Search Results

INSIDE Starring: Willem Dafoe Director: Vasilis Katsoupis NICK Death, taxes, and Willem Dafoe playing mentally unstable characters. His performance is, as expected, wonderful; a one-man show deserving of all the praise I expect to come. Unfortunately, it's the journey of him becoming unhinged that can be a little underwhelming. We start off great with some extreme close-ups that really build a claustrophobic atmosphere, but things fail to escalate from there for a large portion of the picture. Instead, any tension takes a backseat as the focus is put on some heavy-handed metaphors that laugh in the face of subtlety. Overall, a great performance in a film that can’t maintain its early momentum. ADRIANO As someone who can watch Willem Dafoe go insane for hours, Inside began to get on my nerves, but I still quite enjoyed it. I was almost immediately captivated by the film’s setup, as Dafoe’s character needs to survive with comically low resources. But then it started to get a little repetitive, and because its themes and messages are thinly veiled, it begins to be a rinse-and-repeat of the same stuff over and over again until the film reaches its unsatisfying conclusion. Even though I enjoyed the film going in more than I did going out, I did enjoy it.

65 Starring: Adam Driver, Ariana Greenblatt, Chloe Coleman, and Nika King Directors: Scott Beck and Bryan Woods ADRIANO A man crashes on earth 65 million years ago and has to survive dinosaurs, and that man is played by the always reliable Adam Driver. Surely, that can’t possibly be boring, right? Well, through uninspired storytelling and weak stakes that are half-baked, that’s what 65 winds up being: boring. Some of the stuff with the dinosaurs is a little cool, especially with how lighting is used to intensify the situation at moments, but with failed attempts at emotional turmoil and its use of action/horror, I really felt nothing but the urge to fall asleep. JACOB How do you take a near-perfect premise – Adam Driver fights dinosaurs on prehistoric earth – and make it as boring as humanly possible? 65 , which is structurally bereft and a thematic nonstarter, is the answer. It’s not as if the film is unsalvageable or that it’s actively making bad decisions, but it’s also never making any good ones. Had Driver had anything to work with script-wise, he and Ariana Greenblatt might have had a gem on their hands. But with little-to-no actual character development and a host of nonsensical logic leaps, the film seems steadfastly committed to being the least interesting version of itself. DARRYL 65 is not a good movie by any stretch of the imagination. While the premise has a bit of intrigue to it, the writing and execution of said premise leave plenty to be desired. Adam Driver seems to simply be going through the motions, turning in one of his weakest performances to date. Uninspired direction, shoddy visual effects, and subpar acting make this, maybe not one of the worst offerings of the year, but pretty damn close. A poor excuse for a reason to put dinosaurs and laser guns in the same setting, 65 feels like only 65 minutes were spent developing this film.

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.

SOCIETY OF THE SNOW Starring: Enzo Vogrincic, Matías Recalt, Agustín Pardella, Felipe Otaño, Luciano Chattón, Valentino Alonso, Francisco Romero, Agustín Berruti, Andy Pruss, Simón Hempe, Juan Caruso, Esteban Bigliardi, Rocco Posca, Esteban Kukuriczka, Rafael Federman, Agustín Della Corte, and Tomás Wolf Director: J.A. Bayona ADRIANO Society of the Snow could've easily just coasted on the sheer undeniable power of the miraculous true story, but director/co-writer J.A. Bayona ventured beyond that to tell a powerful tale of human resilience. The story structure could've used some work, as many moments felt like they were going in circles, but the film is a technical marvel that puts us smack-dab in the freezing cold for a grueling two-and-a-half hours, filled with the lowest lows and the highest highs. Even for what I expected, the movie is an absolute triumph and a film worthy of its subject matter. KATIE Society of the Snow is a harrowing yet empathetic depiction of the 1972 Andes mountain plane crash and its Uruguayan passengers' fight for survival. The film explores the gut-wrenching ordeals of the crash’s aftermath with brutal and disturbing realism, focusing on the tender moments of compassion and hope shared by members of the group. Undoubtedly a tough watch, co-writer and director J.A. Bayona effectively encapsulates the abject horror of the situation whilst foregrounding deeply emotional themes of faith, morality, and friendship, all made possible by the remarkable performances and evocative score. QUENTIN The first and third acts of Society of the Snow are exquisite, highlighting the unimaginable choices one must make when fighting for survival in the face of near-certain death. It’s gritty and realistic, respecting the victims and survivors by not falling into exploitive sensationalism. That second act, though? Man… it’s sluggish. It’s often spinning its wheels, which maybe is the intent…to make you marinate in the awful situation for longer than is comfortable…but it results in a movie that is 30-45 minutes too long. Still, though, it’s a horrifically beautiful technical achievement that aptly touches on themes of morality, hope, friendship, and perseverance. AMARÚ Society of the Snow is absolutely horrifying and tremendously uplifting. That may seem oxymoronic, but it’s the most harrowing experiences that bring out man’s most resilient qualities. Director J.A. Bayona is no stranger to disaster movies, but with Snow , he focuses on the impossibility of hope and uses the story’s tragic event to bolster the staggeringly complex aspects of the characters’ humanity. With a mixture of scope, silence, a soulful score, and sinister sound design, Bayona, composer Michael Giacchino, and the terrific ensemble bring forth an extremely powerful end to the 2023 movie season. PRESTON Did you ever see Alive (1993)? Well, Society of the Snow is its more authentic, more complete, and much more accurate bigger brother. The camera shots are fantastic, the acting is top-tier, and director J.A. Bayona’s detailed re-creation does what few others in cinema could do, telling a complete story in under two-and-a-half hours. You will run the gamut of emotions through every perceived triumph and crushing setback, and wonder, “what the hell would I do?!” After seeing what these brave souls go through, I bet you don’t even complain about the subtitles. PAIGE Society of the Snow will provoke a stillness in its audience due to the grounded humanity of its characters. The relatively unknown actors give such exceptional performances that you feel like you’re right beside them in this unfathomable nightmare. While man vs. wild films can be tough to watch, this true story shouldn’t go unseen. Using close-ups to convey the rawness of these harrowing experiences, director J.A. Bayona does a fantastic job creating an emotional yet inspirational voyage of survival, supported by a powerful score from Michael Giacchino. CALEB When it comes to tales of human survival, it doesn’t get much more horrifying than Society of the Snow . Director J.A. Bayona’s new drama is an unflinching portrayal of human desperation, showing just how hellish a battle against the elements can become. The film kept me on the edge of my seat for the most part, but I’ll admit the third act began to lose me a little. It has a moving conclusion, but it really takes its time getting there. Still, the acting is impressive, the cinematography is stunning, and the haunting score is beautiful. Society of the Snow is a solid start to the year.

CARNAGE FOR CHRISTMAS Starring: Jeremy Moineau, Chris Asimos, Dominique Booth, Lewi Dawson, Olivia Deeble, Lisa Fanto, Molly Ferguson, Patty Glavieux, and Betsey Brown Director: Alice Maio Mackay This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN Given that this is an uber micro-budgeted film from a 19-year-old director that somehow has six features under her belt, I suppose I’ll give Carnage for Christmas an “A for effort.” That said, this thing is bad, man. It’s like a student film you’d find on YouTube. The acting is really rough, some of the visual flourishes are incredibly cheesy, the acceptance messaging is over-the-top preachy, and, honestly, it’s barely even a Christmas horror movie. Other than a Santa suit, this movie could have taken place in July without much changing. At only 70 minutes, this felt much longer and tremendously lacking. PAIGE Alice Maio Mackay’s queer, Santa-slashing, mystery movie Carnage for Christmas lacks the traditional horror and holiday spirit it is going for. This amateurish, low-budget film truly feels like an R-rated, wannabe Nancy Drew knockoff built on lifeless performances and cringe worthy dialogue. The film's visually distinct, almost overexposed, aesthetic is another flaw on top of the 70-minute runtime that is surprisingly sluggish. I hate to say it, but with all things considered, this movie deserves to be on the naughty list for how bad it is.

SANCTUARY Starring: Christopher Abbott and Margaret Qualley Director: Zachary Wigon QUENTIN Sanctuary , which feels like a stage play (the entire movie takes place in a single hotel room), does a great job of keeping viewers on their toes. One is never entirely sure what is real, what is role play, and what is unreliable narrator. Christopher Abbott and Margaret Qualley bounce off each other exceptionally well, with Qualley especially giving a performance worthy of some non-Oscar awards. The somewhat anticlimactic ending doesn’t make a lot of sense if you think about it too hard, but it still works organically in the context of the story. Overall, a pleasant, and sometimes sexy, surprise. NICK Sanctuary starts off fun. There is a little mystery, some sexual tension, and Margaret Qualley at her scene-chewing best. Then, it just keeps going…and going. I slowly began to feel as trapped as the main characters. What begins as a strong look into differing power dynamics, reaches a point where even the twists wear out their welcome. Were this a 45-minute episode of an anthology series, there's no doubt it would be an award winner, but at feature length, there just isn't enough steam to reach the finish line. ADRIANO Sanctuary had my attention until the very end, and it made good use of that fact. The movie takes place in a single hotel room for the entirety of its runtime, and not once did it feel staged or play-like due, in part, to its vibrant tone and wicked twists. It kept me guessing constantly with its psychological trickery, and, truth be told, I was all in for it. Christopher Abbott is great, but Margaret Qualley is chewing up every single line of dialogue. I loved it. This movie is a success in almost every department. JACOB One of the IP era’s cruelest casualties, the erotic thriller has faded from the cinematic consciousness, especially as the lesser of them are relegated to streaming; leave it to Margaret Qualley to bring it roaring back in fine form. Sanctuary is deliciously fun and deliriously horny, the kind of two-hander that thrives on the strength of its performances and a crackling script from Micah Bloomberg. It is admittedly imperfect, primarily in how it loses much of the eroticism heading into the second act, but the stellar turns from Qualley and Christopher Abbott keep it fresh enough to remain thoroughly engaging. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

RUMOURS Starring: Cate Blanchett, Charles Dance, Denis Ménochet, Alicia Vikander, Roy Dupuis, Takehiro Hira, Rolando Ravello, and Zlatko Buric Directors: Guy Maddin, Evan Johnson, and Galen Johnson NICK As far as political satires go, Rumours is among my favourite, conceptually speaking. The directing team of Guy Maddin, Evan Johnson, and Galen Johnson fill the opening hour with clever jokes and visual gags, all of which is brought to life via a very solid ensemble, highlighted by Roy Dupuis (pure coincidence he plays the Canadian Prime Minister). However, after that first hour, things run out of steam as the clever intricacies are replaced by a more ridiculous tone. Although this worked for a film like Triangle of Sadness (which, coincidentally, also features Zlatko Buric), it works against things here. ADRIANO I'll always respect a swing for the fences, but you gotta have something to back those swings up. Rumours doesn't have that. I liked the ensemble, and it got some laughs out of me, but it pretty quickly falls off its central concept. Then, the laughter begins to trickle out, and the movie becomes utter nonsense. Its commentary on world leaders' incompetency is lazy, and for a movie with three directors, one of which is the seasoned Guy Maddin, it feels a lot like a student film. Rumours is just a really bad movie, plain and simple. QUENTIN As a political satire, Rumours is certainly clever, but probably a little too smart for its own good. It requires a certain level of winking, “if you know, you know” awareness, and I’m not sure audiences lacking a general knowledge about geopolitical reputations will get a lot of the jokes present in this surreal sci-fi comedy. That awareness is the difference between a movie worth your time and a movie that is merely a mildly amusing diversion. No complaints about the cast, though, all of whom are game for the B-movie weirdness happening on screen. PAIGE Rumours is an over-the-top satire on global politics that becomes less effective and less funny as it goes along. While it does have some fun with its campy camera work, ominous music, and bombastic performances, the script is a mess, and its stereotypical depictions of these political leaders are very one note. Having three directors helming the project kept the movie from being cohesive, as it veers off course while failing to make any kind of point. This absurd film runs out of steam fairly quickly and is pretty forgettable. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

MAXXXINE Starring: Mia Goth, Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Halsey, Lily Collins, Giancarlo Esposito, and Kevin Bacon Director: Ti West ADRIANO It saddens me to say that MaXXXine is far and away the weakest of writer/director Ti West and Mia Goth's trilogy. That's not to say you won't get similar thrills and the gory fun you got in the previous installments. But this film's plot is much more all over the place and kinda gets lost in itself a little too much. Not to mention, while the 80s vibe was fun, it didn't commit quite like the others did, and MaXXXine just simply lacked the teeth of the previous films. But hey, Mia Goth's great still, at least. PAIGE Despite Ti West directing the hell out of MaXXXine , his screenplay is lacking a bit, making the story feel hollow in comparison to its predecessors. However, this does not lessen the fact that Mia Goth is an absolute star, or that the supporting roster also kills it here. The aesthetic and style of this film are to die for, with the giallo-inspired 80s slasher and neo-noir vibes exuding the glitz and glam of Hollywood. Overall, this horror trilogy explored the idea of going to any lengths to achieve fame in a brilliant manner. PRESTON Unlike Pearl , a stand-alone prequel, MaXXXine serves as a direct sequel to X , which requires re-watching if your memory is as fogged as mine because there are lots of flashbacks that speak to the experienced trauma that has shaped our dear Maxine Minx (Mia Goth). Problematically, there is little dialogue from our primary protagonist to further develop her character, and the additional, over-the-top cast don't necessarily bring any desired nuance. The nostalgic nod to 80s Hollywood and the integrated Hollywood Studios tour are the best parts of a film that isn’t all that scary or thrilling but entertaining enough. KATIE The final installment in Ti West’s horror trilogy, MaXXXine is a gloriously gory, immensely stylish film that platforms Mia Goth’s phenomenal star quality. The film contains countless nods to 80s Hollywood and pop culture with a nostalgic, neon-lit aesthetic and the sleazy atmosphere of a giallo-esque thriller. Goth is, again, deeply compelling with a formidable screen presence, but her character doesn't feel as fully formed as in the two previous films, and the script generally pays less attention to character development than flashy personas. Still, overall, MaXXXine is a fervently fun and entertaining final chapter for the franchise.

PLAY DIRTY Starring: Mark Wahlberg, LaKeith Stanfield, Rosa Salazar, Keegan-Michael Key, Chukwudi Iwuji, Nat Wolff, Gretchen Mol, Thomas Jane, Hemky Madera, Alejandro Edda, Claire Lovering, Chai Hansen, and Tony Shalhoub Director: Shane Black ADRIANO After The Predator , I was hoping to see a return to form from director/co-writer Shane Black. On paper, Play Dirty appears to be exactly that, with its style of crime comedy hijinks, some of which are present here; however, something crucial is missing: Black's personality. As much humour and action as there is, there's a stylistic void here, and the film winds up being dull as a result, with Mark Wahlberg looking half asleep in every scene, which certainly does not help. This isn't an awful movie - in fact, it's just inoffensively bad - but that doesn't mean I'm not disappointed. ROBERT You may be unaware, but Play Dirty is the seventh iteration of the character Parker being portrayed on film, with notable actors like Robert Duvall, Mel Gibson, and Jason Statham previously playing the professional robber. Unfortunately, despite Mark Wahlberg’s history in films like The Italian Job and Contraband playing a master thief, it is a poor fit this time. Shane Black is at his best when he's not pigeonholed by existing IP and getting to craft his own world and dialogue. This seems like he was neutered. Play Dirty is too long, and the CGI is atrocious; it shouldn't steal a minute of your time.

IT LIVES INSIDE Starring: Megan Suri, Neeru Bajwa, Mohana Krishnan, Vik Sahay, Gage Marsh, Beatrice Kitsos, and Betty Gabriel Director: Bishal Dutta This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN While the story of It Lives Inside is a fairly typical possession tale, using the demon to touch on ideas of teen depression and divided cultural identity, it remains a solid addition to the subgenre. The way director Bishal Dutta uses minimalist techniques, toying with light and shadows to create tension, not to mention the Indian folklore aspect, is very reminiscent of The Vigil (a terrific horror movie based on Jewish demonology), and the final creature design is impressive, especially considering the film couldn’t have had a sizeable budget. It’s not groundbreaking, but it succeeds, nonetheless (particularly if you watch in the darkest room possible). NICK It Lives Inside is a tale of two plotlines: First, there's a coming-of-age story about individuality and maintaining your cultural connection throughout your formative years; second, there's a demonic tale based in Hindu folklore. Both feature aspects that work, and both are bogged down by tropes from their respective genres. It’s their intersection, however, that is unable to elevate things. This leaves a relatively new story devolving into something that feels familiar. Having said that, it’s not a lost cause. There are some genuine scares and the creature design is certainly unsettling. It Lives Inside isn’t revolutionary, but it’s still serviceable mid-tier horror.

OPUS Starring: Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Melissa Chambers, Stephanie Suganami, Peter Diseth, Mark Sivertsen, Amber Midthunder, Tamera Tomakili and Tony Hale Director: Mark Anthony Green NICK I'll be honest, I was into the beginning of Opus and its intriguing set up, like a differently toned Midsommar . Then, after the first reveal, I gradually became less and less interested as the film went on. For a feature reliant so heavily on story, this one doesn't have the performances nor the twists and turns to make up for its shortcomings, something the film has plenty of, sadly. Even with the admittedly good final scene, it's unearned, as everything I had just watched before it diminished my interest in its intentions. A good half hour isn’t much in a 104-minute film. ADRIANO In a sea of horror/suspense-type genre films that tackle social issues, Opus stands out as quite awful. It feels like writer/director Mark Anthony Green saw The Menu and said, "I wanna do that." The ensemble is serviceable, although John Malkovich was severely miscast, and the movie takes nearly 90 minutes to set up, only for it to inevitably resort to mindless violence in the name of “satire.” The ending is a little interesting, but it made me wonder, “where was that the whole movie?" For a horror satire, it has nothing to say in the grand scheme of things. PAIGE Opus is an enticing comedic mystery thriller that makes up for its lacking plot with its crazed energy. The thin script certainly has plot holes, but at least Ayo Edibiri and John Malkovich do the best they can with the material. She’s a fantastic final girl, and Malkovich kills it as an eccentric 90s musician. Plus, the original pop music composed for the movie is superb. Ultimately, I dug what I saw, though there’s no denying that the movie struggles to have its voice heard due to its half-baked ideas. BRYAN Ayo Edebiri continues to prove herself as one of the most talented people of her generation, by carrying Opus on her back from start to finish. What started with so much promise in the opening minutes quickly fades into a lesser variation of the cult horrors that have made their mark this past decade, feeling like an AI-generated amalgamation of films that have tackled its subject matter in better ways. While some of the thrills, as well as John Malkovich’s performance, did crawl under my skin, there is not much to latch onto with Opus . What a major disappointment.

THE ELECTRIC STATE Starring: Millie Bobby Brown, Chris Pratt, Ke Huy Quan, Jason Alexander, Woody Harrelson, Anthony Mackie, Brian Cox, Jenny Slate, Giancarlo Esposito and Stanley Tucci Directors: Joe and Anthony Russo BODE Since helming some of the most successful films of all time under the MCU banner, the Russo Brothers have mostly spent their capital on over-budgeted streaming fodder that you can half-watch while doing other activities. The Electric State is their latest project to serve this purpose. They take the basic premise of Simon Stålenhag’s illustrated novel and make an utterly soulless Amblin homage out of it, complete with hollow observations regarding our reliance on technology, bland Marvel-style humour, and performances that are either doing too much (Chris Pratt) or too little (Millie Bobby Brown). At least the effects are decent, hackery be damned. ROBERT Given recent announcements for future projects, The Electric State seems like the Russo Brothers spinning their directorial wheels until they are fully engrossed in Avengers movies again. Overall, this gives off vibes of Wall-E and Ready Player One , mixed with some Terminator : cautionary tales about how human laziness will lead to technology reliance and potential destruction (or, at the very least, aversion to reality). The difference is that those movies are mostly more enjoyable since they are managed with more direction and emotional pathos. When the robots have more heart than the humans, you’ve got problems. ADRIANO For a directing duo that can't seem to stick the landing while also saying pretty stupid things about cinema (ok, really just Joe Russo, in fairness), The Electric State is, unsurprisingly, just unwatchable. The whole movie is essentially the Russo Brothers advocating for AI on a thematic level, and to make their point, they deliver a movie with a terrible script that lacks good ideas and cohesion to an otherwise straight-forward story, not to mention flat direction emphasized by horrible editing and a robotic performance from Millie Bobby Brown. These are your Avengers: Doomsday directors. Yeah, good luck with that. BRYAN There was a time when a new Russo Brothers outing was exciting, yet post-Endgame , the results have been repeatedly chunky. The Electric State may have even reached new levels of unwatchable in every possible way. If you wanted a guide to Lazy Filmmaking 101, this meets the criteria. Any ounce of emotional heft presented in the illustrated novel is nowhere to be found throughout this $320 million soulless snoozer. Even with a talented cast at the forefront, everything feels off. There was promise here, but maybe it'd be best for the Russos to hang it up.