggy), also happens to be both the writer and director while displaying extremely capable acting skills. However, the movie is a mildly masked but searing attack on the Monsanto corporation that lies somewhere between the border of conspiracy theory and absolute absurdism, and when coupled with the implausibility of the injected “thrill” and the ridiculous cat attack (no, seriously), it made the journey more than regretful for me. QUENTIN Writer-director-star Kaniehtiio Horn (Tanis, to the Letterkenny fans out there) seemingly has no idea what she is doing with Seeds . Granted, a lot can be blamed on its low-budget, campy Canadian trappings, but for a movie billed as a horror comedy, there is very little comedy and almost no horror. I also can’t tell if this is meant to be a commentary on influencer culture, a home invasion movie, an exploration into preserving Native traditions, or a takedown of corporate farming and agricultural biotechnology. It truly is all over the place, both tonally and in story, which is only amplified by the short 82-minute runtime. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HONK FOR JESUS. SAVE YOUR SOUL Starring: Regina Hall and Sterling K. Brown Director: Adamma Ebo AMARÚ Honk For Jesus. Save Your Soul. ’s subject matter is one that epitomizes “if you know, you know.” Directing/producing duo Adamma & Adanne Ebo address the sometimes swept-up transgressions of the Black church in a way that still feels empathetic and loving, but it’s the knockout performances from Sterling K. Brown and Regina Hall that carry the authenticity with a powerful balance of satire, subtlety, and intensity. The movie as a whole leaves you wanting more closure in the storytelling and more levity in it’s dark comedy leanings, but watching two enthralling performances for 100 minutes will keep you entertained. QUENTIN I’m sure some people will find Honk for Jesus. Save Your Soul. to be a hilarious takedown of religion and megachurches, but for me, someone who watches The Righteous Gemstones and has seen other similar satires, its jabs are more than just a little tired and never quite as sharp as the writers think they are. On the plus side, Sterling K. Brown is magnetic as disgraced pastor Lee-Curtis Childs, but if the only things I’ll truly remember are that Childs’ suit game is on point and that Brown is surprisingly shredded like a superhero, that doesn’t say much for the movie as a whole. JACOB Satires are difficult to nail down, which is why Honk for Jesus. Save Your Soul. probably deserves a little more credit than I’m likely to give it as one of 2022’s hidden gems. While the sendup of megachurch culture does boast dynamic performances from Sterling K. Brown and Regina Hall, it fumbles when reaching for something more sincere underneath the comedic tone. Balancing satire between blistering and tragic often leaves a film struggling to commit to either, this being no exception. It still mostly works, but feels somewhat emotionally hollow, rendering its more pensive second half difficult to fully embrace.

MUTINY Starring: Jason Statham, Annabelle Wallis, Ramon Tikaram, Roland Møller, and Adrian Lester Director: Jean-François Richet QUENTIN Somewhat hilariously, Jason Statham is his own movie genre at this point, and one should really only compare Statham movies to other Statham movies. With that in mind, Mutiny is one of the better ones. Does the story carry emotional weight? Are character motivations clear? Are the performances any good? Bro, this is a Statham movie; quit asking dumb questions you already know the answers to. All you need to know is that Statham's Cole Reed kicks ass and takes names in pursuit of vengeance, and that the ass-kickery is more brutal and creative here than in any other Statham movie in recent memory. AMARÚ One pretty nice fight scene towards the end of Mutiny is not enough to make up for an hour's worth of sluggish pacing, thin writing, and stiff performances. How director Jean-François Richet made a 95-minute Jason Statham movie feel like a much longer tepid thriller is a conundrum to me. When the action does hit, it’s still compelling, but there’s nothing but idle filler and cliche one-liners in between the few and far between shootouts. Fill in 80% of that stagnancy with some kind of action and there’s a salvageable movie; however, we’re stuck with the unfortunate Statham dud.

ALICE, DARLING Starring: Anna Kendrick, Kaniehtiio Horn, Wunmi Mosaku, and Charlie Carrick Director: Mary Nighy QUENTIN Alice, Darling isn’t a particularly easy or entertaining watch, as Alice’s (Anna Kendrick) anxieties permeate the entire 90-minute runtime; however, that is more of a testament to Kendrick’s great performance than a complaint about the movie. She is perfectly cast, displaying a level of depth, vulnerability, and nuance that we haven’t witnessed from her before, all while portraying a character-type that I’m sure many of us have known in real life. That said, the film isn’t perfect. It’s minimalistically slow at parts, and more insight into the toxic relationship would have been nice. It’s still good, but for a certain type of film fan. NICK Alice, Darling likely would not work at all were it not for Anna Kendrick in the lead role. Her performance is the exact blend of innocence and fragility that the role calls for. You truly feel for her character, and it makes for a very uncomfortable watch at times. Aside from her performance, there’s not really much there. The commentary on power dynamics is clear, but you don’t fully get to see that at play. It’s as if the film censored itself a little, which actually does a disservice to its message. There was some potential, but unfortunately, the film was unable to achieve it. JACOB While its heart is in the right place, Alice, Darling can’t cobble together a cohesive enough story to satisfy its thematic mission. Representing emotionally abusive or controlling relationships rather than physically abusive ones is tricky, to be sure, but this film fails to use its greatest tools to their full effect. Anna Kendrick is doing what she can on a bare-bones script, but the audience doesn’t spend enough time with either her friends or her abusive partner to be invested in Alice's (Kendrick) escape from the relationship or her friends' attempts to rescue her from it. All in all, this film is a miss. PAIGE In Alice, Darling , Anna Kendrick leaves behind her usually bubbly personality for a more emotional and vulnerable performance that truly brings all of Alice’s anxieties to life. It’s a role that may be a career best for her, and it’s also the film's biggest strength. Throughout this character-driven drama, I could feel the emotional weight of Alice's trauma rising to the surface. That said, I never felt fully immersed in the story, one that attempts to depict the realities of an unhealthy relationship and the fear of trying to escape it.

MARLOWE Starring: Liam Neeson, Diane Kruger, Jessica Lange, Adewale Akinnuoye-Agbaje, Alan Cumming, Danny Huston, Ian Hart, Colm Meaney, Daniela Melchior, and François Arnaud Director: Neil Jordan JOSEPH While pretty to look at, Marlowe is just all around bad, and I don’t understand what went wrong with such a talented cast. The dialogue is so creatively bankrupt that it borders on parody, as does the overuse of slurs and outdated terms. Even the editing is confusing, as this noir-based film has a warm and naturalistic lighting tone, something I don’t think I’ve seen in any detective film save for maybe Who Framed Roger Rabbit? I just don’t get it. Marlowe makes a disappointing centennial entry in Liam Neeson’s catalog. The only good thing about it is the poster. QUENTIN While I love hard-boiled detective noirs, and it’s nice to see Liam Neeson do something other than another bargain bin action thriller, Marlowe simply doesn’t hit the mark. Admittedly, the production design looks nice, enveloping the viewer with familiar genre vibes, but said vibes also feel incredibly hollow, like cheap cosplay or a 1930s-themed escape room. Unfortunately, the acting, dialogue, and central mystery range from abysmal to barely tolerable, which only adds to the film’s insincerity. Frankly, it just doesn’t seem like anyone was really trying here. At one point, Neeson’s character says, “I’m getting too old for this.” You and me both, buddy. JACOB Despite dressing itself as one and attempting to behave like one, Marlowe doesn’t seem terribly interested in actually being a true noir piece. Apart from its production design, overly and needlessly convoluted dialogue, and a couple of good costumes, everything is simply set up to look like film noir while the direction refuses to commit to the genre. There’s no style, no pizzazz. Thankfully, it does eventually find its footing after a thoroughly choppy first act, and the criminally underused Jessica Lange provides some weightiness with her screen time, but for Liam Neeson’s 100th movie, it couldn’t be less remarkable. DARRYL Marlowe will be a film that's easily forgotten by the end of March. A convoluted story, presented to the audience in such a confoundingly bad manner, is only minimally saved by Neil Jordan's direction and the production design. Liam Neeson, Diane Kruger, and Jessica Lange do the best they can with the milquetoast screenplay but, thanks in large part to writer William Monahan, what could've been a sumptuous feast of a story ends up being little more than cold broth. It’s a poor excuse for a neo-noir, and most of the usual trappings are present without a framework to make effective use of them.

MOANA Starring: Catherine Laga'aia, Dwayne Johnson, John Tui, Frankie Adams, Rena Owen, and Jemaine Clement Director: Thomas Kail NICK Much like last year’s How to Train Your Dragon , the live-action Moana was my introduction to the franchise. So, even though this was seemingly a shot-for-shot remake, it was new to me. That said, its flaws are apparent. Things don't start well as Catherine Laga'aia struggles to find her footing early on as Moana, but once "Disney Dwayne" appears on screen, his charisma instantly elevates her performance and lets her voice shine. Unfortunately, there's something missing in the transition to live-action as Moana relies too heavily on a distracting amount of CGI and ends up feeling quite shallow. It all adds up to another unnecessary remake. ADRIANO There’s nothing new about dunking on Disney live-action remakes. But for this one, its existence is extra confounding. Moana is exactly what studios want out of AI: take what's known, suck all the heart out of it, and hope audiences don’t care enough. Nothing has changed from the decade-old original, yet the live-action transition is dismal. It’s 95% CGI, and not good CGI, so everything about it feels drab and lifeless, and the weak performances from the two leads (Catherine Laga’aia and Dwayne Johnson) only add to the notable quality decline. This one broke me, I can’t lie.

ORION AND THE DARK Starring: Jacob Tremblay, Paul Walter Hauser, Colin Hanks, Mia Akemi Brown, Ike Barinholtz, Nat Faxon, Golda Rosheuvel, Natasia Demetriou, Aparna Nancherla, and Matt Dellapina Director: Sean Charmatz KATIE Orion and the Dark gave me exactly what I’ve been missing from Pixar films the past few years, plus a welcome but surprising existential edge courtesy of screenwriter Charlie Kaufman. The film presents genuinely weighty subject matters, beautifully animated scenes, and plenty of jokes that are suitable for all ages yet best understood by adults, which I believe are the fundamental ingredients for a grown-up’s enjoyment of a children’s film. My only criticism would be that I wished it leaned into the more unique, hand-drawn style of animation that complements many of the scenes. CALEB It’s fun seeing writer Charlie Kaufman bring a healthy dose of nihilism to a kid’s movie, but his script is the only thing Orion and the Dark has going for it. The animation style is lifeless, Jacob Tremblay makes for a forgettable lead, and outside of a mediocre Seth Rogen impression, Paul Walter Hauser doesn’t bring much to the character of darkness. It’s nice to see a children’s flick try to tackle heavy subjects like panic disorders and existential dread, but it never takes those ideas far enough. Orion certainly had potential, but I think it needed more time in the oven.

RIDDLE OF FIRE Starring: Charlie Stover, Phoebe Ferro, Skyler Peters, Lorelei Mote, Lio Tipton, Charles Halford, Danielle Hoetmer, and Weston Razooli Director: Weston Razooli NICK Shot on gorgeous 16mm film, Riddle of Fire has a vintage look to it that really enhances the picture. A modern day fairy-tale, this is an exploration of a child’s imagination and that time in our lives where anything could become an adventure. The humour is on point – Skyler Peters (Jodie), in particular, embraces his Kids Say the Darndest Things vibe – and it’s easy to get swept into the children’s mischievous ways. Riddle of Fire is bound to fly under the radar, but it makes for a fun watch and harkens back to 80s films like The NeverEnding Story . It’s just a good time. KATIE I really enjoyed Riddle of Fire , a dreamy, modern fairytale story that feels like a hazy summer day with enough whimsy and charming performances from the young cast to make up for its overlong runtime. The nostalgia-driven aesthetic and naturalistic performances feel like authentic portrays of how children actually talk to each other, capturing the youthful innocence and uninhibited imagination of early childhood. Just watching the children interact is heartening, and it reminded me of the conscious amateurism of children in Wes Anderson’s films. Although it could benefit from some tighter editing, Riddle of Fire is an undeniably endearing film. AMARÚ One thing I can say about Riddle of Fire is that at least everyone is engaged. The four young leads (Phoebe Ferro, Charlie Stover, Lorelei Mote, and especially Skyler Peters) are a mischievous, yet charming ragtag gang that keeps you invested in the fairy tale. And that investment is truly needed to get past the random dialogue, amateur storytelling, and community theater acting. It’s tonally reminiscent of late 80s children’s adventure fantasies, made with the same whimsy, but nowhere near the professional production. There’s just enough of the former to get through it… if you have the patience for its low-budget quality. PAIGE In spite of its shortcomings, Riddle of Fire remains entertaining to watch, paying homage to throwback children’s adventure films while still creating a mood all its own. This movie does a great job of capturing the freedom and innocence of youth, not to mention the fact that director Weston Razooli shot this on 16mm, giving the movie a timeless feel and demonstrating his ambition and inventiveness alongside the likes of Wes Anderson. Granted, the pacing of this charming odyssey is a wee bit off, it’s still worth watching. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.