GODZILLA MINUS ONE Starring: Ryunosuke Kamiki, Minami Hamabe, Yûki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, Kuranosuke Sasaki, Miou Tanaka, Yûya Endô, Kisuke Iida, and Sae Nagatani Director: Takashi Yamazaki CALEB Minus One understands Godzilla . Director Takashi Yamazaki harkens back to the original 1954 film Gojira , telling a profound story that celebrates the resilience of the human spirit when faced with the devastation of war. It delivers jaw-dropping spectacle, that’s made even more impressive once you factor in its relatively small budget. Godzilla looks phenomenal, with the VFX properly utilizing weight and scale to make him feel larger than life. Outside of some pacing issues, I had very little to complain about. With terrifying monster mayhem, and a genuinely touching human story, Minus One is the movie Godzilla fans have been waiting for. QUENTIN For a person who is Godzilla agnostic, Minus One has essentially the same issue that every other Godzilla movie I’ve ever seen has, namely too much focus on the human characters. In this case, that extra focus makes for a movie that starts too slowly and is about 20 minutes too long (not to mention the somewhat cowardly ending). That said, when we finally get to the kaiju action, it’s remarkable, exhilarating in ways I’m not sure a Godzilla movie ever has been. It’s still a good movie, don’t get me wrong, but it was *this close* to being one of the best movies of the year.

ON THE COME UP Starring: Jamila C. Gray, Da'Vine Joy Randolph, Lil Yachty, Mike Epps, Miles Gutierrez-Riley, Justin Martin, Titus Makin, Michael Cooper Jr., Sanaa Lathan, and Method Man Director: Sanaa Lathan QUENTIN You know, if I’m being honest, there isn’t anything truly bad about On the Come Up . The acting is mostly serviceable (if a little CW-ish), and the pedestrian story is decent enough. However, it’s essentially a YA version of 8 Mile , which is not something I needed in my life. And, most importantly, most of the raps in the movie are awful, which is a major issue when the main character is constantly being hyped as a skilled and natural rhymer. All in all, the fact that this movie is being released direct-to-streaming on Paramount+ feels right for what it brings to the table. ADRIANO On The Come Up is all familiarity with nothing interesting added. It’s not without its entertainment value…the rap battle sequences can be fun, and Jamila Gray is a great lead and potential star in the making…but the script is so damn basic. I easily guessed everything that was going to happen five minutes into the movie. Luckily, there is a good version of this movie out there already. It’s called 8 Mile . This film was reviewed by Quentin and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE TESTAMENT OF ANN LEE Starring: Amanda Seyfried, Thomasin McKenzie, Lewis Pullman, Tim Blake Nelson, and Christopher Abbott Director: Mona Fastvold ADRIANO There are moments in The Testament of Ann Lee where director/co-writer Mona Fastvold is on fire. In these moments, the choreography, enhanced by Daniel Blumberg's score, is a magnificent sight. It’s the kind of musical magic I can feel in my chest. Unfortunately, those moments can't save the Wikipedia-esque script. Amanda Seyfried plays Ann Lee with amazing humanity, but as the film progressed, I couldn't help but wonder what I was supposed to feel about Lee, the Shaker movement, or Christianity in America. In the end, the production values and Fastvold's filmmaking are the only memorable parts of the film. QUENTIN The Testament of Ann Lee is handsomely made, and I wouldn’t be surprised if it finds itself in the Oscar conversation, especially Amanda Seyfried. However, this just isn’t my cup of tea. I’ve never been particularly fond of movie musicals, and Testament revels in all the things I typically don’t like about them. The songs are redundant and repetitive, adding very little value, which makes the movie feel much longer than it actually is. It’s also weirdly over-narrated, adding to the redundancy. Mostly though, I find Lee (Seyfried) and Shakers’ religious doctrine to be certifiably insane, so it was hard to take any of it seriously. BODE The Testament of Ann Lee shares the type of ambition that drove husband-wife filmmaking duo Mona Fastvold and Brady Corbet’s last wide-spanning epic, The Brutalist , and it places the great Amanda Seyfried in a musical environment again, which she has always excelled in. But while Fastvold mounts these sequences with great skill, Seyfried gives a primal performance, and the music from composer Daniel Blumberg is solid, those elements often feel like the only things breaking up what’s essentially a disappointingly conventional historical drama. I commend the confidence to take a big swing like this, but in my eyes, it comes up a tad short. This film was reviewed by Adriano and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

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.

STRUNG Starring: Chloe Bailey, Lynn Whitfield, Anna Diop, Lucien Laviscount, Coco Jones, and Romy Woods Director: Malcolm D. Lee AMARÚ When you cast Lynn Whitfield and Anna Diop, you know you’re going to get some mysterious and messy stuff. Strung is shot with an ethereal quality to highlight those mystically thriller vibes, but it’s tonally all over the place due to some massively goofy decisions. From weird music cues to horribly inconsistent dialogue and character decisions, this soap opera does Chloe Bailey no favors as she tries to navigate a new(ish) acting career. This is one big slightly-better-than-bad soap opera. But then again, when you have Ms. Whitfield, it’ll never be flat-out bad. ROBERT If you take a sprinkle of Soul , a dash of The Perfection , mix in a generous helping of The Housemaid , you get Strung . The movie wanted to be Get Out so badly, I could sense it closing its eyes, gritting its teeth, and attempting to level up like an anime character. Unfortunately, it ended up only reaching its final streamer-level form. I give credit that the “erotic” segment of its erotic thriller categorization did really work for me, but everything else was disjointed and poorly executed to where I knew the ending with fifty minutes remaining. Follow your intuition and perhaps peruse Peacock for alternatives.

ONE NIGHT ONLY Starring: Monica Barbaro, Callum Turner, Maya Hawke, Quintessa Swindell, Molly Ringwald, and Charlie Gillespie Director: Will Gluck AMARÚ Who would have thought the “Sex Purge” movie was going to be one of the most politically vocal movies of the year? Yes, that sounds weird as hell, but that’s because One Night Only is a weird yet entertaining time. All of its absurdity, expected and otherwise, adds to the charm of its kinda-but-not-so-unique premise. It leans into the romanticism and ridiculous whimsy romantic comedies usually deploy, and allows the film to have a blast being cute while also back-dooring surprisingly fitting political commentary. Not all of its grand ideas work, but you can’t help but have fun with its quirky vibes. ADRIANO How is it possible for a filmmaker to give themselves a concept ripe for comedy and romantic exploration, and then shoot themselves in the foot on purpose? One Night Only presents a bizarre sex-purge situation, then does nothing with it. You’d think they’d use the idea to do something absurd with the in-world politics, or play with the inherent humour of it, but instead it’s just a dull rom-com. And even accepting that as its goal, it’s not funny, plus, Monica Barbaro and Callum Turner have no chemistry whatsoever. Whatever this movie was trying, it failed. NICK One Night Only presents a unique premise, only to stumble through its execution until it’s basically pushed to the side in favour of a traditional rom-com. Although it’s a shame (the premise had potential), even if director Will Gluck had stayed the course, he’d still have to work with two leads that just don't connect on screen. I truly think the individual charms of Callum Turner and Monica Barbaro help mask what is a glaring lack of chemistry. It also doesn’t help that the film itself is so sexually sanitized. Beyond some humour that works, this is a flat feature that fails to get it up. Want to hear even more of our thoughts? Amarú and Kolby join Matt to take A Bigger Bite out of One Night Only HERE .

BACK TO BLACK Starring: Marisa Abela, Jack O’Connell, Eddie Marsan, and Lesley Manville Director: Sam Taylor-Johnson ADRIANO I could complain about another musical biopic following the tropes of the genre, but Back to Black sticks out amongst the crowd because it’s so appallingly disrespectful while also being formulaic. The movie just puppeteers Amy Winehouse's (Marisa Abela) story as a means of judgment while zooming through her musical and personal accomplishments at lightning speed. I'm aware of Winehouse's personal struggles, but for a film that claims it’s about Winehouse's music, it's very uninterested in that. Just two hours of addiction porn with no respect for the subject. Watch the documentary Amy instead. CALEB It’s ridiculous that Back to Black has the gall to criticize the paparazzi, considering it spends the majority of its runtime hypocritically obsessing over Amy Winehouse’s (Marisa Abela) love life and addiction problems. The film is essentially a multi-million-dollar adaptation of a tabloid you'd find at Walmart. Director Sam Taylor-Johnson seemingly has no interest in Winehouse’s creative process, as the film sprints through the creation of her albums to focus on her trauma. Amy Winehouse deserves to be remembered for her success, yet Back to Black decides to highlight her failures. It’s a tasteless, formulaic, exploitative film that disrespects an amazing artist. PRESTON Back to Black’s director Sam Taylor-Johnson is able to successfully capture Amy Winehouse’s tragic story while showing restraint by not over-sensationalizing, which brings realism to this musical biopic. Unfortunately, countering complete lack of restraint with intermittent full-length song interruptions make for a plotline that is disjointed at best, and makes the film more of a slog than it should be. Marisa Abela (Amy Winehouse) mimics Winehouse’s voice almost perfectly, but its constant highlighting takes us out of the story we've come to hear. Decent movie, but will I watch it again? I say, “No, no, no!”

THE WRONG GIRLS Starring: Kristen Stewart, Alia Shawkat, LaKeith Stanfield, Tony Hale, Zack Fox, Seth Rogen, Kumail Nanjiani, Kate McKinnon, and Geena Davis Director: Dylan Meyer BODE Cheech & Chong. Jay & Silent Bob. Harold & Kumar. Could Frankie (Kristen Stewart) & Molly (Alia Shawkat) be the next iconic stoner duo? The Wrong Girls doesn’t actually aim too high when it comes to making the case, though that’s more a byproduct of the film’s shaggy-dog nature. Even when it places the two characters in the middle of an international conspiracy plot, writer-director Dylan Meyer keeps things comfortably in a chill position. On those terms, it’s agreeably charming. Stewart and Shawkat’s fun chemistry, with help from composer Ty Segall’s pulsating score, do just enough to carry it across the finish line regardless of when it stumbles. PAIGE Even though Kristen Stewart, Alia Shawkat, and the supporting cast appear to be having a blast in The Wrong Girls , I couldn’t get behind this eccentric stoner comedy. While some jokes land, most of them are just silly stupid. The story doesn’t flow organically, and the pacing feels forced throughout. Don’t get me wrong, I love a good stoner comedy, but this over-the-top premise just fell flat for me. Maybe if I was under the influence while watching I would have vibed with it more. KATIE The Wrong Girls is a wholesome and wacky film with all the hallmarks of classic stoner comedies. Whilst the plot becomes secondary to the chaos, it’s driven by its rich and distinct aesthetic, creative visuals, and the heart-warming friendship between protagonists Molly (Alia Shawkat) and Frankie (Kristen Stewart). Their relationship feels authentic, their performances are fantastic, and it genuinely feels like the cast had a great time making this movie. Not every joke or set-piece lands, but the film’s scrappy nature and anarchic sensibility are undeniably charming. Plus, I relish any opportunity to see Stewart on screen. ADRIANO When it comes to comedy, if you make me laugh, then all is forgiven. When I don’t laugh (or at least not consistently), every other issue becomes more obvious. The Wrong Girls is insane, and I admire a comedy whose cast is fully committed to its anarchy, but the laughs are very sparse. Plus, the relationship at the centre didn't compel me enough despite Kristen Stewart and Alia Shawkat’s best efforts. Honestly, this movie is like a bad weed strain: you may enjoy yourself at first, but it wears off pretty quickly.

ALIEN: ROMULUS Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu Director: Fede Alvarez NICK Director Fede Alvarez has a knack for taking tired franchises and rejuvenating them for a new audience, and that's exactly what he accomplishes with Alien: Romulus . He has crafted a film that instantly immerses you thanks to some brilliant visuals and smart directorial choices, aspects that are only enhanced by the solid cast filled with up-and-comers (highlighted by a terrific performance from David Jonsson). The tension is palpable, the story is inventive, and the Xenomorph is never overexposed. Romulus isn't just a worthy successor to the Alien brand, it's among its best entries. ADRIANO In many ways, Alien: Romulus is a dream come true for this Alien fan. Combining the tension-filled eeriness of Ridley Scott's Alien and the contained action of James Cameron's Aliens , Romulus is an atmospheric action-horror film that is both successfully creepy and badass. Cailee Spaeny certainly is one hell of a heroine, but David Jonsson is the heartwarming standout. The film retreads its predecessors maybe a bit too much for my liking, and some of the fan-service references annoyed me, but overall, especially with the bonkers finale, I had a blast with this film. QUENTIN Considering Romulus takes place between Alien and Aliens , it makes sense that it seamlessly combines and transitions from the slow-burn horror of the former (the first hour) to the tense action of the latter (the second hour). Plus, it’s tremendously directed, with Fede Alvarez making great use of light and shadows to build dread while capturing some truly iconic shots that call back to the originals. And speaking of…the Easter Eggs are plentiful for Xenomorph stans without feeling too forced, which is nice. This is easily the best franchise offering since 1986, and if you only watched Alien , Romulus , and Aliens , you’d have an excellent trilogy. AMARÚ Fede Alvarez directed the hell out of Alien: Romulus , utilizing light, shadow, and great sound design to create momentous tension without relying on it. Instead, it enhances a plot, which much like the first two Alien films, is mightily propelled by the main group’s relationship with a synthetic, played phenomenally by David Jonsson. The relationship between Andy (Jonsson) and Cailee Speany’s Rain endears us to the story and the rest of the crew, and while Alvarez’s third act takes big horror swings that may not work for everyone, the captivating balance of thrills, character, sound, and visuals creates a solid addition to the franchise. PAIGE Despite the fact that Alien: Romulus may not bring anything new to the franchise, director Fede Alvarez successfully evokes the ascents and terror of 1979's Alien while also including numerous callbacks to other films in the series. Though there isn't much tension in the movie, David Jonsson's dad jokes and Cailee Spaeny's performance offer just the right amount of emotional impact to keep viewers interested. Plus, it’s packed with beautiful visuals, stellar practical effects, and a fantastic sound design. I just wish it established its own identity instead of feeling like a love letter to the franchise. KATIE Alien: Romulus executes its simple but impactful premise with grippingly gruesome precision, bringing new blood to the franchise whilst honouring its predecessors. Plus, David Jonsson and Cailee Spaeny are just fantastic in the lead roles, standing out amongst the rest of the cast. Jonsson’s impressive performance ranges from unsettling to endearing, and Spaeny solidifies her rising stardom. There are plenty of callbacks to the previous films that don’t totally make sense, but they’re subtle enough to not break the immersion too much. Overall, Romulus is totally predictable but far from boring, brimming with atmosphere, action-packed set pieces, and impressively gory effects. PRESTON I have a confession to make…I haven’t been the biggest fan of the Alien movies. I liked that Warrant Officers got a well-deserved nod, but that is about as far as my appreciation goes. But this latest Alien (tribute) film is, surprisingly, my favorite so far. There were a lot of Easter Eggs lost on me, but the updated technological production elements, visual effects, and storyline are a much-needed improvement from past films. Plus, David Jonsson (Andy) provides a lovely, nuanced performance with a character whose development arc is the highlight of the film.

MURDER MYSTERY 2 Starring: Adam Sandler, Jennifer Aniston, Mark Strong, Mélanie Laurent, Jodie Turner-Smith, Zurin Villanueva, Enrique Arce, Adeel Akhtar, Kuhoo Verma, John Kani, and Dany Boon Director: Jeremy Garelick NICK Comedy-wise, the Adam Sandler/Netflix experiment has not garnered very good results. In saying that, 2019's Murder Mystery (an average comedy in and of itself) is likely the best of that crop so far. So, even though it didn’t really need a sequel, Murder Mystery 2 is here, and it's basically a notch worse in every way. The comedy is a little more "miss," the supporting cast is a little less interesting, and the twists are a little more telegraphed. It’s a franchise that need not continue, and it’s time to see Sandler continue full steam ahead with his dramatic roles and Oscar push. QUENTIN Murder Mystery 2 isn’t a sequel that needs to exist, nor is it good enough to justify its own existence. Still, even as you acknowledge that it’s just an algorithm-driven money grab that granted Adam Sandler a paid vacation to an exotic locale, there is something inherently watchable about The Sandman. Despite hit and (mostly) miss jokes and pedestrian action sequences, there is just enough charm to keep it from being a total waste of time. The 80-minute runtime doesn’t hurt either. It’s not exactly “good,” per se, but it’s better than some other Netflix Originals (looking at you, The Man from Toronto ). JOSEPH Murder Mystery 2 in no way revitalizes the Happy Madison brand, nor does it deviate from Adam Sandler’s typical fare. That being said, it is a film that is fun enough to be entertaining. The jokes are mostly duds, unable to elicit even a chuckle, but there are several clever visual gags worth a laugh. As for the actual mystery, it's fun trying to figure out who the guilty party is, and it’s crafted well enough that I expect many to be bamboozled. All in all, Murder Mystery 2 is the type of film you watch while doing chores.

BOTTOMS Starring: Rachel Sennott, Ayo Edebiri, Havana Rose Liu, Kaia Gerber, Nicholas Galitzine, Dagmara Domińczyk, and Marshawn Lynch Director: Emma Seligman PAIGE Bottoms invents its own brand of stylish and outside-the-box comedy that manages to feel nostalgic yet fresh. It’s a unique, absurd, and elevated flick that is destined to become a high school cult classic. The hilarious script is filled with quotable dialogue, allowing Ayo Edebiri and Rachel Sennott to shine as a dynamic comedic duo. At a brisk 90 minute runtime, it’s safe to say that Bottoms is this year’s best comedy, and I truly hope director Emma Seligman and Rachel Sennott never stop working together because they have once again delivered a knockout film. CALEB Bottoms packs enough laughs to fuel a dozen sex comedies, and makes it look easy in the process. Director Emma Seligman’s latest outing fully immerses itself into the absurdity and surrealism of high school, playing out like an energetic teenage fever dream. The impeccable direction is bolstered by hilarious performances from Rachel Sennott and Ayo Edebiri, whose comedic chemistry is off the charts. The climax feels slightly rushed, and certain characters could have been more developed, but these issues don’t take away much from the film. In the end, Bottoms is undeniably hilarious, and that’s all it really needed to be. AMARÚ Bottoms won’t be for everybody. It’s 90 minutes of seemingly non-stop improvisation, irreverently raunchy humor, and parody-level plot points. While Ayo Edebiri and Marshawn Lynch navigate this with sincere charm, the rest of the cast and dialogue epitomizes “let’s throw absolutely everything at the screen and see if it sticks.” Half of it does…half of it really, really doesn’t. It’s clear that Bottoms wants to, and sometimes successfully does, show that female-led comedies can be as provocative as their male counterparts, but when they spell it out with little-to-no audience interpretation, it just feels stupid. JACOB Writer/director Emma Seligman continues her establishment as a great comedic filmmaker. While not as raunchy as some of 2023’s other summer comedies, Bottoms might well be the best of them all. A Fight Club -meets-high school laughfest, the film echoes 80s genre tropes while smashing them through a modern absurdist lens, creating one of the most pure, fun moviegoing experiences of the year. Rachel Sennott and Ayo Edebiri are typically excellent, but it’s the supporting actors who steal the show, including a charmingly understated Havana Rose Liu and delightfully dumb Nicholas Galitzine (even Marshawn Lynch has a few great moments). PRESTON With its constant barrage of the crudest wisecracks it can muster, Bottoms is the type of refuse that makes me fear for the state of our collective future. I realize this view may paint me as an old curmudgeon, but I likewise recognize that many will love this film. Ayo Edebiri and Rachel Sennott perform admirably despite my distaste for director Emma Seligman’s preference for outright “spray and pray” bawdiness over comedic timing. If you think you can handle a movie with a full cast of only Eastbound and Down ’s Kenny Powers (Danny McBride), you might enjoy this one. ADRIANO Bottoms is the kind of movie that I yearn for: a comedy so outrageous, silly, and hilarious that it sticks with you purely due to the entertainment value. It has a high joke-per-minute ratio, and since the jokes rarely miss, it’s never exhausting. Bottoms’ universe is very heightened, and thankfully, the amazing cast are all in on the joke, and as silly as it all is, it still has the heart a good high school comedy should have. Bottoms is a must-see for anyone hoping for a good comedy film.

BOY KILLS WORLD Starring: Bill Skarsgård, H. Jon Benjamin, Jessica Rothe, Michelle Dockery, Brett Gelman, Isaiah Mustafa, Andrew Koji, Famke Janssen, Sharlto Copley, Yayan Ruhian, and Quinn Copeland Director: Moritz Mohr QUENTIN In the crowded action revenge genre, it doesn’t take much to succeed. The plots are almost always the same, so you only need charismatic characters, well-choreographed fight scenes, and exciting action sequences to entertain. Sadly, Boy Kills World didn’t get the memo. I admit there are few solid chuckles to be had, particularly a running joke about the deaf and mute Boy (Bill Skarsgård) being unable to read another character’s lips, but they aren’t enough to carry the film through its bloated runtime, mundanity, or dumbass twist. You’re better off rewatching John Wick . Or Monkey Man . Or Silent Night . Or…well, you get the idea. NICK Boy Kills World is a lot like a video game because the action scenes are bombastic and clearly inspired by that world. Bill Skarsgård makes for a dynamic lead despite any of his own dialogue thanks to his facial expressions and combat skills. I actually wish he had done the internal monologue over H. Jon Benjamin (the way it was originally screened at TIFF) as Benjamin provides too much disconnect. All in all, I liked this more than most of the John Wick -style films, probably because it leans heavier into the comedy side of things. It’s just a good-ass time. AMARÚ The second Bob from Bob’s Burgers (H. Jon Benjamin) starts narrating Boy Kills World , I knew what to expect: an utterly ridiculous time that rides the line between satirical and stupid. Then I saw the “Old Spice Man Your Man Could Smell Like” (Isaiah Mustafa) leading the film’s best running bit, and from that point on, I said fuck it. The action (and paired soundtrack) is cool, Bill Skarsgård’s gamut of expressions fit perfectly, and supporting actors like Mustafa and Sharlto Copley know exactly how to elevate this kind of stupidity. Yayan Ruhian alone is worth the crazy, and I’m here for it.