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BLACKBERRY Starring: Jay Baruchel, Glenn Howerton, Matt Johnson, Cary Elwes, and Saul Rubinek Director: Matt Johnson NICK The downfall of BlackBerry is a story I knew a fair bit about, but the rise was a little less on my radar. While this film luckily encompasses the entire thing, it works against the story a bit as interesting details are set aside in favour of dramatic time jumps, which can cause some whiplash. Where this film shines, however, is the performance of Glenn Howerton as Jim Balsillie. He is a powerhouse on screen, and at his best when coming completely unhinged, making the perfect counter to Jay Baruchel's subdued Mike Lazaridis. The two of them carry this to being quite the entertaining film. QUENTIN I love a good rise-and-fall corporate story, something BlackBerry certainly delivers. Tone-wise, it nimbly bounces between Silicon Valley and The Social Network , though the "rise" arc is much stronger than that of the "fall," which is a tad rushed. However, I can’t say enough about the casting. Glenn Howerton is perfect as a hot-headed corporate shark, bringing the same deep-seated rage he has demonstrated on It’s Always Sunny in Philadelphia for 15 seasons, and Jay Baruchel’s natural awkwardness serves his nerdy, “tech guy” character well. It’s not Oscar-worthy, but I wouldn’t be surprised if BlackBerry eventually wins some smaller awards down the line. ADRIANO BlackBerry is a rise-and-fall true story that fascinated and entertained me, yet its lasting impact likely is minimal. The mix of The Social Network , The Big Short , and Silicon Valley vibes work in creating an electric tone that made me laugh, and the ensemble is great, especially a towering performance from Glenn Howerton that is truly unforgettable. However, while the pieces are there, it feels like it’s missing something. Perhaps if we were given a better look at our characters and what drives them, it would have elevated BlackBerry to the level of biopic it aspires to be, but it remains a fun time nonetheless. PAIGE BlackBerry is one of those "based on a true story" films that you watch and quickly forget about. Though it is an interesting rise-and-fall story that benefits from director’s Matt Johnson's honest indie approach, the film begins to lose its charm in the second half. It goes down a predictably conventional route that feels as dated as the actual BlackBerry phone. That said, it features some really enjoyable stuff too, especially Jay Baruchel and Glenn Howerton giving performances that feel different and unhinged, respectively. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

THE RITUAL Starring: Al Pacino, Dan Stevens, Abigail Cowen, Ashley Greene, Patricia Heaton, and Patrick Fabian Director: David Midell KATIE The Ritual is, by and large, a typical exorcism film, full of tropes and familiar beats. The first half is actually quite strong, with jump scares and scary visuals that are effective. However, it then falls flat, and the repetitive plot begins to feel monotonous. I also don’t think the handheld camera style added to the story; if anything, it's sometimes distracting and feels cheap. Whenever it does work, it's because of the performances. I came for Pacino (Father Riesinger) and Dan Stevens (Father Steiger), but stayed for Abigail Cowen (Emma Schmidt) and Ashley Greene (Sister Rose). NICK Dan Stevens is one of those actors who always seems to be doing something interesting regardless of the project he’s in. Unfortunately, when it comes to The Ritual , there is nothing interesting here. From the retreaded story beats, to the bland writing and performances, to some of the worst cinematography I’ve seen in a theatrical release in some time, there’s nothing to salvage. I think director David Midell was aiming for something hyper-realistic, but what he wound up with was one of the dullest depictions of possession I’ve seen on screen. A truly painful 98 minutes to get through.

BARK Starring: Michael Weston and A.J. Buckley Director: Marc Schölermann This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. QUENTIN As a low-budget, indie two-hander, Bark does a terrific job for most of its runtime. The slow-burn mystery keeps you on the hook as you try to determine who both the man on the tree (Michael Weston) and The Outdoorsman (A.J. Buckley) truly are, as well as how these two men have come to this point. That said, the ending comes completely out of left field. Yes, all is explained, but the reveal is never even hinted at beforehand, so it just arrives with a bit of an “oh…that’s why?” thud. Also, aside from being underwhelming, some people will just find the ending hard to stomach. NICK Bark is an interesting endeavor. The opening 20 minutes could stand alone as a satisfying short film, while everything that follows is basically a stage play on screen. There are two characters, one location, and a whole bunch of dialogue. It’s performed admirably by Michael Weston and A.J. Buckley, but it somehow manages to both meander and rush to a conclusion. The most frustrating part is that the finale is actually well-thought out (and emotionally affecting), but it isn’t given the time needed to land as well as it could have. Still, that reveal will stick with me for a bit.

BAD BOYS: RIDE OR DIE Starring: Will Smith, Martin Lawrence, Jacob Scipio, Vanessa Hudgens, Alexander Ludwig, Paola Nuñez, Eric Dane, Ioan Gruffudd, Joe Pantoliano, and Rhea Seehorn Directors: Adil El Arbi and Bilall Fallah AMARÚ Bad Boys: Ride or Die really should’ve been called Bad Boys 4 Life because it’s everything I feared the previous entry was going to be. Whereas directors Adil & Bilall previously balanced Michael Bay’s grandeur with well-shot stunt choreography, surprising character development, and in-depth storytelling, Ride or Die is paper-thin predictable with chopped-to-hell, over-stylized action set pieces. Will Smith and Martin Lawrence are still a dynamic pair, so there’s fun to be had, especially one scene that will go down as a franchise best. Unfortunately, this entry executes that patented entertainment at twice the speed with half the payoff; that, sadly, doesn’t compare. QUENTIN Bad Boys: Ride or Die isn’t awful, but it’s like someone ran a Bad Boys script through a Mission: Impossible and Fast & Furious script polisher, then filmed it with overly stylized but oddly lifeless direction through half of a John Wick Instagram filter. It even out-Bays notoriously bombastic (and franchise-starting) director Michael Bay at parts. Will Smith and Martin Lawrence still have nice chemistry, and there are a few nostalgic callbacks, from cameos to certain camera angles, but….ehhh. Amusing, but never funny; actiony, but never exciting - this is about what I expected of the last one, so I was just one movie too early.

SPENCER Starring: Kristen Stewart, Timothy Spall, Jack Nielen, Freddie Spry, Jack Farthing, Sean Harris, Stella Gonet, Richard Sammel, Elizabeth Berrington, Lore Stefanek, Amy Manson, and Sally Hawkins Director: Pablo Larraín JACOB At first, Pablo Larraín's Spencer seems cold and harsh in a manner that prevents one from becoming emotionally invested, but as one realizes where the film is headed, the deliberateness of that choice becomes clear. As much as this is a film about Diana Spencer (Kristen Stewart), it’s also about cages, the lives they suffocate, and what can flourish outside of them. Stewart has never been better, with her performance surely to be an Oscar winner, and the design work is absolutely stellar. Jonny Greenwood's jazz-infused score is another awards-caliber success as well. ADRIANO Spencer has yet to leave my subconscious and I doubt it will for some time, as the movie takes an interesting look at Princess Diana (Kristen Stewart) in ways that aren’t even slightly conventional. Stewart has never been better, giving a stunning and thoroughly heartbreaking performance, while Pablo Larraín's breathtaking direction simmers through nearly every frame. The incredible production values and cinematography blew me away, and Jonny Greenwood's haunting score really sets the tone. This film, easily one of the year’s best, ultimately builds to an incredibly satisfying ending that left me smiling as I left the theatre. QUENTIN Spencer checks nearly all the boxes for an Oscar contender: An artsy take on a (generally) true story about a famous figure starring a talented young actress who has yet to elevate from “movies” to “films.” And, you know, director Pablo Larraín and star (and likely Oscar winner) Kristen Stewart absolutely understood the assignment. They kill it. That said, I didn’t enjoy the experience. Between the slower parts and the random flights-of-fancy, it portrays Princess Di (Stewart) as somewhat crazy, making it hard to invest in her. I definitely respect the craft of Spencer , but I didn’t like the movie.

CONCLAVE Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Isabella Rossellini, Sergio Castellitto, and Carlos Diehz Director: Edward Berger NICK I'm not particularly religious, so the concept of the conclave was foreign to me. That said, director Edward Berger instantly sucked me into this process and the tension surrounding the decision. This is high-concept drama told by highly acclaimed actors. The always reliable Ralph Fiennes, in particular, gives one of the best performances of his career, but it's the sum of Conclave 's parts that truly makes it shine. Whether it's the sound design and score, the beautiful yet simplistic visuals, or the overall tone of the film, it all amounts to a well-oiled machine I could have spent another hour with. ADRIANO Conclave is so much goofier than you'd expect from a movie about religion, and I say that complimentary. Featuring a stirring performance from Ralph Fiennes, Conclave is sabotage, conspiracy, twists, and shock at almost every turn. All of it is natural, too, never for the sake of a cheap rug pull, but instead to elevate a high-stakes thriller that had me second guessing and feeling tense throughout. The ending could divide audiences, but I thought it was a perfect cap to a film about how religious institutions desperately need to evolve. A well-crafted thrill ride of a film. QUENTIN Conclave is amongst my most overhyped movies of the year (I blame Nick). That’s not to say it’s bad, but at no point did I find the story gripping or thrilling, which is kind of the point of a “conspiracy thriller,” no? Granted, it boasts terrific performances and is handsomely made, but the characters are so underdeveloped that the twists and turns (including a silly final reveal) never hit as hard as seemingly intended. I genuinely didn’t care who became Pope, and a movie like this requires the audience to take a side to work effectively. Conclave is decent, I suppose, but a disappointment, nonetheless. KATIE Conclave is a ridiculously entertaining and suspenseful film consisting of little more than people talking in rooms, which is why it's so impressive. Even as someone with a Catholic background, I’ve never felt invested in the election of the next pope, but Conclave is immediately gripping, plunging you into a process filled with intricate drama and a mounting sense of tension that’s felt in every line of dialogue. It’s also sharply funny in the way it juxtaposes modernity with the absurd rigidity of Catholic tradition, and boasts a career-best performance from Ralph Fiennes. AMARÚ Please excuse the blasphemy on this particular review, but holy shit, because you can feel the tension from the first note of composer Volker Bertelmann’s violins and the immediacy of director Edward Berger’s striking images. Conclave is a powder keg of politics and power in papacy, delivering a conspiring mystery worthy of our favorite political thrillers. Oscars will be touted for the many brilliant acting performances here, but the spotlight belongs to Carlos Diehz, whose mere presence is a lightning bolt piercing through this monstrous ensemble. Conclave , by its final frame, is a potent crescendo whose gradual momentum explodes to a fantastically satisfying conclusion. PAIGE Conclave piques the interest of the viewer as a behind-the-scenes political thriller focusing on the oldest religious organization in the world, one with perhaps the most secretive and exclusive leaderships within that milieu. Director Edward Berger leans into the most mysterious components of the rites, traditions, and disciplines that influence so much of the global population. Political jockeying is highlighted as we stumble into each new revelation before the last shocking twist. My only complaint is that the plotline that drives us forward to the edge of our seats leaves us with a contemplative, but misleading and disappointing conclusion. This political thriller is a behind-the-scenes look at the corruption within the Catholic Church, but it unfortunately falls short of the excitement its compelling premise promises. That said, from a technical standpoint, Conclave is excellently crafted by Edward Berger and it’s well acted. It's just that the story isn’t as engrossing as I had hoped, primarily because the characters are so underdeveloped. The slow pacing also doesn’t do the film's reveals any justice, as they all feel too toned down. The story needed more tension and buildup to make this promising plot truly work. This film was reviewed by Quentin, Nick, Adriano, and Katie as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival, 2024 Toronto International Film Festival, and 2024 BFI London Film Festival respectively.

SHE SAID Starring: Zoe Kazan, Carey Mulligan, Samantha Morton, Tom Pelphrey, Jennifer Ehle, Andre Braugher, Patricia Clarkson, Ashley Judd, Elle Graham, Adam Shapiro, and Anastasia Barzee Director: Maria Schrader JACOB The greatest strengths of She Said are those most baked into the story, namely the actual investigative elements of the infamous Harvey Weinstein case and the journalistic sequences as the article is being put together at the New York Times offices. It also boasts some stellar performances, solid writing, and a subtly great score. However, it’s not without faults, one of those being a fairly wonky editing structure that makes the first few minutes feel jumbled. The larger conflicts are there, but absent is the focus on the protagonists’ personal conflicts that made Spotlight – this film’ closest counterpart – so convicting. QUENTIN I’m a sucker for journalism movies, and while She Said isn’t one of the better ones I’ve seen, it’s good enough to satisfy cravings for a genre that doesn’t have near enough offerings. The film features mostly decent performances (Zoe Kazan struggles) and some of the worst editing I have ever seen, but what matters is the story. Though a little dry, it manages to honor Harvey Weinstein’s victims and the difficulty of their situations with a quiet respect (the lone exception is the Ashley Judd of it all, which comes off as self-aggrandizing). Overall, it’s a worthy watch, even if it doesn’t make waves. ADRIANO She Said is a movie that can simply coast on its powerful and incredible true story, which is why I find it very admirable just how matter-of-fact this film is. There is no overdramatizing, and while at times that can feel a little dry in its approach, it allowed the story to speak for itself. Carey Mulligan and Zoe Kazan are both great, and although I wish we learned more about them, I think they were written with the respect they’re owed. This was a truly effective movie that did both the subjects and victims justice. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

CASSANDRO Starring: Gael García Bernal, Roberta Colindrez, Perla De La Rosa, Joaquín Cosío, Raúl Castillo, Benito Antonio Martínez Ocasio, and El Hijo del Santo Director: Roger Ross Williams AMARÚ Gael García Bernal is a revelation as the titular character in Cassandro . He’s a mesmerizing figure you can’t keep your eyes off, carrying the film’s seemingly purposeful impromptu qualities with unwavering charisma. Like the underground lucha libre matches Cassandro starts with, the movie feels grimy and urgent, with messages too important not to get right the first time. Its pacing, fight choreography, and Creed -like score embody the hunger that Bernal infuses in his portrayal of the real-life trailblazer. Cassandro , the film and the performance, is an intimate portrait of perseverance and personal awakening that is truly captivating. CALEB There’s a lot to love about Cassandro , but I think it could’ve packed more of a punch. I’m all for subtlety, but the film feels too restrained for such an eccentric character. The quiet, intimate moments are executed beautifully, but the ring-side action is consistently underwhelming. The cinematography during these sequences feels distant and static, failing to match the exciting physicality of Gael García Bernal’s performance. There’s no denying that this is a great story, but I wish it was told with more of the signature flair that Cassandro (Bernal) brought to the sport. PHILL Cassandro is filled with moments that should be awe-inspiring and uplifting, but it often fails to leave an impact in the ring, hurt far too often by a cyclic, bland score that seriously hinders several key scenes. The biopic of Saúl Armendáriz (Gael García Bernal) isn’t a complete disaster, but it does feel rushed and undercooked, with too many character actions being inconsequential to the plot because the story structure lacks focus and breathing room. However, dressed in impeccable costume design, Bernal carries Cassandro in a genuinely endearing and exceptional performance, encapsulating everything fabulous about the “Liberace of Lucha Libre.”

WATCH THE SKIES Starring: Inez Dahl Torhaug, Jesper Barkselius, Sara Shirpey, Eva Melander, Håkan Ehn, and Isabelle Kyed Director: Victor Danell KATIE Watch the Skies is a charming sci-fi adventure with a lot of heart. It’s a genuinely engaging family film that is fun and exciting without being childish, featuring an endearing cast of kooky characters, a retro 80s aesthetic, and a compelling mystery. Although it is slightly overlong, it is mostly well-paced and maintains a sense of suspense and intrigue, and the extraterrestrial enigma takes an unexpected but interesting turn. Notably, this is also the first feature film to be visually dubbed using AI, and I admit I didn’t notice anything that would indicate that fact. ADRIANO I think there are moments where Watch the Skies had an almost self-aware nature that felt like more of a cop-out for the familiarity of the film, but otherwise, the film is very enjoyable and sincere. Sometimes it's not about being totally new, but approaching it compassionately and beautifully. Yeah, I’ve seen this found-family sci-fi adventure before, but am I really supposed to not fall for its spell? I found this film engaging and endearing, a combination of factors that can only do one thing: put a big ol' smile on my face. QUENTIN Watch the Skies is a charming enough throwback to the days of Amblin family entertainment, with movies like Explorers , E.T. , and Flight of the Navigator coming to mind. The dubbing technology, which used AI to make the performers lips match the English dubbing from Swedish language, gets a little wonky at times, but it generally works to cancel out the usual disconnect that comes with dubbing. My only real complaint is that the movie gets confusing in the end with the overly technical and rushed reveals. The journey getting to that point was enjoyable, but it lost me once it went over my head.

THE END OF SEX Starring: Jonas Chernick and Emily Hampshire Director: Sean Garrity QUENTIN Given The End of Sex ‘s very indie, low-budget leanings, it’s hard to knock it too much. It feels like a high-end student film with a production value on par with a Canadian sitcom. I won’t say it feels cheap, but you can tell they had limited resources, which makes what they were able to do admirable. Even if it’s fairly basic and obvious, the story goes in some interesting directions and provides some mild laughs. The performances are serviceable too. I’m not saying it’s a movie worth the effort it will likely take to actually watch it, but I walked away thinking, “good for them.” ADRIANO My favourite part of The End of Sex was the end of the movie because it feels so much like a student film that it prevented me from getting into the plot. It has such an awkward vibe throughout, and I don’t mean that in the way it might’ve been intended. I mean the story, editing, and line delivery are awkward. The humour is cringey and obvious too. The only times I chuckled involved some jokes about text messaging visualized on screen, but even those felt kind of out of place. The lead performances are fine for what this is, but it’s not a good movie. This film was reviewed by Quentin and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

ROAD HOUSE Starring: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams, Kevin Carroll, Hannah Lanier, Joaquim de Almeida, Lukas Gage, Dominique Columbus, Arturo Castro, and JD Pardo Director: Doug Liman NICK I think I would have enjoyed Road House more if it went by any other name, because when compared to the original, it's a let down. That said, there's entertainment to be had thanks to director Doug Liman's testosterone-fueled video-game-style fight sequences and Jake Gyllenhaal's smart-ass take on Dalton. As for what Conor McGregor is doing? I'll go ahead and say it's an acquired taste. Look, the film knows it’s dumb, hard-hitting, B-movie popcorn fodder, but with none of its changes improving on the original, I can't give it a positive review. That, and it is sorely missing Sam Elliott's Wade Garrett. QUENTIN If you’re a fan of 1989’s Road House , I assume you aren’t coming into the remake looking for high art. Working on that assumption, this version is a lot of big dumb fun. It’s the type of movie where the sheriff is named Big Dick (Joaquim de Almeida), and top goon Knox (Conor McGregor, who is clearly having a blast) has multiple tattoos of his own name across his abdomen. Most importantly, though, the fight scenes are energetic and exciting in an 80s throwback way. If it were a theatrical release, I may have been harsher, but my only real complaint is the lack of throat-ripping. PAIGE The remake of Road House lacks many of the elements that made the original a dumb, fun, cult favorite, even if it does have some mindlessly entertaining moments here and there. Director Doug Liman's handling of the material is, to be honest, uninspired, and the movie is far too flawed to be considered a respectable remake. The fight sequences are unrealistic and ridiculous due to the terrible editing and wonky camera work, all of the characters are utterly underdeveloped, and the story's dreary script made me not care about or appreciate any of its absurdity. KATIE Admittedly, I have not seen 1989's Road House , so I wasn't sure what to expect with the remake, especially as a straight-to-streaming release. However, I had an undeniably great time, with my main criticism being that it is too long for a film with a barely discernable plot. Other than that, it's energetic, mindless fun, and it does exactly what it says on the tin, offering indulgent violence, fantastic fight choreography, and really impressive stunt work. Plus, Jake Gyllenhaal has plenty of charm, and Conor McGregor brings a surprisingly flamboyant energy to his role. CALEB Road House is a little rough around the edges, but it’s a hell of a good time. This movie just wants to have fun, and everyone involved seems to have gotten the memo. Jake Gyllenhaal oozes charisma while Conor McGregor delivers a delightfully over-the-top performance. The dialogue isn’t great, but when the performances are this entertaining, that becomes less of an issue. The fight scenes suffer from some weird visual effects decisions, but the creative choreography is energetic enough to make up for it. If you’re looking for an exciting action movie, and you don’t mind some cheese, then look no further than Road House .

ARE YOU THERE GOD? IT'S ME, MARGARET Starring: Abby Ryder Fortson, Rachel McAdams, Kathy Bates, Benny Safdie, Elle Graham, Amari Price, Katherine Kupferer, Isol Young, and Echo Kellum Director: Kelly Fremon Craig JACOB While not quite as strong as her previous film, The Edge of Seventeen , Kelly Fremon Craig once again establishes her underpraised directorial skills with the affecting adaptation of Are You There God? It’s Me, Margaret . Even for those who haven’t read the novel (such as myself), Craig’s delicate handling of the sometimes uncomfortably real journey through female adolescence wrings charm out of every scene, co-courtesy of a great lead performance by Abby Ryder Fortson and the secret weapon that is the supporting cast. Some subplots and character journeys are dropped somewhat unceremoniously, but their eventual exclusions fit within the story being told anyway. ADRIANO I went into this film unfamiliar with the book, and yet I found Are You There, God? It’s Me, Margaret to be a delightful and honest coming-of-age tale. As a male who, at best, has lapsed from religion, I thought Margaret’s (Abby Ryder Fortson) personal and physical journey oddly resonated with me in ways that were ugly and endearing, especially with Fortson and the fantastic supporting cast killing it. I don’t think all the plot threads end in a satisfying fashion, but I got the emotions that I hope for from a movie like this. I would happily watch it again.