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GOOD AMERICAN FAMILY Starring: Ellen Pompeo, Mark Duplass, and Imogen Faith Reid Creator: Katie Robbins QUENTIN Despite making me interested in the true story on which it’s based, Good American Family leaves a lot to be desired. For one, the performances range from cheesy to overwrought to wooden, especially Ellen Pompeo in a role that feels like it was written for Nicole Kidman. For two, the “he said, she said” story structure prohibits the viewer from investing in a side, which is most of the fun in the true crime genre. Lastly, the series is presented through flashbacks, flashforwards, and narration that make for a disjointed watch. Honestly, you’d be better off Googling Natalia Grace (Imogen Faith Reid) and leaving it at that.

Previous May 23, 2025 Next A BITESIZE CHAT WITH ELI CRAIG Director Eli Craig (Tucker and Dale vs Evil ) chats with Katie about Clown in a Cornfield , his latest film, and what he looks to achieve in the horror genre. Make sure to check out Clown in a Cornfield now in theatres. Interview conducted on May 8th, 2025 by Katie Bone.

SHRINKING: SEASON TWO Starring: Jason Segel, Harrison Ford, Jessica Williams, Michael Urie, Luke Tennie, Lukita Maxwell, Christa Miller, Ted McGinley, Devin Kawaoka, Wendie Malick, and Brett Goldstein Creators: Bill Lawrence, Brett Goldstein, and Jason Segel NICK After a wonderful debut season last year, Shrinking : Season Two takes everything that worked and builds on it. Jason Segel and Harrison Ford may be the names on the marquee, but it's truly an ensemble where everyone shines. This sophomore season does an excellent job giving each storyline equal time to grow, making sure that no character remains stagnant. It also explores some darker themes, and by doing so, allows the series to evolve while maintaining its relatability. Season One was great, don’t get me wrong, but Season Two is an improvement in every sense of the word. This is my kinda therapy. AMARÚ I’ve been asked several times, “could such-and-such not-so-politically-correct movie/show from my childhood be made today?” My answer is always the same: yes, if it’s funny. Shrinking ’s second season proves my theory true because, shit, this show is dark. PTSD, drunk driving, dead wives, debilitating diseases, and domestic violence only scratch the surface of what this season tackles, and I can’t help but laugh every time I think about it. Season Two takes the hilarious dialogue, amazing performances, and bountiful humanity from the first season, tightens the script, and makes it even more relatable, cementing Shrinking as my favorite show on television.

THE TWISTED TALE OF AMANDA KNOX Starring: Grace Van Patten, Rebecca Wisocky, Francesco Acquaroli, Giuseppe De Domenico, Roberta Mattei, Sylvia Panacione, Sharon Horgan, Sara Sedran, Jared Canfield, Vincenzo Zampa, Uta Dunz, Joe Lanza, Crosby Fitzgerald, and Anna Van Patten Creator: K.J. Steinberg QUENTIN Having watched Netflix’s documentary Amanda Knox , in which Knox was heavily involved, I wasn’t sure what new information a scripted take on the case could provide, even if Knox was, once again, heavily involved. Surprisingly, The Twisted Tale of Amanda Knox offers a fresh approach to the material by exploring the nature of bias through the viewpoints of the peripheral players instead of only centering on Knox (a terrific Grace Van Patten). Even the nods to Amélie , a key part of Knox’s alibi, are clever. Mileage may vary depending on what you already know, but it won me over despite me being familiar with the twisted tale. PAIGE The Twisted Tale of Amanda Knox is a gripping and comprehensive limited series told through a fictionalized dramatization of Amanda Knox's own lens. Despite how disjointed the editing can appear and how the over-the-top dramatized elements can feel at times, the series effectively immerses its audience right back into this whirlwind media storm that occurred back in the late 2000s. This depiction of Knox’s story offers a more insightful and nuanced look at a misunderstood young woman, who is played extremely effectively by Grace Van Patten. But as far as a retelling of this harrowing true story, while it stands out for its emotional resonance, it falls short in exploring the true crime elements.

Previous Next May 5, 2023 WRITTEN BY: AMARÚ AND JOSEPH Following the release of and mixed reviews surrounding Ant-Man and the Wasp: Quantumania , not to mention the general conversation of “superhero fatigue” getting increasingly louder, our very own Amarú and Joseph used an email chain to discuss MCU’s Phase 4 and The Multiverse Saga to determine just what the hell everyone’s problem is. This is that discussion, with edits only being made for clarity of understanding. J: So…what do you think, Ru? If you ask me, the main problem is the fans. Yeah, that’s a loaded statement, but stay with me… Phase 4 has been an interesting experiment (to say the least), but let’s be realistic: Phase 1 was just as aimless as Phase 4, except now, the general audience is like Joseph Gordon-Levitt’s character in ( 500) Days of Summer , upset that their impossible, self-imposed expectations aren’t being met. A: Yeah, I guess there might be some aimlessness, but if you take a deeper look at the ratio of universally loved MCU films relative to the number of films released in the given Phase, you’d see that the percentage of “great” films in Phase 4 is around the same as earlier Phases. I’m pretty positive that most people don’t consider Phase 1’s The Incredible Hulk , Thor , or Iron Man 2 as classic comic book content. Same with Phase 2’s Iron Man 3 , The Dark World , or Age of Ultron . Admittedly, Phase 3 is an outlier here because so many MCU films and storylines were wrapped up in one of the biggest achievements in cinematic history. Hmm… that actually furthers your point though. After Phase 3, Phase 4 expectations were impossibly high, and with that, you end up with an MCU fanbase that has divided into two factions: one that believes the MCU is dying since it has failed to meet those expectations, and the other living by the mantra “In Feige We Trust.” It seems your only choices as a fan are to be a shill who blindly loves every new piece of MCU content or a hater that spews the paper-thin theory of “superhero fatigue.” But I think the other thing that really gets lost in the shuffle here is that all this content comes from Marvel Studios…emphasis on Studio . The Universals and Paramounts of the world release dozens of movies a year in different genres and of varying quality, and they don’t get the vitriolic fandom treatment if one doesn’t hit. They are expected to have a mix of duds, blockbusters, and Oscar-caliber movies, and The Multiverse Saga’s catalog mirrors a typical studio’s catalog more than it mirrors Phases 1-3 because it has demonstrated the studio’s ability to break away from “The Formula” to release content in any genre that it chooses. Quantumania is a Star Wars -like space opera, Multiverse of Madness is horror adventure, and regardless of whether their brand of comedy worked for you, Love & Thunder (slapstick), Ms. Marvel (coming-of-age), and She-Hulk (courtroom procedural) all stuck to a clear and specific comedic style. With all this new genre-specific content, not to mention special presentations like the 1940s-inspired Halloween special Werewolf by Night and The Guardians of the Galaxy Holiday Special , I have to wonder if it’s time for fans to stop putting an Infinity War -level standard on each and every piece of content the studio releases. J: Yeah, No Way Home isn’t a hit because it offers world-altering consequences for the MCU, but rather because of how it treats its characters. Arguably, this is the first Spider-Man film where Peter Parker actually feels like Spider-Man by the end. He is forced to sacrifice and deal with tough issues that pose a greater threat, but more importantly, are deeply personal. Thor has a similar struggle in Love & Thunder . He’s trying to find his inner hero while also learning that he can’t save the love of his life, which harkens back to the cause of his depression and time as Bro Thor: his inability to save mankind from The Snap. I think the big thing people forget is that these heroes are also “people.” They have canonically gone through serious trauma after Infinity War and Endgame , and in order to remain good characters that we want to continue watching, they need to be developed. There can’t be a Thanos-level threat in every movie; otherwise, how would anyone grow? Are all these great characters supposed to just go back to normal after The Blip? There are real effects to what has happened, and those effects should be shown. But back to your point about Marvel being a studio first… There is kind of a Catch-22 here. On one hand, Phase 4 seemed, at times, like it could have been the birth of the typical studio approach. Warner Bros. doesn’t require you to watch Dune to understand Elvis or Space Jam , and several pieces of Phase 4 felt like they were going to be self-contained enough to be their own brand. It’s a smart idea. Those who may have avoided the MCU for fear of not knowing the proper watching order could jump in without feeling lost while also finding their niche brand of Marvel. On the other hand, in the typical studio form that the typical studio doesn’t say out loud, Marvel Studios is interested in making money and keeping their audience…an audience that they know always wants their stories bigger and better while also being as straightforward and interconnected as possible. This is where A-List cameos and the introduction of new characters in post-credit scenes come in. Ms. Marvel ceases to be a unique, standalone coming-of-age story as soon as you announce that the character is integral to 2023’s The Marvels , which the series even cemented with a Brie Larson cameo. It doesn’t make the series bad in and of itself, but people who may not have cared for the tone or youth-skewing storyline probably felt they had to watch it because skipping it would have been like skipping a chapter in a book. If they didn’t watch Ms. Marvel , would they be lost when watching The Marvels ? So, Marvel can either potentially win new fans through creative and varied swings or potentially lose fans who feel they are constantly hate-watching things outside their wheelhouse just to keep up. With those two options in mind, why reinvent the wheel? Why invest in more unique, standalone stories when the fans you are ostensibly trying to please - the ones who are already here - will talk shit the whole time on the internet? It’s a “bird in the hand, two in the bush” scenario. A: Honestly, they are damned if they do, damned if they don’t. With more than a century’s worth of comic lore to delve into, the backing of The Mouse, and the vision of Feige, the MCU has the capacity to do both. If Feige & Co. can balance must-see content with creative freedom, while also giving fans what they want, why would they pass that up? Good on them for trying. Unfortunately, the opportunity for growth has turned into a lose-lose situation because of the internet. Either Marvel jumps to the whims of a fandom wanting every single frame to move the collective story forward, make the same kinds of movies for another 20 years, and incessantly listen to the fatigue claim…or they take more risks with their content, slow roll the vision of the next two or three phases, and continue to listen to claims that their films have lost their luster. J: Definitely. The true threat to the MCU isn’t Kang the Conqueror, it’s a toxic fandom that emboldens and enables the shareholders to chase corporate greed while quieting the internet, leading us to a generic future where every movie is about the same two-dimensional heroic archetype with virtually no weakness saving the world for the umpteenth time. A: All in all, I’d tell fans maybe instead of perceiving every piece of content you don’t like as the end of the MCU as we know it, consider how long it actually took to get to this place. No comic book fan ever thought this possible, and it has taken nearly 20 years to get here. Get out of your feelings and give Marvel the benefit of the doubt. I think they’ve earned it. Marvel Studios might not be exactly like other movie studios, but they ARE a studio. If we don’t let them act like one, it’s like you said: that’s where actual fatigue will set in because another 20 years of the same MCU formula is going to get boring. Despite what fans may think, Phase 4 has brought the most originality we’ve seen since 2014’s Guardians of the Galaxy . That’s almost a decade ago. Granted, not all of them have lived up to the unrealistic post-Thanos hype, but is that Marvel’s fault for not delivering or the fans’ fault for being unreasonable? Truthfully, how much of Phase 4 is any worse than Guardians of the Galaxy Vol. 2 or Ant-Man and The Wasp ? If the fanbase’s floor is two pretty-good-but-flawed movies…and the ceiling is near-masterpieces Infinity War and Endgame … I think the MCU is doing just fine. Photo Credits: Photo 1, 2, 3 - Marvel Studios; Photo 4 - Marvel Comics

AMERICAN PRIMEVAL Starring: Taylor Kitsch, Betty Gilpin, Dane DeHaan, Saura Lightfoot-Leon, Derek Hinkey, Kim Coates, Joe Tippett, Jai Courtney, Preston Mota, Shawnee Pourier, Lucas Neff, Alex Breaux, and Shea Whigham Creator: Mark L. Smith PRESTON It’s impossible to know how close to truth it hits, but American Primeval is a delightfully shocking limited series about a very real historical event. Its gritty approach and brutal realism are complemented by chilling set designs and masterful cinematography, while the ending, although tragically unsatisfying, also is completely appropriate. Yes, you may have to forgive the creative liberties taken to paint the Mormons in such a negative light (however true they might have been for the time) and the muffled dialogue had my old-ass watching with subtitles, but this show is still a terrific “must watch” conversation-starter. QUENTIN While I didn’t exactly love Netflix’s American Primeval , my penchant to be more forgiving for gritty westerns nonetheless resulted in me enjoying it well enough despite a few nitpicks, the most egregious of which is Sara’s (Betty Gilpin) annoying, Karen-esque self-righteousness. That aside, the absolute brutality demonstrated on screen is surely accurate to the era, showcased through incredible cinematography and a production design so palpable that you can almost feel the blood on your face. It’s not always an easy watch, but at only six episodes, it’s probably one of the more authentic representations of the American West, which means it’s worth your time.

Previous Next September 19, 2024 WRITTEN BY: NICK The film industry is still feeling the effects of the pandemic and especially the SAG-AFTRA strike, so I wasn't sure how "back" we were going to be with the Toronto International Film Festival (TIFF) this year, but we are so back. With this being my third consecutive year covering TIFF, it will always be my pinnacle of film festivals. Whether it's the energy of the city or the many genres it offers in each slate, I just love it. This year, in particular, I felt spoiled. We got almost all the major festival titles, and a healthy amount of screenings to boot. Next year will be the 50th anniversary of the festival, and I can only imagine what they'll have in store, but until then, here's a ranking of the 40 films I had a chance to see this go ‘round… Also, in case you missed it, check out how Adriano ranked the 50 movies he saw at the festival HERE . 40. MILLERS IN MARRIAGE Upon completion of Millers in Marriage , I'm still not sure what the point of it all was. My best guess is a portrait of people trying to handle unhappy marriages. If that is indeed the case, the execution is piss poor. I'm talking “Hallmark movie on the high end, generic commercial on the low end” quality. The fact this film got the cast it did - likely attributed to director Edward Burns - is astonishing because every single one of them deserves better than this joke of a film. Also, light every copy of that piano score on fire. 39. REZ BALL For a film about basketball, it’s the sporting elements that fail Rez Ball . The in-game action lacks gritty intensity, so they come across more like a glossy High School Musical scene over something with the weight the story requires. In fact, the film as a whole feels very Disney Channel Original Movie, from the performances to the look and feel. When it delves into the Navajo culture and its people, the film is at its strongest, but those moments happen too infrequently. The focus here is basketball, and when you can’t equal your contemporaries, let alone surpass them on that front, that’s a problem. 38. THE SHROUDS Although I respect the man's work, I haven't been enamoured with a David Cronenberg film in a minute. Sadly, The Shrouds does nothing to change that. This is my least favourite offering of his in a while, in fact. A dialogue-driven film with poor and unnatural dialogue, the interesting story tidbits Cronenberg offers are quickly extinguished by underwhelming performances (Vincent Cassel has painfully low energy). Even the body horror and copious amounts of nudity feel disingenuous. I’ve seen many films about grief, but The Shrouds is one of the few to make me grieve my decision to watch it. 37. CAN I GET A WITNESS? I’m not being hyperbolic when I say the concept of Can I Get a Witness? is excellent. A live-action animated hybrid about a world devoid of electricity, where people are only allowed to live until the age of 50, is fascinating. Unfortunately, the film completely wastes that concept by delivering a meandering plot without anything interesting to say until halfway through the film, at which point I'd already checked out. Even the animation is sorely underused, making me question the decision to include it. An idea this cool shouldn’t lead to a film so boring. It’s easily one of my bigger disappointments at the festival. 36. THE CUT There are some serious real-life dangers to cutting weight, so I was looking forward to seeing The Cut dive into the concept. Well… it doesn't. Instead, you get a relatively generic boxing film with very little boxing. That may not be the worst thing, though, as the limited in-ring sequences don’t offer much in the way of excitement, nor does Orlando Bloom's unnamed character’s backstory. Bloom does his best with the material given (as does John Turturro), but it’s never particularly engaging and is instantly forgettable. Films like The Fire Inside show that you can still make a great boxing film. This isn’t one of them. 35. OH, CANADA I keep giving modern Paul Schrader films a chance, but it seems his work just isn't for me. In fact, Oh, Canada may just be my least favourite yet. Although it's nice to see Richard Gere back on screen, and he's quite good in the film, Schrader has crafted something fairly boring, and every extra flourish he attempts in order to enhance things falls flat. Whether it's playing with timelines or colours (the black & white shots lack any vibrancy), I found myself waiting for the end, and even that wasn't very satisfying. I think Schrader may have run out of chances. 34. ELTON JOHN: NEVER TOO LATE There is so much to mine from the storied career of Elton John, so, surely, it would make for a good documentary, right? Not really. Not quite a career retrospective, and not quite an in-depth look at the lead up to his retirement, Never Too Late can't decide which story to tell. Scattershot bits and pieces of John's career (including flashbacks told through animation) are mixed with a rushed lead-up into his final touring performance to create a film that fails to satisfy on all fronts. This should’ve acted as a farewell to an iconic career, instead it’s just a big disappointment. 33. THE QUIET ONES The Quiet Ones , based on the largest robbery in Denmark's history, handles the heist elements with the level of high-octane, immersiveness that you'd hope. It has a realism similar to last year's How to Blow Up a Pipeline . Unlike that film, however, director Frederik Louis Hviid fails to get you invested in either the characters or the planning process, which makes for an opening hour without much tension. It also doesn't help matters that the motivations for the heist itself are murky at best. Unfortunately, one scene does not make a film, but it IS enough to bump up the rating a bit. 32. RIFF RAFF Riff Raff is a little all over the place. It gets off to a weak start, then settles in nicely once the characters' motivations are clear. Then it goes off the rails. It's very hit or miss in everything from the jokes to the performances. After hearing Bill Murray was a late replacement for his character, I can only wonder how the film would've originally been because he is the clear highlight. He chews on his fun, villainous role while other characters have a tendency to become annoying. For an indie comedy with this cast, I'm sure you could do worse, but you can certainly do better. 31. PIECE BY PIECE I love big swings, and the idea of doing an entire documentary in LEGO form is a BIG swing. Unfortunately, Piece by Piece never does anything to justify the gimmick. Much like the music in the film, the LEGO aspect feels like it's only there to distract from the fact that this is a VERY surface-level biopic. Anything serious or contentious is barely mentioned in passing, so it all comes across as a little shallow. I’m sure Pharrell Williams has an interesting story to tell; hopefully, he’s ready to tell it someday. 30. SHARP CORNER Although it’s nice to see Ben Foster playing against type, Sharp Corner leaves much to be desired. You can tell it was originally a short story because its thin premise is stretched out to a near two-hour runtime filled with tons of build-up that culminates in a rushed and disappointing final ten minutes. Foster does well to keep you interested up to that point, but when all is said and done, I just felt deflated. The story either needed to be adapted into a short film or a really expanded and fleshed-out mini-series. As currently constituted, it misses the mark. 29. NUTCRACKERS You've seen this story before: the reluctant father figure who comes into guardianship only to re-evaluate his life. In fact, story aside, Nutcrackers feels like a film from a bygone era, the mid ‘90s to early 2000s boom of family films. What gives it a slight edge are the child performers (all real-life siblings). They are quite good, bringing an authenticity that helps the film land emotionally. It's incredibly predictable and fairly unoriginal, but at the very least, it's a feel-good film that'll bring a smile to your face. You could do worse. 28. RELAY Relay feels straight out of the 90s. Like, I can picture reruns of this film playing on TBS growing up. That's not a knock, either. The movie is specifically meant as an homage, so it succeeds on that front. It's the required intensity that is absent. That's not Riz Ahmed’s and Lily James’ fault, both of whom provide solid performances and great chemistry. It's the pacing and overall feel of the film; it's just a little on the forgettable side. With the rerun era essentially obsolete, Relay won't have the same chance as its predecessors, but perhaps it finds a home on streaming. 27. BABYGIRL No doubt a very sexually driven film, there's something missing from Babygirl . Both Nicole Kidman and Harris Dickinson bring great performances to the screen – as does the glue of the film, Antonio Banderas – so it's not the cast. So the problem must be in the direction. Whether it's the cheesy, too-on-the-nose musical montages or the hints of unintentional camp, there are flaws that really took me out of the film. I will give credit where it's due, though: director Halina Reijn handles the sexuality with a maturity few would, and she deserves to be commended for that. 26. BIRD The circumstances and events surrounding Bailey's (Nykiya Adams) upbringing is far from your typical coming-of-age story. In spite of that, something about Bird feels typical, and my investment levels were diminished because of the story’s focus on too many threads. Also, not that there are any issues with the cast, per se, but the film takes a big upturn whenever Barry Keoghan is on screen. He brings a magnetism unlike anyone else in the film, and more of his character (and the father/daughter story) would have been welcome. Still a worthwhile watch, but with a more deliberate focus, things could have been much improved. 25. RUMOURS 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. 24. PRESENCE Presence is one of Steven Soderbergh's most ambitious films in years. Relying on a first-person shooting approach and continuous single shots could have felt gimmicky, but the director deserves credit for making sure it never does. Unfortunately, for a film this style to work best, you need crisp dialogue, and what we get ranges from natural (almost exclusively Chris Sullivan's lines) to inadvertently laughable. It certainly hurts the film, but if you can get past it, there IS an interesting story to be found. I respect what Soderbergh attempted, but it’s not without its challenges. That said, it will stick with me for a while. 23. DEAD MAIL Dead Mail is exactly what you should be looking for from an indie horror. It’s got a grainy shooting style that gives a grimy feel on top of an engaging story to work with. The reason it works as well as it does, however, is the traumatized performance from John Fleck. Although Trent (Fleck) begins with sympathetic motivations, he soon turns sinister, and his descent into madness is the highlight of the film. Sure, you could shave a little off the runtime (there's a bit of a drag in the middle), so Dead Mail feels destined for Shudder. I expect it’ll do well there. 22. MR. K With the major names both in front of and behind the camera at this year's TIFF, it would be easy to miss Mr. K , but you shouldn't. This surreal tale of a man trapped in a hotel feels as if it were perfectly made for Crispin Glover and no one else. Director Tallulah H. Schwab and cinematographer Frank Griebe have brought forth one of the most visually appealing films of this year's festival, with an interesting story to match. With shades of The Brothers Grimm , this pseudo-fairytale is bound to surprise people with its overall wonder. 21. QUEER Luca Guadagnino's latest film, Queer , is a trip in every sense of the word. A film that had me hooked and lost me completely on multiple occasions, this is definitely not what I expected. Gone are the awards hopes for Daniel Craig – he's EXCELLENT here, it's just not that kind of film – since Guadagnino's decision to abandon the more traditional love story he sets up does more harm than good. As the story goes on, what was once cohesive becomes confusing and unfocused. Maybe the film is better on rewatch, knowing the story path, but that should never be part of the watch requirements. 20. EMILIA PÉREZ There will deservedly be a lot of awards chatter for the women of Emilia Pérez , particularly Zoe Saldana and Karla Sofía Gascón. The film itself, on the other hand, is kind of flawed. The musical numbers are very traditional (for the most part), and they don't really do anything to greatly enhance the story. In fact, I think you could watch a version of Pérez with all of them cut out and still be able to follow everything. That can only be viewed as a flaw. So, although you get the aforementioned performances and a twisty story, temper your expectations. 19. THE LAST SHOWGIRL It’s clear The Last Showgirl was a labour of love for all involved, but for Pamela Anderson, in particular. Never accused of being a tremendous actress, she's great in a role that feels as if it was tailor-made for her. It's likely the best way to cap off her unique career too. She's also joined by a great supporting cast, so the acting is not the problem here. The issue is the story structure. Everything is a bit messy, and a few of the supporting characters could have used more fleshing out. Also, for a story about finality, the end should've landed better. 18. SKETCH Director Seth Worley describes Sketch as “ Inside Out meets Jurassic Park, ” which is a pretty accurate description, although I may sprinkle a little Honey, I Shrunk the Kids and Jumanji in there too. Either way, this is a fun children’s adventure with delightful visual effects, an entertaining cast of youngsters (they can get a tad annoying at times, but that just means it’s authentic), and some solid messaging. I could see this becoming required viewing for families looking for help during the necessary but difficult conversations with their children, and for that alone, I think the film succeeds. 17. SHELL Truth be told, I've never been a fan of Elisabeth Moss. I just don't usually connect with her roles. With Shell , that's not the case. Moss gives a performance that is both vulnerable and empowering while also balancing the film’s humour. That balance is needed because the humour permeates the entire film and is the main reason Shell is as enjoyable as it is. Things get progressively more ridiculous as the plot builds, and it finds itself on shaky footing for a bit, but because the entire cast buys in, you will as well. Based on my audience, this is sure to be a crowd pleaser. 16. PAYING FOR IT Truth be told, Paying for It was only on my radar due to the involvement of Andrea Werhun ( Modern Whore , Last Night at the Strip Club ). Having said that, I am thoroughly impressed with how good it turned out to be. The story is an unflinching portrait of the evolution of relationships as told by Sonny (a fictionalized version of director Sook-Yin Lee) and Chester (Dan Beirne bursting at the seams with Rick Moranis energy). There's comedy, there's cringe, and there's a lot to be said about what we'll do in our search for love (or its alternatives). A true hidden gem. 15. HERETIC I believe your enjoyment of Heretic will be closely linked with how religious you happen to be. Right off the top, the film unabashedly dissects religion as it attempts to challenge or affect not just the characters, but the viewer. Had this been the entire movie, my rating would have gone up a reel. Also, Hugh Grant is devilishly good, which is why the opening act works as well as it does. It’s when the film devolves into more traditional horror that it doesn't work quite as well. It’s still a very good, enjoyable film, but it can’t quite keep its early momentum. 14. FLOW Flow has a lot to say without uttering a single word. This wonderfully animated film follows the journey of Cat and other wildlife as they navigate their way through the flooding of their home. Although there are no human characters, the themes of class, family, and isolation are all prevalent, which leaves a lot of aspects to relate to. Even if you take away that depth, you’re still left with a very cute film about animals (with tons of personality) coming together in the face of disaster. Just like the best animated films, this one is bound to appeal to children and adults alike. 13. THE LUCKIEST MAN IN AMERICA If you're yet to be convinced that Paul Walter Hauser deserves more leading roles, The Luckiest Man in America is here to change your mind. This throwback true story of Michael Larson (Hauser) and the Press Your Luck scandal peeks behind the curtain of the events to keep the uninitiated wondering what will happen next. Director Samir Oliveros transports you back to the 80s with a tight story and vibrant colour palette that makes you feel like you are in the studio audience. No bells and whistles, just an honest approach to the story, which is precisely what Luckiest Man calls for. 12. EDEN The true story of Eden takes a little while to get going, but once it does (coincidentally once Ana de Armas shows up?), it settles into quite an engaging picture. The film isn’t what you’d expect from director Ron Howard, but that’s part of its intrigue. The cast (again, highlighted by de Armas) understand their assignments, preventing the material from becoming too campy. There are laughs (I’d have liked a touch more comedy, though), but they’re well balanced in a story about humanity and survival. I, for one, would welcome Howard going this direction more often. 11. THE FIRE INSIDE The Fire Inside is a typical sports biopic (albeit with above average cinematography) until it becomes so much more. It’s about the struggle female athletes have to manage alongside their male counterparts. It’s about self worth. It’s about another great supporting turn from Brian Tyree Henry (it’s about time someone lets this man lead his own film). That said, it’s newcomer Ryan Destiny who truly takes center stage, telling Claressa Shields’ story with authenticity and poise. It seems director Rachel Morrison’s career change was a good call (originally a cinematographer) because The Fire Inside surpassed all expectations. 10. THE ORDER The Order is a feature that works because it checks all the filmmaking boxes. Nothing is flashy, it’s all just really solid. From the simple-yet-affecting score to the airtight performances, there is a real lived-in quality to this film. The action sequences are deliberate (though a little too limited), while the actions and motivations of “The Order” feel quite timely in our current climate. It’s not a horror film, but the implications of the events are quite terrifying, which only adds to the authenticity of everything. The Order is a no-nonsense police procedural, and it’s among the better ones we’ve seen in quite some time. 9. SATURDAY NIGHT All credit to director Jason Reitman for even attempting to bring the mayhem of SNL ‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness. 8. THE ASSESSMENT The Assessment is so much weirder than I ever could have imagined... in a good way, though. This science fiction story reminded me of Biosphere with its unexpected story turns and surprising humour. The trio of Elizabeth Olsen, Alicia Vikander, and Himesh Patel completely buy in to the unique concept, and it's the reason the film works as well as it does. Patel, in particular, is the glue that holds this thing together, and it’s one of his strongest performances to date. Fair warning: the less you know about this one going in, the better. 7. ANORA I'm not sure exactly what I was expecting Anora to be, but it certainly wasn't what I got. Director Sean Baker offers up a film a lot more zany than I'd assumed going in, and it works in the film’s favour. Mikey Madison (Ani) is bound to receive overwhelming critical acclaim for her lead performance, but it's the way Baker surrounds her with rich side characters that really fills out the story. There is a bit of a pacing issue in the middle that slows momentum, but the final 20 minutes (including a poignant closing shot) refreshes any good will that was lost. 6. THE PIANO LESSON What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers , Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue! 5. THE WILD ROBOT Sure, the trailers made The Wild Robot look visually stunning, but they did nothing for me story-wise. I certainly wasn't expecting it to be the best DreamWorks Animation effort in 20 years, but that's exactly what it is. The breathtaking animation pairs wonderfully with Lupita Nyong’o's vocal performance as Roz. Part Baymax, part droid, Roz is one of the richer animated characters we've seen in some time. Much like DreamWorks' Shrek franchise, she is surrounded with instantly memorable and funny side characters. For a film about coming together and forming unlikely friendships, this is crucial to make the story work, and it does so in spades. 4. THE SUBSTANCE The Substance is the latest film from director David Cronen... Psych! This feature is directed by Coralie Fargeat, and although there certainly is a Cronenberg feel at times, she makes it all her own. Exploring themes of mortality, self-confidence, and desperation, Fargeat tells a story that’s surprisingly relatable. Demi Moore is given a chance to strut her stuff for the first time in years, while Margaret Qualley lives up to exactly what her character needed to be. As for the body horror aspects, this still would have been a good movie without it, but it takes things to another level in the most wonderful ways. 3. THE LIFE OF CHUCK When you hear the names Mike Flanagan and Stephen King, you’re likely expecting a horror film, but you’d be mistaken with The Life of Chuck . Among Flanagan’s best works, I’m not sure I’ve seen a film look at death and mortality through as beautiful a lens as this film does. I could break down the technical specs (no complaints) and the performances (once again, no complaints), but it’s really about the purity of the film. There are multiple dance numbers, dark comedy, and apocalyptic dread, but Flanagan never loses sight of the hopeful message he wants to send. I wish all films were this sincere. 2. BETTER MAN I’ve long been a fan of Robbie Williams, so perhaps I enjoyed Better Man as much as I did because of my familiarity with everything. But, honestly, I just think it’s a great film. Whether it’s the stylistic decisions that realistically shouldn’t work but do, or the spectacle of all the musical numbers, everything succeeds because of Robbie. A supremely creative (and narcissistic) showman, the man shies away from nothing to tell his story, demons and all. It makes for a refreshing and relatable examination. I was thrilled, I was moved, and as Robbie would have wanted, I was entertained. Give this one a shot. 1. CONCLAVE 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.

Previous Next November 4, 2022 WRITTEN BY: NICK, QUENTIN, AND ADRIANO Bitesize Breakdown’s mission is to bring you multiple viewpoints for every movie we review. That is why, as you may have noticed, you’ll never find a movie review with fewer than two reviews (television is a different story). That said, in sending three writers to TIFF, there are several movies where our viewership didn't overlap. Sure, we all saw Glass Onion: A Knives Out Mystery , but we also broke off individually to discover some smaller titles on our own. While full reviews for the major titles, like Glass Onion , will arrive closer to their official release date, we don’t know when, if ever, many of the following films will be made available for you to watch. So, in an effort to prevent these titles from falling through the cracks, the following reviews are our TIFF Solo Shots: individual reviews of TIFF films that only one of Nick, Quentin, or Adriano was able to see. We encourage you to keep an eye out for them in theaters or on streaming in the coming months because some of them definitely deserve your attention. BLACK ICE Starring: Akim Aliu, Wayne Simmonds, Matt Dumba, Sarah Nurse, Anthony Duclair, Saroya Tinker, and P.K. Subban Director: Hubert Davis Stylistically, Black Ice is a well-shot documentary. The player interviews taking place on the ice of an empty rink adds to the message of the feature, and there are a wide array of voices featured, including Willie O'Ree, the first black NHLer. Just the fact that the first black NHLer is a lively 86 year old man in 2022 tells you why this documentary exists. Unfortunately, as a hockey fan, most of the information presented is fairly common knowledge, making this a documentary made more for the common fan. That said, the message is the important thing: Hockey needs to change. - Nick WHAT'S LOVE GOT TO DO WITH IT? Starring: Lily James, Emma Thompson, Shazad Latif, Shabana Azmi, Sajal Aly, Asim Chaudhry and Jeff Mirza Director: Shekhar Kapur I’m just gonna get this out of the way: What’s Love Got To Do With It? is obscenely predictable. You know what’s gonna happen from the opening scene, and the ending came as a shock to absolutely nobody. Honestly, it’s predictable to the point where I’m not totally sure they weren’t trying to be predictable. All that said, it certainly entertained the rom-com lover inside of me. It has laughs, it has some interesting perspectives not usually addressed in rom-coms, and our two leads, Shazad Latif and the always lovely Lily James, have fantastic chemistry together. So, despite the predictability, it’s still worthwhile. - Adriano SUSIE SEARCHES Starring: Kiersey Clemons, Alex Wolff, Jim Gaffigan, and Ken Marino Director: Sophie Kargman When watching Susie Searches , it’s very easy to see that this feature-length movie is based on a short film. It’s 105 minutes long, but the entire thing can be reduced to 3-4 “moments,” and the story and character development connecting those moments is either weak or entirely unnecessary. Everything else is well done, from the acting to the sometimes-too-quirky direction, and I admit the aforementioned moments add some genuine intrigue, but Susie Searches is the movie equivalent of a meeting that could have been an email. - Quentin THE COLOUR OF INK Starring: Jason Logan Director: Brian D. Johnson I can’t say I ever wondered what can be used to create ink or how it connects to the Earth, but upon watching, I’ve learned the process is fascinating. The documentary itself is well-shot, while Jason Logan makes for a solid narrator; however, the film branches out to too many side stories. It would have been far better served sticking with just Logan and a few of the artists he provides ink to (or, honestly, even just Koji Kakinuma). The imagery of the ink is nothing less than serene, but, unfortunately, the repetitive nature of the story caused me to lose my focus. - Nick FIXATION Starring: Maddie Hasson, Genesis Rodriguez, and Atticus Mitchell Director: Mercedes Bryce Morgan Fixation does what it wants to do – at least, what I think it wants to do – very well. It puts you in the mindset of a potentially crazy woman undergoing experimental treatment in an institution. She has no idea what is happening, and neither do you. You are on the same ride she is on. However, you still need to tell a story. Fixation is just 99 minutes of intense and trippy imagery that makes you feel as exhausted and insane as she may or may not be. So, if that was the goal, then A+, but that’s also a dumb goal for narrative fiction. - Quentin THE LOST KING Starring: Sally Hawkins, Steve Coogan, and Harry Lloyd Director: Stephen Frears I’m sad to say that I was not into The Lost King . It’s definitely not without its funny moments, mainly courtesy of Steve Coogan’s hilariously dry delivery and Sally Hawkins being as wonderful as always, but the plot was never engaging enough for me. I never really cared about this woman’s goal, nor did they give me much of a reason to. So, as a result, the movie just kinda drags, which is the last thing I want a movie to do. - Adriano PROJECT WOLF HUNTING Starring: Seo In-Guk, Dong-Yoon Jang, and Dong-il Sung Director: Hongsun Kim Fair warning, if you don’t like subtitles, this movie maybe isn’t for you. I’m not a huge fan either, and Project Wolf Hunting has them in abundance. At times, there were so many characters speaking that I couldn’t tell which sub went to which person, leaving me somewhat lost in the story. That said, the story takes a massive backseat to the extremely violent carnage on screen. You know in Morbius , when Jared Leto changes for the first time and kills everyone on the boat? This movie is basically that for two wild and bloody hours. With that action, who needs story? - Quentin LIVING Starring: Bill Nighy, Aimee Lou Wood, Alex Sharp, Tom Burke Director: Oliver Hermanus Living is certainly not bad, and Bill Nighy’s fantastic and heartbreaking performance makes this film super watchable as it features a lot of British charm, humor, and a decent amount of heart. That said, the film can feel like it’s rushing at times, but merely spinning its wheels at others. It’s a weird combo, but by the one hour mark, I was shocked at how quickly they got to a certain plot point and by just how much more movie was left. Overall, I’m more mixed on this than outright like or disliked. - Adriano DALILAND Starring: Ben Kingsley, Barbara Sukowa, Christopher Briney, Rupert Graves, Alexander Beyer, Andreja Pejic, Suki Waterhouse, Avital Lvova, and Ezra Miller Director: Mary Harron Given Salvador Dali’s eccentricities, it’s disappointing this semi-biopic is so damn flat. I say semi-biopic because it’s presented similarly to A Beautiful Day in the Neighborhood , where Dali (Ben Kingsley) isn’t the focal point. Instead, the story is told through the experiences of his assistant (Christopher Briney, who lacks the charisma to carry the movie as the lead). Kingsley, of course, handles himself well, but in what feels like a heavily cut role resulting in minimal screen time, Ezra Miller (as young Dali) is the only actor bringing any life and allure to the screen. Even for the painter’s most ardent fans, this is a bore. - Quentin THE SWIMMERS Starring: Manal Issa, Nathalie Issa, Ahmed Malek, Matthias Schweighöfer, Ali Suliman, Kinda Alloush and James Krishna Floyd Director: Sally El Hosaini The Swimmers is a crowd pleaser for sure, but it’s definitely a bumpy one. The first two acts, I was locked in. An extremely engaging and harrowing thriller that teaches us the horrors of the crisis in Syria. There is one sequence involving a life boat that’s amongst the year’s most terrifying, and the two leads, Nathalie Issa and Manal Issa, do an incredible job. The third act, though, just suddenly becomes a formulaic sports biopic. Kind of a completely different tone, I’d say. I’m sure others will enjoy it, but I wasn’t too impressed. - Adriano BROKER Starring: Song Kang-ho, Gang Dong-won, Bae Doona, Lee Ji-eun, and Lee Joo-young Director: Hirokazu Kore-eda Broker is amazing. Writer/director Hirokazu Kore-eda returns to similar themes that he has visited in the past, and while the results may not be as strong as his previous efforts, they're still effective and heartfelt. The cast works wonders in a story that is consistently warm and welcome yet never overly sentimental in its approach to finding the joy in the messiness of life. Some moments can teeter on melodrama, but those moments are small nitpicks in the grand scheme of this film. - Adriano WILDFLOWER Starring: Kiernan Shipka, Dash Mihok, Charlie Plummer, Alexandra Daddario, Brad Garrett, Reid Scott, Erika Alexander, Ryan Kiera Armstrong, Samantha Hyde, Jacki Weaver, and Jean Smart Director: Matt Smukler If you love small indie movies about finding your place in an unconventional family, Wildflower should definitely be on your radar. It doesn’t break a ton of new ground, sitting comfortably on the shelf next to movies like CODA and Lady Bird , but it’s full of incredible heart and delightful charm. The all-star cast of proven role players (Jean Smart, Jacki Weaver, and Dash Mihok, especially) seem to give relative newcomer Kiernan Shipka the confidence to really dig into this character. I could go on, but the biggest compliment I can give is that I, a 41-year-old cynical male, really enjoyed this sweet, female-driven, coming-of-age tale. - Quentin Photo Credits: TIFF

Previous Next November 9, 2022 WRITTEN BY: JACOB AND PAIGE The New York Film Festival is one of the most extraordinary and sought-after film festivals in the world – attracting legions of filmmakers, press, and, especially, movie fans. People flock to the event hoping to catch a glimpse of films prior to their wide release and engage with their favorite filmmakers at panels, conferences, and Q&A sessions. Sometimes, a film’s wide release comes right on the heels of its NYFF debut; other times, it is well after. Furthermore, although most films have already debuted at other festivals or held early screenings for select press members, they can generate buzz simply by their inclusion in the New York slate. This year, Bitesize Breakdown sent two writers, Jacob and Paige, to New York City to cover the prestigious film festival for the very first time. This journey, much as with the three Bitesizers who attended Toronto International Film Festival, acts as a launchpad into a new era for our small collective. Once in NYC, we embarked on many an adventure. New York’s unique attractions and atmosphere provided serenity and elation for both of us as we visited popular bars, new dining locales, and – in Jacob’s case – the world premiere of Dwayne Johnson’s passion project, Black Adam . While immortalizing the experiences that would christen our strengthening bond, we covered all manner of events and befriended some equally extraordinary film critics along the way. Appropriately, we made no exceptions for sleep, as vibrant conversation lifted spirits and minds soared. If you’ve never attended a film festival, press lines are where friends are made, be it through Cinephile gameplay or the simple discussion of shared experiences. Our small duo often found itself amongst like-minded souls, including noted cinematographers, podcasters, journalists, and other equally excited attendees. Discussing film with like-minded fellows became a pastime as thorough and sure as baseball. It was, in many senses, a delightful presentation of opportunities for all involved. As we were granted access to some of the year’s most anticipated films, we were able to see many great offerings. As with most things, some were exceptional, others were admirable (if not beloved), and, of course, some did not meet expectations (though we won’t focus on those here). Paige’s main highlights included Charlotte Wells’ debut feature Aftersun , the biting satire of Ruben Östlund’s Triangle of Sadness , and Luca Guadagnino’s raw cannibal love story Bones and All . Noah Baumbach’s Netflix adaptation of White Noise was also a favorite of hers. As for Jacob, top marks went to Park Chan-wook’s masterfully edited Decision to Leave , Todd Field’s remarkably directed and performed Tár , and Sarah Polley’s novel adaptation of Women Talking . Of course, many other films of quality were also seen, such as Till , The Eternal Daughter , She Said , Corsage , All the Beauty and The Bloodshed , All That Breathes , Descendant , and Sr. , whereas most other films ranged from disappointing to largely enjoyable (though not especially mind-consuming). All told, New York was good to us. It welcomed us openly, gave us everything we needed, and saw us off with enough love and goodwill in our hearts to eagerly anticipate a repeat journey, which, hopefully, will not be too far away. Until that time, however, we will continue to write and root for Bitesize Breakdown as this exciting new era begins. Most importantly, to the good folks of NYFF60 – the staff, concessionists, programmers, showrunners, press conference attendees, and all who helped to put together one of the most extraordinary experiences any critic can hope to have in his, her, or their lifetime – we thank you for your all-encompassing hospitality. See you soon. Photo Credits: Photo 1, 4 - Jacob Jones; Photo 2, 3 - NYFF

AGENT ELVIS: SEASON ONE Starring: Matthew McConaughey, Kaitlin Olson, Johnny Knoxville, Don Cheadle, Niecy Nash, and Tom Kenny Creators: Priscilla Presley, John Eddie, and Mike Arnold QUENTIN Agent Elvis probably won’t go down as the next great animated series for adults, but it certainly has enough positives to make it an entertaining watch. After taking a few episodes to find its stride, the needle drops, revisionist history, pop culture references, silky Texas drawl of Matthew McConaughey, and scene-stealing work from Don Cheadle make this more than just another 30-minute diversion. The cherry on top is the vivid and propulsive animation, not to mention Scatter, The King’s cocaine-addled monkey. Mileage may vary for non-Elvis fans, but for me, it was a great mixture of 60s lore, Archer , and Adult Swim’s Black Dynamite .

SAS: ROGUE HEROES: SEASON TWO Starring: Jack O’Connell, Gwilym Lee, Jack Barton, Mark Rowley, Sofia Boutella, Connor Swindells, Jacob Ifan, Corin Silva, Theo Barklem-Biggs, Stuart Campbell, Jacob McCarthy, Bobby Schofield, Matteo Franco, Anna Manuelli, and Stuart Thompson Creator: Steven Knight QUENTIN With all due respect to Netflix’s The Gentlemen , Rogue Heroes is the Guy Ritchiest show on television right now. With its frenetic style, colorful characters, incredible punk soundtrack, and bombastic action scenes, it plays very much like The Ministry of Ungentlemanly Warfare . And the best part? Season Two is even better than Season One because it’s much more focused, with tighter writing, more dramatic heft, and wildman Paddy Mayne (Jack O’Connell) taking center stage. Do you remember how Peaky Blinders didn’t blow up until its third season? Heroes , which also is from Blinders creator Steven Knight, is just as deserving of a late discovery. Check out our reviews for Season One HERE .

AMERICAN SPORTS STORY: SEASON ONE - AARON HERNANDEZ Starring: Josh Rivera, Jaylen Barron, Lindsay Mendez, Ean Castellanos, and Tammy Blanchard Creator: Stuart Zicherman PAIGE Although some of the plot points depicted in the show feel a bit fabricated and over the top, I, as a Patriots fan and Massachusetts resident, remember watching this all unfold in real time. I must say, the overall approach of the story delivers interesting nuance to the bigger picture of what was possibly happening behind the scenes in Aaron Hernandez's (Josh Rivera) life. It’s a fascinating and gripping show that does an admirable job of examining Hernandez as a man fighting his innermost personal demons. Plus, Rivera blew me away with his portrayal of the famous tight end. QUENTIN As a fan of the Patriots and football-themed stories, American Sports Story: Aaron Hernandez kept me compelled and engaged even though I had already seen Netflix’s documentary Killer Inside: The Mind of Aaron Hernandez . That said, it’s not without some flaws that could ruin it for those without my biases. Josh Rivera is great as Hernandez, aptly conveying the double life and inner conflict that troubled Hernandez, but bit supporting players who play the likes of Tim Tebow, Rob Gronkowski, and Urban Meyer are laughably ridiculous, as are the cheap-looking in-game sequences. Still, if you can look past that, it’s worth a watch.