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ORPHAN: FIRST KILL Starring: Isabelle Fuhrmann, Julia Stiles, Rossif Sutherland, Matthew Finlan, and Hiro Kanagawa Director: William Brent Bell NICK When you have a moderately well-received film that is memorable mostly for its twist ending, it’s a no-brainer to release a prequel to that film 13 years later, right? Yes, it’s fun to watch Isabelle Fuhrman step back into the role of Esther (which she does seamlessly), and director William Brent Bell doesn’t shy away from the camp; however, the problem is that once the nostalgia wears off, you’re left with an overlong film featuring a miscast Julia Stiles that doesn’t add much to the Orphan mythos. "Unnecessary" seems to be the best word to describe Orphan: First Kill . JOSEPH It’s a bold move to follow up a film like Orphan with a prequel 13 years later, so, honestly, Orphan: First Kill shouldn’t work. It surprisingly does though, even incorporating new twists to deepen Esther’s (Isabelle Fuhrman) lore. Fuhrman does a great job reprising the character, while Julia Stiles gets to show a side rarely seen from her. Overall, it’s a wild and tense ride that is more about the journey than the destination, yet every bit as messed up as its predecessor. Orphan: First Kill is sure to please fans of the original.

WINDFALL Starring: Jesse Plemons, Jason Segel, and Lily Collins Director: Charlie McDowell QUENTIN Given its minimalist approach and confined setting, Windfall feels very much like a “made during COVID” movie. That vibe actually works really well for the film, which plays out like a Hitchcockian stage play (the excellent score does some heavy lifting towards that end too). The three leads are varying levels of good, but it’s Jesse Plemons who shines the most, finally getting away from the sad sack characters he most often portrays. Although the story could have gone deeper in a few places and it drags ever-so-slightly in the middle, Windfall kept me engaged throughout (mostly) on the back of Plemons’ performance. NICK When you’re releasing original films as often as Netflix does, you’re bound to get some misses. That’s exactly what Windfall is, a miss. This under-the-radar release has some good things going for it: an intriguing premise, a notable cast… but, instead, it flounders. The comedy isn’t funny, the thrills aren’t thrilling, and the whole thing just kind of happens. It’s nice seeing Jesse Plemons have fun in his role, but Jason Segel and Lily Collins especially feel miscast. Windfall had a chance to tell a story that built tension and intrigue throughout, but all it did was make me look at my watch. JOSEPH Everything about Windfall is bizarrely captivating. The jazzy score is perfect for the offbeat humor that is tied to the story, while the clever script and dialogue maintain your interest. It’s nice to see Jason Segel play a slightly more serious role, although Jesse Plemons and Lily Collins stand out a bit more. In lesser hands, I think this film could have totally failed, but at the same time, I feel that it could have been better too. Even so, Windfall keeps your interest because of the talented performances, and it will have you chuckling in disbelief.

THE GOOD NURSE Starring: Jessica Chastain, Eddie Redmayne, Nnamdi Asomugha, Kim Dickens, and Noah Emmerich Director: Tobias Lindholm QUENTIN Despite being hamstrung by the trappings of the true story on which it’s based, The Good Nurse features a great performance from Jessica Chastain (and even a decent one from Eddie Redmayne). The problem is the synopsis, trailer, and actual history kill any semblance of suspense. We know who the killer is, so there is zero mystery to be found even though the film wants to be a mystery so very badly. The details of the story are eye-opening, but they would have played better in a straight drama. Still though, it’s one of the better Netflix Originals, especially for true crime fans. NICK The real life story of a nurse suspected of killing patients, starring Academy darlings Eddie Redmayne and Jessica Chastain, what could go wrong? A lot, apparently. This dreary offering from Netflix moves at a snail's pace, and fails to build tension in a film that desperately needs it. Even Chastain and Redmayne give fairly pedestrian performances by their standards. This film had the potential to be really good, but instead, it’s another dour effort from Netflix. The true story of one of America's most notorious serial killers deserved a better adaptation. ADRIANO I’ll be honest, I wasn’t expecting a good movie in The Good Nurse , but it surprised me. That is not to say it’s flawless. The pacing is not great, and it didn’t have too much to keep me engaged. Not that the true story at its core isn’t interesting, but it’s obvious who the killer is (I’m not sure if that was intentional or not, but why do it that way?). Jessica Chastain is good, and I never thought I’d say this, but Eddie Redmayne is actually great. Overall, while it isn’t perfect, it’s not the trainwreck I expected either. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

RED, WHITE & ROYAL BLUE Starring: Nicholas Galitzine, Taylor Zakhar Perez, Uma Thurman, and Stephen Fry Director: Matthew López KATIE Red, White & Royal Blue is perfect viewing if you’re looking for an easy-to-watch, cliché rom-com ending with a “happily ever after.” It’s fun, glossy, and cheesy while still touching on some meaningful themes and offering timely critiques on traditional values in modern Britain. It was much funnier than I expected too, and it didn’t take itself too seriously either. While it’s predictable and some parts of the plot are underdeveloped, the central performances are really enjoyable. Plus, it’s refreshing to see such a sweet and joyful queer love story. ADRIANO I’m not heartless. When a cheesy rom-com comes around, even when it’s not amazing, I’ll most likely still fall for it. That said, there is too much missing from Red, White & Royal Blue for me to give it a pass. It’s not horrible by any means. There’s some fun to be had, including a standout performance from Uma Thurman, but the movie just isn’t very funny, and the chemistry between Nicholas Galitzine and Taylor Zakhar Perez is lacking. It does succeed when it goes for the tender moments, but I was not nearly invested enough to fully enjoy myself. PHILL Sweet, cheesy, and borderline saccharine: These are the things that make good rom-coms worth watching, and something that Red, White & Royal Blue achieves extremely well. Also, though…the fact that it’s centered on two men adds the complication of a self-identity story since Prince Henry (Nicholas Galitzine) keeps his true self and royal heritage hidden from the world, an aspect that truly elevates the film. It’s incredibly easy to root for Henry and Alex Claremont-Diaz’s (Taylor Zakhar Perez) love story since they’re very likeable characters, and the film is full of so much charm, fun, and sentiment that it simply works. PAIGE While Red, White & Royal Blue is a cute, cheesy little rom-com that is very reminiscent of What a Girl Wants and The Prince & Me , the streaming movie is kind of cliché. It very much plays out like a Hallmark romance flick, just with more sex appeal to make it hot and steamy. With that said, our leads try their best to sell the relationship, but their performances are very much a mixed bag. Overall, despite its stumbles, it’s nice to see a queer movie with a happy ending. CALEB Hallmark-esque melodrama usually isn’t my cup of tea, but I’ll admit that Red, White & Royal Blue has some admirable qualities. The dialogue is unsurprisingly schmaltzy, but the romance at the heart of the film is mostly well-realized. The on-screen chemistry between Prince Henry (Nicholas Galitzine) and Alex (Taylor Zakhar Perez) elevates the stereotypical material and gives the film its beating heart. Unfortunately, what lets this Prime Original down is the painfully sloppy visual delivery. Rushed, sitcom-grade cinematography hinders Royal Blue at nearly every turn, transforming what could have been a beautiful love story into something undeniably ugly.

INFINITY POOL Starring: Alexander Skarsgård, Mia Goth, Cleopatra Coleman, Jalil Lespert, and Thomas Kretschmann Director: Brandon Cronenberg NICK Director Brandon Cronenberg has similar film sensibilities to his father, so you have an idea what you’re in for with his features. However, with Infinity Pool , the director’s more experimental aspects tend to work against the flow of an otherwise intriguing film. I’m all for shocking your audience, but such scenes work best when they advance the story. Some of the ones here feel like they were made solely to provide shock value, making them unnecessary. Besides that, Mia Goth provides another powerhouse showing - her third in a row - and although the film struggles to maintain its early momentum, it did enough to keep me invested. JACOB Infinity Pool is delightfully asymmetrical and weird right up to the point that it isn’t, and that’s where it ultimately lost me. For about 88% of the runtime, I was on board, ready for whatever director Brandon Cronenberg had in store for me and the film’s stars, especially the beautifully unhinged Mia Goth, who owns the whole movie. Unfortunately, it never really becomes anything more than surface-level intrigue, leaving the audience with a sense of interest but no ultimate satisfaction. Perhaps that is the point of the whole enterprise, but it’s a point best alluded to rather than experienced. PAIGE Infinity Pool is a film that could only possibly come from someone with the last name Cronenberg, as it delivers twisted originality and disturbing nightmarish imagery. With its underlying themes of privilege, the first half of the film immerses you in an intriguing story that eventually goes off the rails with a bonkers second half that will leave you pondering, “what the fuck did I just witness?” It’s a wild ride that won’t sit right with everyone, but there is no denying that it allows Mia Goth to once again prove she is a force to be reckoned with. DARRYL Infinity Pool is a mess of a movie. Now, within that mess are hints at something good, possibly great, but director Brandon Cronenberg seems to be more in love with the idea of creating something off-kilter than telling an actual story. Alexander Skarsgård's performance is passable as a man lost in hedonism, while Mia Goth's unhinged insanity somehow fluctuates between amazing and downright lousy. Lacking the usual amount of body horror that audiences have come to expect from the name Cronenberg, this film instead chooses to skate by on its ambience, which doesn't always work in its favor.

AMSTERDAM Starring: Christian Bale, John David Washington, Margot Robbie, Zoe Saldana, Anya Taylor-Joy, Chris Rock, Robert De Niro, Rami Malek, Michael Shannon, Mike Myers, Timothy Olyphant, Taylor Swift, Alessandro Nivola, Andrea Riseborough, and Matthias Schoenaerts Director: David O. Russell AMARÚ The stacked cast does all it can to elevate a screenplay that feels empty, but Amsterdam does nothing more than squander its tremendous talent. I’m not sure what director David O. Russell was trying to accomplish in departing from his usually serious forays, but this experimentation with the outlandish falls flat. The mystery lacks tension, the love lacks heart, and the quirk lacks spark. It’s like Russell tried (and failed) to make a Wes Anderson film. At least in Anderson’s films you believe what’s on screen. It’s hard to believe much of anything in Amsterdam , even if its story is partially true. JACOB Setting director controversy aside, Amsterdam is a colossal misfire from David O. Russell. Even with a cast as stacked as this, no fun or humor can be pulled out of an overly convoluted script that seems to care more about explaining itself than crafting characters we care about. Legendary cinematographer Emmanual Lubezki’s signature style feels entirely at odds with Russell’s directorial sensibilities too, and one can feel the performers stretching to make something out of this where nothing really exists. I suppose one could compliment Christian Bale’s performance and the production design, but even combined, they can’t hold this film together. QUENTIN Director David O. Russell’s Amsterdam isn’t without some slightly quirky delights, but the interesting story at its core is so convolutedly told that the only feeling one truly comes away with is boredom. It attempts many things…humor, mystery, twists, emotion, preachy messaging…but none of them resonate, making the 134-minute movie feel much longer. The performances of the cast, an embarrassment of riches if there ever was one, are as great as they can be given the material (John David Washington notwithstanding - Hot Take: a terrible actor); however, like the story, they don’t leave a lasting impression. Ultimately, it’s one of 2022’s biggest misfires. ADRIANO Even if you can get past the real-world actions of writer/director David O. Russell, Amsterdam is truly terrible despite an all-star cast that ranges from fully committed (Christian Bale, Anya Taylor-Joy) to outright sleepwalking (John David Washington). Some production values are pretty to look at, but this movie’s attempt at wacky dramedy fails horrifically, leaving an unfunny and dull affair. The result is a tonal disaster and muddled mess that bored and confused me with its increasingly convoluted plot. I truly hope Russell doesn’t work again after this, for many reasons.

EMILY THE CRIMINAL Starring: Aubrey Plaza, Theo Rossi, Megalyn Echikunwoke, Jonathan Avigdori, and Gina Gershon Director: John Patton Ford PAIGE Emily the Criminal is a tight little 90-minute noir crime film that turns Aubrey Plaza into a badass. She shines by taking an offer she can’t refuse (making easy money through credit card fraud), but even with this side of her we haven’t seen before, it’s just a mediocre flick. It’s a shame too because the concept is there for a good story, but with the film lacking character development and feeling dry due to not enough depth or tension, it falls shy of being a decent thriller. JACOB Aubrey Plaza is an unwieldy talent and one of the most remarkable actresses working today, so it’s a shame that Emily the Criminal doesn’t quite match her natural energy. That’s not to say the film is bad by any means, only that it looks and sounds like every other small indie film of its kind. There’s not a whole lot to hold onto here, and the film doesn’t put forth a lot of effort in ensuring the story is as gripping as Plaza can often be. That said, it’s worth watching for her performance alone, just not for much else. QUENTIN Emily the Criminal features several of the more superficial aspects I look for in indie crime flicks, to include being shot in a grimy patina befitting the scumbag element at the story’s core. That said, be it the muddled stakes or the dispassionate social commentary, I just didn’t connect with it. Admittedly, Aubrey Plaza is like Kristin Wiig, in that it’s hard for me to take her seriously, which I’m sure didn’t help me to buy in completely since I kept expecting her to deadpan towards the camera like The Office . Whatever the reason, it simply didn’t work for me.

C'MON C'MON Starring: Joaquin Phoenix, Woody Norman, Gaby Hoffman, and Scoot McNairy Director: Mike Mills NICK Nothing about C’mon C’mon feels like fiction. At times, it’s like a documentary, but it mostly feels like you’re watching people live their lives. It’s earnest, honest, and surprisingly philosophical. That said, its combination of slow pacing and the black and white colour palette hold it back from some much needed vibrance. Overall, this will be a polarizing film, as I can see people loving it and I can see people frustrated by it. However, the performances by Gaby Hoffman, Woody Norman, and Joaquin Phoenix (in the most natural showing of his career) were enough to keep me engaged throughout. JACOB The enveloping warmth of C’mon C’mon cannot be overstated. Writer/director Mike Mills’ film is one of the year’s very best, imbued with philosophical curiosity, wonder, and deeply human vulnerability. Shot in gorgeous, crisp black and white, it wraps viewers in a warm hug and fills them with meaningful contemplation through terrific performances and a mesmerizing musical score. Joaquin Phoenix is as natural as he has ever been, while Gaby Hoffman is an instant favorite; however, it’s Woody Norman that steals the show, turning in maybe the best child performance I’ve seen in the last decade. ADRIANO C’mon C’mon is a beautiful film that simply kept me smiling throughout the vast majority of its runtime, and it might be writer/director Mike Mills’ best movie to date. It is very well shot (even if I don’t fully understand why it was shot in black and white), and Joaquin Phoenix is amazing as usual. However, newcomer Woody Norman really steals the show, and the bond between him and Phoenix, paired with Mills’ soulful look at life, is easily what makes this movie as sweet as it is. I would seriously recommend this movie to anybody.

ANNETTE Starring: Adam Driver, Marion Cotillard, Simon Helberg, and Devyn McDowell Director: Leos Carax JACOB Anyone familiar with director Leos Carax will immediately understand that the most conventional transgression of Annette is just how unconventional it is. The Holy Motors filmmaker has crafted such an unusual musical that it's sure to inspire a few walkouts, but one can't help but admire his commitment to the bit. However, just how much of that bit one can stomach will vary (sometimes wildly). For my part, I enjoyed the overlong film's innate weirdness. Although I respect it more than I like it, I can't say I didn't ultimately get swept up in the intrigue. Approach with caution. JOSEPH Annette is an English language opera set in modern times, and it's a little less unique than you'd hope. The performances are good and the singing is fine, even beautiful at times, but there is a sense of grandiose that is missing. Operas should feel larger than life, and Annette just doesn't, even though it boasts fantastic production design and cinematography. If it wasn't so strange at times, it'd be easy to write the film off as boring. In a way, being strange is the film's saving grace.

DRIVE-AWAY DOLLS Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Joey Slotnick, C.J. Wilson, Bill Camp, and Matt Damon Director: Ethan Coen NICK An 84-minute film should always move along at a brisk pace, and Drive-Away Dolls does that for the most part. However, some of director Ethan Coen’s decision-making halts that pace intermittently, messing with the flow of an otherwise entertaining comedy. If you can get past the psychedelic cut scenes, the pair of Margaret Qualley and Geraldine Viswanathan make for a solid “odd couple,” while Pedro Pascal and Matt Damon entertain in their brief screen time. It may not have reached the heights I was hoping it would, but Drive-Away Dolls still makes for an enjoyable watch. PAIGE Drive-Away Dolls is a zany and horny road trip flick that very much marches to the beat of its own drum. Though the freewheeling queer crime comedy is very much reminiscent of the Coen Brothers’ earlier works Raising Arizona and The Big Lebowski , be prepared for Ethan Coen’s solo offering to be a bumpy ride at times as the movie is a little bit uneven. Still, even if it's not one of the stronger Coen outings, the movie is kept moving by the chemistry and character dynamics between its two leads, Margaret Qualley and Geraldine Viswanathan. CALEB I’m really getting tired of these pulpy, crime-comedy B-movies. The zany, fast-talking heroes, the secret briefcases, the silly accents, the squabbling hitmen, the “witty” dialogue - it’s all so played out. Even at 84 minutes, Drive-Away Dolls drags. The character arcs are generic, the antagonists aren’t threatening, and the protagonists spend most of the movie completely unaware of the stakes. Try as they might, the flashy editing and garish VFX sequences aren’t enough to distract from the dull script. Outside of some decent cinematography and a fun performance from Geraldine Viswanathan, Drive-Away Dolls doesn’t have much to offer. ADRIANO After director Joel Coen's solo outing with modern masterpiece The Tragedy of Macbeth , it's now his brother Ethan's turn with Drive-Away Dolls . With this film, Coen seemingly wanted to make a fun, breezy B-film, and he ultimately succeeds…but perhaps it's a bit TOO breezy. Margaret Qualley and Geraldine Viswanathan's chemistry is endearing, but the crime elements, while funny, are rushed. At 84 minutes, it's the rare film that's too short, as most of it feels like a lucid acid trip, for better and for worse. Drive-Away Dolls can be a blast, but in the end, it’s not enough of one. QUENTIN You may recall that I named Drive-Away Dolls one of my most anticipated movies of 2024’s first half (read about it HERE! ), which makes it all the more disappointing that I didn’t care for it…like, at all. Long story, short: director Ethan Coen is lazily plagiarizing himself, pulling elements from The Big Lebowski , Fargo , The Man Who Wasn’t There , The Ladykillers , Burn After Reading , and more; wrapping them all up in a horny lesbian love story that borders on fetishistic. Add in a terrible accent from Margaret Qualley, insignificant cameos from major stars, the oddly lifeless story, and pacing issues…well, you’ve got a rare Coen miss.

BOSTON STRANGLER Starring: Keira Knightley, Carrie Coon, Chris Cooper, Alessandro Nivola, Rory Cochrane, David Dastmalchian, Morgan Spector, Robert John Burke, and Peter Gerety Director: Matt Ruskin QUENTIN To me, the best part about journalism movies is the discovery that comes with the investigation. Those “a-ha!” moments when the reporter finally finds a break in the story. Sadly, while Boston Strangler is a fine movie with some solid performances (Keira Knightley with an American accent is discombobulating), it lacks that extra oomph that is present in similar movies like Zodiac and Spotlight . Don’t get me wrong, I definitely learned things about the case, but the revelations just fall a little flat. Still though, considering this is a Hulu original, there isn’t too much to complain about. PAIGE As a chick from Massachusetts, I’ve always heard stories about the Boston Strangler, but this film brings the investigative side of the story to life from the perspective of two women reporters in the 60s. The film dives right into the plot, but decides to focus more on the sexism that these women dealt with while trying to expose the truth and less on the brutality of the actual crimes. While it lacks suspense, it's still a solid film that’s worth watching for the fine performances from Keira Knightley and underrated Carrie Coon.

SEEDS Starring: Kaniehtiio Horn, Dallas Goldtooth, Meegwun Fairbrother, Dylan Cook, and Graham Greene Director: Kaniehtiio Horn ADRIANO Seeds is very messy. The movie attempts to comment on the preservation of reservation communities, but, instead, it winds up being as shallow as the Gen-Z archetypes the film is trying to satirize. The movie also can't pick a tone to save its life. I'm not saying I never had fun, but the movie never commits to the horror aspects while a lot of the comedy just falls flat. On top of that, a lot of the flashy concepts are underdeveloped to the point of being nonsense. The ending does leave the film on a high note, but it's an overall mess. PRESTON Seeds is a unique horror film in that it is a Native American/First Nations celebration, specifically of the Mohawk people, with a focus on their history, culture, and values. The lead actress, Kaniehtiio Horn (Ziggy), also happens to be both the writer and director while displaying extremely capable acting skills. However, the movie is a mildly masked but searing attack on the Monsanto corporation that lies somewhere between the border of conspiracy theory and absolute absurdism, and when coupled with the implausibility of the injected “thrill” and the ridiculous cat attack (no, seriously), it made the journey more than regretful for me. QUENTIN Writer-director-star Kaniehtiio Horn (Tanis, to the Letterkenny fans out there) seemingly has no idea what she is doing with Seeds . Granted, a lot can be blamed on its low-budget, campy Canadian trappings, but for a movie billed as a horror comedy, there is very little comedy and almost no horror. I also can’t tell if this is meant to be a commentary on influencer culture, a home invasion movie, an exploration into preserving Native traditions, or a takedown of corporate farming and agricultural biotechnology. It truly is all over the place, both tonally and in story, which is only amplified by the short 82-minute runtime. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.