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LIGHTYEAR Starring: Chris Evans, Keke Palmer, Peter Sohn, Taika Waititi, Dale Soules, James Brolin, Uzo Aduba, Mary McDonald-Lewis, Isiah Whitlock Jr., Bill Hader, and Efren Ramirez Director: Angus MacLane AMARÚ Lightyear is a nice addition to the Pixar filmography. Playing heavily as a sci-fi action film, that vibe carries the film’s successes and flaws. The visuals and set pieces are beautiful and tense, which create a steadily engaging pace, and Chris Evans nails the essence of Space Ranger Buzz Lightyear. His chemistry with Uzo Aduba (Alisha) and Keke Palmer (Izzy) is great. But the action focus left the storytelling feeling less cohesive than the usual Pixar fare. Nevertheless, a good Pixar film is a great film from most other studios, and this is no different. Oh, can we please get more Sox (Peter Sohn) EVERYTHING!!! QUENTIN While I suppose Lightyear has some fun elements, the whole affair just feels a little trivial. Outside of Buzz’s (Chris Evans) robot cat, Sox (Peter Sohn), none of the side characters really connect, and the attempts at humor never get enough breathing room to be truly funny. It’s all a tad rushed, to be honest. Interestingly, this is Pixar’s first theatrical release after three straight-to-Disney+ releases, but it feels like the type of movie made specifically for the streaming platform. It comes across more as an IP-algorithm money grab and toy marketing device than a fully thought-out movie, which means kids will probably dig it. JACOB Although it has its moments, Lightyear being “fun” or “solid” is barely enough to genuinely call it “good.” It works on its own terms, for sure, but those terms are fairly plain for an animated sci-fi adventure, as its storytelling never really reaches for something deeper except in gesture. There are some decent action sequences and fun side characters, but little innovation or emotional poignancy to cling to. Each slower moment passes quickly to the next joke or plot point, as if the film is afraid audiences will get bored. It’s not bad , but as Pixar goes, it’s decidedly average. ADRIANO Lightyear is fine, I guess. The animation is stunning - not just life-like, but the sci-fi of it all looks incredible (if you’re gonna watch this, I suggest you see it in IMAX). All the characters are likable, especially Sox (Peter Sohn), who steals every scene, and the film has enough heart and entertainment to justify a watch. However, where it struggles for me is the story. The first two acts? I bought in, mainly because of some genuinely interesting ideas; Then the third act makes some odd choices that just took me out of it. Still, it’s a good time despite its flaws.

BRIDGET JONES: MAD ABOUT THE BOY Starring: Renée Zellweger, Chiwetel Ejiofor, Leo Woodall, Hugh Grant, and Colin Firth Director: Michael Morris AMARÚ Bridget Jones: Mad About the Boy is a touching look at grief and a charming romantic-comedy. The former is excellent, and the latter is pretty standard (which is to say, still fairly excellent). The cast has evidently lived with these characters for years, especially Renée Zellweger in the titular role, and they naturally intermingle the whimsical romantic elements with the familial themes surrounding death, not to mention the ever-evolving internal conflicts that aging presents. Chiwetel Ejiofor’s addition also doesn’t hurt to present the humorous and the heavy in very endearing ways. Four entries in, and Bridget Jones still had plenty left to say. BODE Even if you’re not in Bridget Jones ’ target audience, you don’t have to be to enjoy this franchise for the witty and endearing rom-coms they are (minus The Edge of Reason , of course). This remains true of the series’ fourth entry, Mad About the Boy , which is additionally thoughtful in its exploration of rediscovering yourself after loss. Renée Zellweger and Hugh Grant remain as charming as ever, while new faces like Chiwetel Ejiofor and Leo Woodall also shine. As far as (possible) final chapters go, it’s one that should leave fans perfectly satisfied.

SEPTEMBER 5 Starring: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, and Zinedine Soualem Director: Tim Fehlbaum QUENTIN Seemingly out of nowhere (it didn’t play at Sundance, Toronto, Cannes, or Venice), September 5 is a dark horse contender for Best Picture. Admittedly, I’m a sucker for journalism movies, but this one is driven by the narrative’s “as-it-unfolds” propulsiveness, which creates an electric, suspenseful, and thrilling look at news media doing live coverage of a terrorist attack for the first time. On top of that, with what is currently happening with Israel and Gaza, it’s as timely and relevant now as the real-life events were in 1972. Add in terrific performances from the entire ensemble, and you’ve got one of the year’s very best. AMARÚ There is a calm to September 5 that initially feels too indifferent to the hostage situation ABC Sports reported on during the 1972 Munich Olympics, but you slowly realize, as the film simmers towards its climax, that a quiet intensity is exactly the mood a news crew would have breaking one of the most important events in history. Then you realize, as the movie ends with an almost unceremonious finish, that with 900 million people watching the first ever live televised terror attack, director Tim Fehlbaum just carbon dated the world’s descent into desensitization. It’s chilling. ADRIANO I left September 5 feeling that what I had just watched was fake, but not in the sense that the movie's real story was fictionalized. In fact, I felt the gravity of the actual situation quite heavily, as the movie is a well-paced and effective thriller with great performances. That said, the film's wider implications and intentions feel insincere. It tries to point out the moral grey areas of these journalists, but those attempts just didn’t resonate with me. A lot of the writing contributes to that feeling, but I ultimately left the movie not thinking it was bad, just empty. NICK I enjoy a good "moment in time" film as much as anyone, but September 5 just seems to be missing something. Although the true story is enthralling (I can't believe much of my generation is unaware of it), its film counterpart is merely fine. I have no outward complaints with the direction or the performances, but no overwhelming praise either. The subject matter also begs for comparison to the current political climate, which definitely colours the film. However, I will give director Tim Fehlbaum his flowers for maintaining objectivity and refraining from turning this into a hero piece. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival.

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COMPANION Starring: Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, and Rupert Friend Director: Drew Hancock ADRIANO Companion is a fun time at the movies, featuring some exciting visuals and an unapologetic zaniness in its tension. Sophie Thatcher and Jack Quaid are both excellent and ground the film, which is necessary because it gets shallow when the film tries to truly explore its themes. The movie's attempts at being about toxic relationships and Andrew Tate-esque male insecurity essentially come across as "this is bad" and not much else. Also, there are plenty of twists, but I saw most of them coming. Still, from a pure entertainment standpoint, there's plenty to enjoy. KATIE Companion is a solidly entertaining thriller with good performances, but it's not without its shortcomings. At times, I was unsure if the dialogue was meant to be funny or just very obvious with the point, and I found Jack Quaid’s character, Josh, to be so underdeveloped that he felt like a caricature. The film attempts to comment on incellic notions of how women should act and behave, but it doesn’t feel earned and is ultimately unsatisfying. Nonetheless, Sophie Thatcher is incredible, showing off her scream queen potential, and I’ll be eagerly awaiting her next horror project. PAIGE Companion is a deranged and twisted sci-fi horror with sharp commentary that explores toxicity in relationships in a dark yet humorous manner. Even though the concept isn't totally original and the pacing is a bit all over the place, first time director Drew Hancock does a great job executing this story. The film isn’t shy, knowing exactly what it is: a fun, gnarly, and over-the-top thrill ride. Jack Quaid kills it as the too-good-to-be-true boyfriend Josh, while Sophie Thatcher is certainly an actress to keep an eye on as she delivers another great performance. QUENTIN Much like Barbarian , which has been referenced incessantly in the marketing (“from the creators of Barbarian ”), Companion is a great “the less you know, the better” movie that is sharp, slick, incisive, surprisingly funny, and a thrilling social commentary on perceived gender roles. It probably hits even harder given what is happening in the United States right now. It’s admittedly not overly original — I could rattle off at least a dozen movies that have touched on similar themes — but it’s a witty breath of fresh air in an overplayed genre. It’s hard to believe a movie this good was dropped in January. NICK Although I wish the marketing didn't give things away, Companion is more than just the sum of its twists. In his directorial debut, Drew Hancock infuses this horror-tinged love story with the right amount of laughs and thrills to keep things moving at a breakneck speed while the entertaining cast does their thing. Jack Quaid and Sophie Thatcher (both of whom seem to be having a moment) show off their range as they play off each other through a gamut of genres that will only enhance their rise. Even the side characters (Harvey Guillén's Eli, especially) leave their mark. A real buzzer-beater to salvage January.

CRUELLA Starring: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, John McCrea, and Mark Strong Director: Craig Gillespie AMARÚ The true stars of Cruella are its cinematography and music. The sweeping shots and superb soundtrack allow the style, fashion, and excellent performances to flourish. The Emmas (Thompson and Stone), Paul Walter Hauser, and Joel Fry more than match director Craig Gillespie’s cool aesthetic, which has tonal influences ranging from Guy Ritchie comedy to Ocean's Eleven caper, all mixed with a The Devil Wears Prada rivalry. It's Disney’s best live-action adaptation to date, and if it were 15-20 minutes shorter, it would be an early favorite for best movie of 2021. JACOB Cruella is wickedly fun. Its punk-inspired trappings yield an infectious energy the Disney live-action adaptations have sorely needed, thanks primarily to Emma Stone's committed performance as the titular villainess-to-be. Stone owns the part, chewing enough scenery that one could easily overlook (but shouldn't) how good Paul Walter Hauser is in it as well. Emma Thompson provides an apt foil for Cruella, with her stone-cold confidence as an actress never dropping even underneath her character's behaviors. Lastly, as they should be, the costumes are all sorts of fabulous. The film does run a bit long, but there's never a moment wasted. QUENTIN Cruella is not without its issues. Among them, it’s slow to start, very predictable, and a tad underwritten. Also, I can’t track the line from where this movie ends to the truly monstrous Cruella in the animated movies, which annoys me for some reason. That said, the gritty campiness, excellent soundtrack, and even better costume design do a lot of heavy lifting to keep the story moving along at an unexpectedly entertaining clip. Overall, I was pleasantly surprised by Cruella despite constantly thinking “of all the villains out there, why the Joker -fication of Cruella de Vil?”

Y2K Starring: Jaeden Martell, Julian Dennison, Rachel Zegler, and Alicia Silverstone Director: Kyle Mooney ADRIANO As a fan of writer/director Kyle Mooney's humour and his first film, Brigsby Bear , I am sad to say that his second directorial outing, Y2K , is a disaster. It starts simple enough, and it got some chuckles, even some laughs, out of me because of its absurdism; however, a lot of the direction and pacing are awkward. Plus, in the second half of the movie, many of the character beats set up are abandoned and, despite a genuinely funny cameo, the chuckles disappear as the film becomes totally incoherent. I don't think even the "it's just fun" crowd can defend Y2K . PAIGE Y2K is one of those turn-your-brain-off movies, and even though it's incredibly foolish, it's a ridiculously fun time. While the movie sacrifices some of its storyline for punchlines, it delivers the laughs it wants to achieve. Meanwhile, the soundtrack is awesome, the kills are inventive, and the ensemble is good. For someone who grew up in the 1990s, Y2K does a great job of capturing the nostalgia from that era, whether it be through chatting on AIM, burning CDs, or carrying pagers. This absurd movie is for you if you enjoy director Kyle Mooney's sense of humor.

ARMAGEDDON TIME Starring: Banks Repeta, Anthony Hopkins, Jeremy Strong, Anne Hathaway, and Jaylin Webb Director: James Gray JACOB James Gray’s Armageddon Time is unlikely to be viewed as a masterwork or a revolutionary act of cinema, but it has more than enough for true cinephiles to enjoy. The film’s messaging is a tad difficult to grasp, but it still mostly works. Gray’s most personal film yet, the semi-autobiographical tale feels like a movie both from its time and of its time, that being 1973 to around 1980. Banks Repeta is great as the lead character, and he gets strong support from the whole ensemble, but it’s Anthony Hopkins who provides the soul of the story. NICK Armageddon Time is a relatively basic coming-of-age story that puts forth many ideas without really committing to one. There are some plot holes that easily could have been filled in, but they are simply glanced over to help move the story along. Also, this film loses a lot of its shine when Anthony Hopkins is not on screen. That's not to say anything of the cast…everyone has a good showing…but Hopkins’ presence ignites something that fades in his absence. This is a film made for awards recognition, and since it’s bound to fall short of that, it must be viewed as a disappointment. ADRIANO Writer/director James Gray’s semi-autobiographical Armageddon Time is unlikely to pull on the heartstrings, but that’s what I liked about it. This film ditches the Oscar-bait sentimentality in exchange for an honest and raw look at Gray’s childhood. While I don’t think all of the political stuff worked, I did like the familial aspects. The entire cast does a great job too, but Banks Repeta does a particularly standup job as the lead while Jeremy Strong and Anthony Hopkins also are fantastic. For many reasons, both good and bad, this film just resonated with me. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

MY BEST FRIEND'S EXORCISM Starring: Elsie Fisher, Amiah Miller, and Christopher Lowell Director: Damon Thomas JOSEPH My Best Friend’s Exorcism is the type of film that lasts. It’s not ridiculously funny or campy, nor is it particularly scary, but there’s just something about it. Maybe it’s the ensemble that works together all too well, maybe it’s the weirdly hilarious finale - who knows? What I can say is that this feels like a sleepover movie. Flawed and hardly scary, but fully enjoyable even if it’s just eye-rolling fun. PAIGE My Best Friend’s Exorcism needs an exorcism of its own to help the film from derailing. The film is ultimately too tame, and it needed more of a scare factor than quippy jokes. As a fan of the book, I truly wonder if the team behind the film even read it or knew what the concept was. Unfortunately, they couldn’t figure out how to balance the horror-comedy scales in the story. But, at the end of the day, the film is somewhat saved by its characters and the actors that portray them.

THE RETURN Starring: Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Tom Rhys Harries, Amir Wilson, Ángela Molina, Jaz Hutchins, Moe Bar-El, and Claudio Santamaria Director: Uberto Pasolini NICK In the annals of classic literature, Homer's Odyssey has long been a favourite of mine. This iteration takes a more measured approach as it becomes a character study on Odysseus' (Ralph Fiennes) remorse and fear as much as his return. It’s a directorial decision by Uberto Pasolini that works thanks to Fiennes’ reserved take on the character. He embodies the tragedy of this story as he reluctantly comes to terms with his actions past and present. Although the bloodshed comes, The Return never revels in it, which may limit the thrills, but tells an introspective version of a story told many times before. KATIE The Return is a thoughtful yet unflinching take on Homer's Odyssey. It’s a character-driven tale focusing on Odysseus (Ralph Fiennes) as a broken man harbouring the physical and mental load of his experiences at war, gathering the strength to face his family again. Everything about it feels toned down, from the omission of gods and monsters from the story to the restrained performances and uncomplicated style of the set design and costuming. Fiennes is both understated and impressively physical, and he and Juliette Binoche are very compelling together, but I found the runtime dragged when either one of them was not present. QUENTIN As far as historical literary adaptations go, I’m not sure I’ve seen one more stripped down and minimalist than The Return . Unfortunately, that’s not a compliment. Based on books 13-24 of Homer’s Odyssey , this movie is a slow-moving bore that feels like several of the Biblical movies of yesteryear. The sound design, camera shots, costuming, and overall production just come across as incredibly dated. A shredded Ralph Fiennes is typically good, and I admit it picks up in the last 30 minutes with the “Slaying of the Suitors,” but by the time that arrived, I was already checked out of this non-epic epic.

THE KING'S MAN Starring: Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Tom Hollander, Harris Dickinson, Daniel Brühl, Djimon Hounsou, and Charles Dance Director: Matthew Vaughn QUENTIN As an unnecessary prequel designed to spawn a concurrent Kingsman series, The King’s Man is good enough to be watchable, but not to the point that it justifies its own existence. It’s like the store brand version of the first two movies, featuring action scenes that aren’t as exciting and characters that aren’t as magnetic (except for Rasputin (Rhys Ifans), who steals every scene). I give it credit for subverting expectations in two major ways, but the ending is so predictable that it somewhat undermines those efforts. Mostly though, it’s just a disappointment that lacks the spark of its predecessors. JACOB While it lacks the whimsical absurdity of the franchise starter, The King’s Man is as worthy a prequel as it can be with its more self-serious approach. Not all of it works (the middle of the film is quite choppy in terms of pacing), but enough of it comes together so that the audience won’t feel their time is wasted. The action is fun to watch – especially the silent No Man’s Land sequence – and all the actors seem to be having fun, with Rhys Ifans as the infamous Rasputin being a particular highlight. It’s certainly better than The Golden Circle .

HYPNOTIC Starring: Ben Affleck, Alice Braga, JD Pardo, Dayo Okeniyi, Jeff Fahey, Jackie Earle Haley, and William Fichtner Director: Robert Rodriguez QUENTIN While there is an interesting idea and a decent twist at its (only 90-minute) core, everything about Hypnotic feels dated. Between the procedural-meets-slight-sci-fi angle that was huge in the early 2000s (remember Déjà Vu and Next ?) to Ben Affleck’s surly, Max Payne -inspired line delivery, this movie might have been a hit during the actor’s Paycheck era. Still, I can’t say it’s boring, but it’s not particularly entertaining either since everything is so noirishly dark and dour. Mostly, I’m left wondering, 1. what happened to Robert Rodriguez, who used to be among my favorite directors?; and 2. why, in 2023, did Affleck sign on for this? NICK "Dated" doesn't even begin to describe how Hypnotic feels. It's the kind of movie you'd come across on TBS while channel-surfing in the late 90s (which makes sense as the script was written back in 2002). Not bad enough to be terrible, nor solid enough to be good, it just sits in mediocrity. The action, writing, and performances leave no lasting impression, and the fact that Ben Affleck spent time on this project is honestly perplexing. Hopefully, director Robert Rodriguez will stop wasting his time with films like this and turn his focus to the long delayed Alita: Battle Angel sequel instead. JACOB Hypnotic has a lot of promise in its base elements and grounded roots, but it does eventually fall victim to biting off more than it can chew. Conceptually, it’s an interesting (if somewhat predictable) watch, but in its execution, the story becomes so convoluted and messy that the audience doesn’t really have anything concrete to hang onto by the film’s end, making it feel ultimately fruitless. Even with Alice Braga and William Fichtner doing what they can to elevate the material, neither can save the viewer from noticing Ben Affleck’s boredom with a script that doesn’t give him much actual depth. AMARÚ One word I never thought I would connect with director Robert Rodriguez is “bland.” However, when it comes to his latest thriller, Hypnotic , even his stylized attempts at science-fiction can’t cover for the boring action, expositional conveniences, and… well… bland world-building. After about the 10th time Diana (Alice Braga) explained something to Danny (Ben Affleck) about the rules of Rodriguez’s super-powered world, I was checked out; Then, the line “What? I have powers all of a sudden?” was uttered and I couldn’t help but laugh incredulously at the rest of the film. Sorry, Rob, but this one ain’t it. PAIGE Hypnotic honestly feels like a Walmart-version of a Christopher Nolan film. While the concept of the movie is pretty cool, the imagery looks cheap and the script needs way more depth. The actors try their best to elevate it as much as possible, but the script leaves them all, especially Ben Affleck, with little to work with. The fact that Robert Rodriguez, a veteran director, made this is kind of mind-boggling because of how amateur it looks and feels. With all that said, Hypnotic is fast-paced and will keep viewers guessing throughout.