WALLACE & GROMIT: VENGEANCE MOST FOWL Starring: Ben Whitehead, Peter Kay, Lauren Patel, and Reece Shearsmith Directors: Nick Park and Merlin Crossingham ADRIANO Like all of the films, shorts, or series' in this franchise, Wallace & Gromit: Vengeance Most Fowl is just an utter delight. While I think its "we're dependent on technology" thing is fairly bare-bones, it's still a laugh-a-minute riot with plenty of heart and the ridiculous but fun plot at hand. The titular characters are as entertaining as ever, and there were moments when it kinda blew my mind that this movie was stop-motion animated (seriously, the craft is truly impressive). Nothing about this is mind-blowing, but I just couldn't help but love the hell out of it. KATIE Like all of Aardman Studio’s stop-motion offerings, Wallace & Gromit: Vengeance Most Foul is a comforting delight akin to a warm blanket and a hot cup of tea. It has impeccable comedic timing that will undoubtedly get better every viewing, with non-stop visual gags, cinematic references, niche British colloquialisms, and plenty of cheesy puns. As always, the titular pair are delightfully charming, the signature animation is spectacular, and the story manages to feel familiar and nostalgic yet refreshingly new as it incorporates AI tech into Wallace’s unruly inventions while ensuring their relationship is at the heart of the film. AMARÚ Wallace & Gromit: Vengeance Most Fowl continues the Aardman Animation tradition of me impatiently waiting for that dog to smack some sense into his naively incompetent owner. Funnily enough, it actually happens to a less-than-satisfying degree. What is most satisfying is the series’ other tradition of incredibly hilarious on-the-nose humor. Utilizing its satirical screenplay and beautiful stop-motion animation, Fowl intelligently mixes comedy, mystery, and horror tropes to let audiences in on every gratifyingly entertaining cliché for this iconic duo’s latest sharp, witty, and damn near perfectly executed adventure.

FAMILY SQUARES Starring: Margo Martindale, Judy Greer, Casey Wilson, Sam Richardson, Billy Magnussen, Scott MacArthur, Ann Dowd, Elsie Fisher, Henry Winkler, Timothy Simons, and June Squibb. Director: Stephanie Laing NICK It’s always great when a film comes out of nowhere to surprise you, and that’s exactly what Family Squares does. This darkly humorous take on what many people have had to go through the past two years is the best “Covid” film I’ve seen yet. Family Squares manages to find some levity in a very heavy situation, which leads to an almost cathartic watch. Filmed almost entirely on Zoom and bolstered by a solid ensemble including standouts Ann Dowd, Judy Greer, and Casey Wilson, this is a funny, emotional, and relatable viewing experience. AMARÚ Family Squares , at its worst, is as disjointed as the Zoom meetings the entire movie is viewed through. At its best, it’s full of heart, hope, and healing reminiscent of what each and every one of us have had to find in ourselves over the past two years. Luckily, that heart grows with each successive scene, especially when June Squibb and Sam Richardson take center stage in the digital meetings. The entire ensemble accurately conveys the warring myriad of emotions quarantine creates, and in the end, leaves us with a pleasant film that’s simultaneously crazy and endearing. PAIGE Family Squares is a surprisingly emotional comedy that is stacked with performances from Henry Winkler, Judy Greer, Ann Dowd, and many more. It’s another entry in the unique covid sub-genre of Zoom films, but this time focuses on a dysfunctional family dealing with the death of a loved one. And I have to say, this film is a breath of fresh air. These last few years dealing with the pandemic haven’t been easy for anyone, so it’s nice to get a gem like this that feels raw and relatable.

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.

RENFIELD Starring: Nicolas Cage, Nicholas Hoult, Awkwafina, Ben Schwartz, and Shohreh Aghdashloo Director: Chris McKay NICK Let's start with the good: Nicolas Cage is endlessly watchable as he takes a bite out of every scene as Dracula, while Nicholas Hoult continues to show off his impressive range. Plus, there are some gruesome kills that are sure to entertain. That's about it for the good. Renfield is filled with an array of plot holes, cliché side stories, a grating Awkwafina performance, and a generally goofy tone. Even though it's seemingly aware of how ridiculous it is and has some fun with it (unlike Cocaine Bear ), it’s just not enough to make up for its flaws. An average film at best. QUENTIN While the story may be a little lacking, especially the weak mob angle that is made even worse by revolving around Awkwafina, Renfield is still a lot of fun thanks to the hilariously violent fight scenes and, of course, Nic Cage, who is clearly relishing the opportunity to play Dracula. Even with my personal Cage bias acknowledged, he is flat-out terrific here, often eliciting laughs from nothing more than a facial expression. Don’t get me wrong, Nicholas Hoult is great too, but Cage is the reason to see Renfield , a Halloween-themed cousin to Violent Night that is sure to be an annual rewatch every October. ADRIANO If you can entertain the hell out of me, even the dumbest movies can get a pass. I can’t say that’s the case with Renfield . I love the undying commitment from Nicolas Cage as a maddening, narcissistic Dracula, but he wasn’t enough for me. If it had stayed focused on the codependent relationship plot, it could have been interesting; however, the detour into a crime plot didn’t interest me enough, and the jokes had way too many misses for me to care. Not even Nicolas Cage could give this film enough life for a passing grade. JACOB There is some fun to be had in Renfield , namely in its two lead performances and one pretty kick-ass apartment terrace scene, but that fun is hampered by a fairly so-so script with awkward tonal shifts and distorted scene geography in almost every other action sequence. Nicholas Hoult is good but underserved, whereas Nicolas Cage may be one of the best on-screen Draculas ever despite being thoroughly underused. And with the addition of two subplots that are never as entertaining or interesting as they clearly want to be, the film can never quite find its footing enough to stand.

EVERY HEAVY THING Starring: Josh Fadem, James Urbaniak, Tipper Newton, Vera Drew, John Ennis, Kaylene Snarsky, and Barbara Crampton Director: Mickey Reece This film has been reviewed by Nick and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. BODE I’ll admit that before jumping into director Mickey Reese’s latest film Every Heavy Thing , while I knew of his reputation in the indie circuit, I hadn’t seen any of his previous work. I can honestly say that this made me curious. Reece takes the cat-and-mouse serial killer thriller and turns it on its head, using surrealist imagery and dry humour to explore themes of gendered violence, big tech, shame, and repression. It can get a bit lost (especially in the third act), but its strangeness is so compelling that I can’t help but respect it. Also, support your local alt-weekly! NICK Because Fantasia is a genre festival, there's always some surreal entries with unique and ambitious editing techniques. In the case of director Mickey Reese's Every Heavy Thing , he uses VHS videotape sheen and glitch art to tell the story of a man, Joe (Josh Fadem), confronted by a local serial killer. Although it doesn't get off to a strong start, as Joe becomes increasingly tormented, I became more engaged. It falls off again in its closing, as it stumbles towards an end. That said, the darkness in the visuals and comedy works, I just wish the film was bookended better. QUENTIN Every Heavy Thing is terrible. From the low-budget aesthetics to the abysmal performances, it’s an 89-minute endurance test. Even if one wanted to forgive its indie trappings, which is valid, director Mickey Reece’s insistence on adding weird, Max Headroom-ish fever-dream interludes make for an epileptic fit waiting to happen. Admittedly, there is some Lynchian surrealness, which isn’t my thing, but I can usually recognize the merits of such films even though they aren’t for me. I have nothing positive to say here. Late in the movie, one character says, “…the shit that passes for art in this town.” Preach.

REBEL MOON: PART TWO - THE SCARGIVER Starring: Sofia Boutella, Ed Skrein, Michiel Huisman, Anthony Hopkins, Djimon Hounsou, Doona Bae, and Ray Fisher Director: Zack Snyder CALEB I didn’t think it was possible, but somehow The Scargiver is actually worse than A Child of Fire . It’s an overdramatic, joyless, ugly film about a bunch of farmers fighting in a field. Since the worldbuilding and characterization were so pitiful the first time around, this sequel doesn’t have anything substantial on which to build. Director Zack Snyder attempts to flesh out the characters with a plethora of bothersome flashbacks, but they only succeed in making the universe even more convoluted and tiresome. The Scargiver is a tortuous cacophony of noise that only die-hard Snyder-heads will enjoy. NICK Unlike A Child of Fire , I went into The Scargiver with zero expectations, and even that didn't help. The performances maintain their inadequacy, while the music in particular stands out as even worse than last time. Everything feels like a misfire. I mean, it's honestly impressive Zack Snyder has managed to craft this expansive world across two films without a single interesting character. I hope for his sake that Snyder can see this for the failure it is and move on to something else. Forget about the R-rated versions. I'm sure they’re at least a slight improvement, but I’m not watching them. Just let this die.

MISSING Starring: Storm Reid, Nia Long, Joaquim de Almeida, Ken Leung, Amy Landecker, Daniel Henney, Megan Suri, Tim Griffin Directors: Nicholas D. Johnson and Will Merrick AMARÚ Missing ran the risk of being a lesser version of its predecessor, Searching , but its thrilling script and captivating leads quickly proved it to be an entertainingly distinctive sequel. The mystery as a whole is somewhat predictable, but only in hindsight, as the twists keep you focused on unraveling it alongside the characters in the present moment. Storm Reid carries the emotional weight of the film, but it’s her chemistry with standout Joaquim de Almeida that make both the heart and tension unique. If subsequent smart-device films are as gripping as Missing , I’ll be in the theater every single time. DARRYL Missing may be the film that kicks off 2023 in earnest. It’s a taut thriller that is well acted but even more impressively directed by Nicholas D. Johnson and Will Merrick, and the inventiveness that went into telling the story is a testament to their creativity. It’s a well-crafted story from a tight script that manages to weave in a number of surprises that don't feel cliché, demanding the audience pay attention to every detail. If you're itching to catch a movie in theaters but are hesitant due to the abysmal track record of January releases, this is one you won’t want to miss. JACOB Missing may not be as clean-cut or succinct as Searching , but it remains a worthy successor nonetheless. Missing persons films fit exceedingly well into these formats, and the trick has worked once more, this time thanks to an assured performance from Storm Reid. That said, there are issues with the film, namely that the underlying themes don't really get developed enough to feel like a genuine statement, but luckily, they’re overshadowed by an intriguing plot and a twist I honestly didn't see coming. If a third film also succeeds, we may have ourselves a solid "screen-cap trilogy."

THE MITCHELLS VS THE MACHINES Starring: Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, and Charlyne Yi Directors: Michael Rianda and Jeff Rowe AMARÚ Mirroring producers Phil Lord and Chris Miller's signature combo of heart and self-aware humor, writer/director duo Michael Rianda and Jeff Rowe's The Mitchells vs. The Machines is a refreshingly laugh-out-loud good time. Scenes range from hysterically absurd to warmly tear-jerking, which helps prevent the repetitive meta-humor and familiar themes of world-ending artificial intelligence and strained parent-child relationships from becoming stale. Add eye-popping animation with a pitch-perfect voice cast (Olivia Colman's pocket sized personal assistant Pal may go down as an all-time animated character), and you get 2021's first contender for the Best Animated Feature Oscar. QUENTIN The Mitchells vs. The Machines is the type of movie that sneaks up on you. It's a little scattershot, pinballing from somewhat heavy-handed heartfelt moments to frenetic action scenes in the blink of an eye, all while sprinkling in some clever social commentary. As you watch, you're enjoying yourself, but you aren't blown away - a chuckle here, a twinge of excitement there - until you reach the end, which is when you realize it has surprisingly and genuinely hit you right in the feels. It becomes out-of-nowhere great, giving Sony and Netflix a film that easily rivals many Pixar movies. JOSEPH I cannot stress enough how beautiful the animation is in The Mitchells vs. The Machines . Thanks to a witty and timely script, as well as some dazzling visuals, the film manages to own a premise that isn't at all unique. It also uses humor to pay homage to internet and meme culture in some great ways. Along with that, the film is incredibly heartfelt, portraying a family that is a little more complicated than you typically see in family films. All in all, check it out! It's fun for all ages. JACOB Though less balanced than Into the Spider-Verse or the first two Lego movies. The Mitchells vs. The Machines puts yet another notch in producers Lord & Miller's victory belt. There are some scenes where dialogue or the characters could have used a polish, plus some minor plot holes, but the beautiful animation and earnest storytelling do plenty of heavy lifting. The trademark Lord & Miller humor isn't quite as sharp as usual, but it gets the job done. Having a queer film nerd protagonist in an animated movie is pretty sweet too. I'd certainly recommend this to anyone who asked.

Consensus Top 5 lists from our team of writers ranking a variety of items from the world of film & television. TOP FIVE READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ

SR. Starring: Robert Downey Jr. and Robert Downey Sr. Director: Chris Smith JACOB Chris Smith’s Sr. is a wonderful, heartfelt tribute to one of cinema’s most beloved icons and a fitting, bittersweet farewell to the great Robert Downey. Shot in crisp black-and-white and running at just 89 minutes, the film moves at such a clip that it barely registers movement at all before the credits roll. As the audience is treated to both Downey Jr. and Sr.’s process of making this film, we also get to hang out with two of the most insightful and irreverently funny storytellers on the planet, and get a small glimpse into the fatherhood legacies of both men. NICK Sr . sets out to do a lot of things. On one hand, it celebrates the work of Robert Downey Sr., works that I was relatively unfamiliar with. On the other hand, it acts as a vehicle for Robert Downey Jr. to come to terms with the end of his father's life. It's not always an easy watch, and it illuminates some of the reasons Jr. had the challenges he did early in his life; however, more than anything, it allows him to find a sense of closure as he says goodbye. Shot in beautiful black-and-white, this film is a touching memorial, to be sure. JOSEPH Much like what Robert Downey Jr. says towards the end of the film, I don’t quite understand what the point of Sr. was. It was clearly a final project between father and son so that they could bond over their love of cinema, but more so, it feels very personal. The Downeys are letting us into a memory that they’ve created for themselves, and for that reason, I’m sure it was deeply fulfilling for them; however, as a viewer, I felt far too detached from the subjects. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

A DISTURBANCE IN THE FORCE Starring: Kevin Smith, Seth Green ‘Weird Al’ Yankovic, Gilbert Gottfried, Taran Killam, Paul Scheer, and Donny Osmond Directors: Jeremy Coon and Steve Kozak This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. NICK The almost mythic Star Wars Holiday Special has long been discussed as the worst piece of Star Wars content ever created. Unfortunately, this documentary shows there really isn’t much more to say beyond that. Notable names such as Kevin Smith, Seth Green, the late Gilbert Gottfried, and more are interviewed, but they’re almost there to mask the lack of story there is to tell. It was a variety special featuring the original cast doing musical numbers, numerous Golden Age TV guest stars, and a whole bunch of Wookies (some doing questionable things). No big conspiracy here, just a bad decision everyone involved wishes never happened. PAIGE Even though A Disturbance in the Force tries to dive further into the reasons why the Star Wars Holiday Special was created and why it was such a hot mess of a disaster without saying anything new, this documentary is actually more of a celebration of the pop culture phenomenon through interviews and archival footage. This hilarious and entertaining doc caters to die-hard Star Wars fans. While it feels like a time capsule for this fandom, it’s an intriguing study on this bizarre case that occurred in entertainment.

A NICE INDIAN BOY Starring: Karan Soni, Jonathan Groff, Sunita Mani, Harish Patel, Zarna Garg, and Peter S. Kim Director: Roshan Sethi KATIE A Nice Indian Boy is a sweet, feel-good film that presents the classic meet-the-parents rom-com with a twist. It's not a particularly original concept, as it reminded me a lot of East is East , but audiences rarely get to see gay characters in these cliché romantic scenarios. In that sense, it's refreshing and very moving. The leads, Karan Soni playing Naveen, and Jonathan Groff playing Jay, have great chemistry, but I would have loved a little more exploration of Jay’s character. Overall, A Nice Indian Boy is a heart-warming, comforting watch with genuine laughs and maybe a few tears. AMARÚ A Nice Indian Boy is a sweet romantic-comedy of old with touching modern day flourishes. The comedic timing coming from Karan Soni’s awkward energy makes for big laughs and palpable opposites-attract chemistry between him and Jonathan Groff, the latter whose charm pops off the screen. Soni, on the other hand, might portray one of the most irritating, self-deprecating rom-com characters I’ve ever come across, but the honest emotions their relationship forcefully uncovers makes for sincere familial drama amongst the typical romance beats. I said it already, but no other word works so fittingly than calling A Nice Indian Boy tremendously sweet.