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FATHER STU Starring: Mark Wahlberg, Jacki Weaver, Mel Gibson, Teresa Ruiz, Alain Uy, Carlos Leal, Aaron Moten, Cody Fern, and Malcolm McDowell Director: Rosalind Ross JACOB Though it’s not a total misfire, Father Stu feels misguided in its approach to telling the story within its average-at-best framework. A miscast Mark Wahlberg gives what he can to a ham-fisted, two-dimensional narrative about redemption and faith without the movie ever bothering to truly challenge its central character. There are teases at genuine conflict, but no commitments. The film wants to have it both ways by making its main character flawed and relatable but somehow also infallible in the narrative; never perfect, but never at fault either. Unfortunately, the supporting cast is of little help in elevating this C-grade material. QUENTIN As a non-believer, I’m always skeptical of faith-based movies because, by design, they usually favor sermon over story. Father Stu , to its credit, exercises some restraint on the preachiness, but it doesn’t have much else to say either. It’s oddly too long while also being completely devoid of nuance. Fact is, you don’t learn much from the movie that can’t be gleaned from the trailer. Mark Wahlberg is fully committed as the shaggy ne'er-do-well, but once he finds Jesus, the shallowness of the "Jesus Saves!" plot becomes more apparent. That said, it’s one of the more watchable faith-based movies I’ve seen (admittedly, a low bar).

THE HOLDOVERS Starring: Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa Director: Alexander Payne ADRIANO Even before the studio logos appeared, I was already into what The Holdovers had to offer. For the first half, I was enthralled by director Alexander Payne's 70s aesthetic and the sharp, almost screwball comedy script (written by David Hemingson). Dominic Sessa and Da'Vine Joy Randolph shine too, but Paul Giamatti gives a performance with so many layers that you can't help but love him despite his grouchiness. The much more mature second act, however, is what stuck with me the most. While still funny, it offers a devastating yet sweet portrait of loneliness that will leave audiences satisfied. PRESTON What a shame…how is this beautiful film getting so little airtime in theaters across the globe?! The Holdovers is old-school (specifically 1970s) filmmaking at its best, with timeless storytelling. The lead trio of Paul Giamatti, Dominic Sessa, and Da’Vine Joy Randolph each put up dynamic, award-worthy performances! Director Alexander Payne gives us an authentic, humanistic story that makes it impossible not to connect with its characters. Your heartstrings will be played with, you will definitely laugh, and you will probably leave the theater feeling better than before. This has “cult classic” written all over it. AMARÚ There’s an absolute joy in watching Paul Giamatti tear new ones into privileged little shits, and with The Holdovers , that was my avenue into a movie I had trouble initially connecting with. But once director Alexander Payne bores into the faults and connections that all humans, no matter how different, ultimately share, he passes the reins to the incredibly capable hands of Giamatti, Da’Vine Joy Randolph, and Dominic Sessa to let them illuminate the story. The Holdovers , while slow to get to its best parts, is sweet, charming, and surprisingly hilarious, carried by an impeccable leading trio. PAIGE The Holdovers is such a cozy and feel-good film that is destined to become a holiday classic. Paul Giamatti gives his best performance since Sideways , but it’s newcomer Dominic Sessa who gives him a run for his money. I could honestly watch those two bicker back and forth for hours. Every character is written so well, every scene is filled with either great comedic bits or heartwarming/heartbreaking moments, and director Alexander Payne does a fantastic job capturing the essence of a 1970s Massachusetts boarding school. With all that in mind, I think that this may be Payne’s best film yet. CALEB The Holdovers is the cinematic equivalent of a big ol’ hug. It’s warm, inviting, and most importantly, it just makes you happy. The script finds a healthy balance between intellectualism and sincerity, managing to be emotional without ever getting schmaltzy. It didn’t hook me immediately, but the narrative really took off once it honed in on its leads. Dominic Sessa and Da’Vine Joy Randolph are both fantastic, but it’s Paul Giamatti who really steals the show here. With a touching script, a charming seventies aesthetic, and some incredible performances, The Holdovers stands as the ultimate feel-good movie of the season. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

DÍDI Starring: Izaac Wang, Shirley Chen, Chang Li Hua, Raul Dial, Joan Chen, Aaron Chang, Mahaela Park, and Chiron Cillia Denk Director: Sean Wang ADRIANO As someone who grew up in the 2000s, Dídi might be the most authentic film of the digital era I've seen so far. As a coming-of-age film, it's successfully uncomfortable and relatable as we watch our protagonist constantly make bad decisions, yet I was laughing hysterically. Growing up and being forced to navigate a world our parents are unfamiliar with isn't easy, and the film's secret weapon, Joan Chen, demonstrates that wonderfully, while writer/director Sean Wang clearly has a knack for filming the mundane with character, flair, and a strong emotional touch. I hope Dídi becomes a coming-of-age staple down the line. SHADAN Dídi is a gem of a film. I’m not a Taiwanese boy, but I did grow up torn between cultures in the early 2000s, so I saw much of myself in Chris’ (the wonderful Izaac Wang) preteen angst. So much so, in fact, that some scenes had me crawling out of my skin, re-living awkward encounters burned into my brain. Dídi also finds beauty in and compassion for its characters in the tiniest of moments. Lastly, I’d be remiss if I didn’t mention Joan Chen, who infused her “mom role” with so much empathy and tenderness. Make it a priority to see this film.

ENOLA HOLMES 2 Starring: Millie Bobby Brown, Henry Cavill, David Thewlis, Louis Partridge, Susan Wokoma, Adeel Akhtar, Sharon Duncan-Brewster, Hannah Dodd, and Helena Bonham Carter Director: Harry Bradbeer AMARÚ One cannot deny the charm of Millie Bobby Brown (Enola Holmes), nor can one deny that Henry Cavill (Sherlock Holmes) should be in all things. Their engaging chemistry epitomizes the captivating appeal of Enola Holmes 2 . Truthfully, the entire cast is chewing their scenes, milking every ounce of fun they can from the Holmes’ adventure. The sequel’s family-friendly motif slightly overshadows its mystery, so director Harry Bradbeer’s reliance on Guy Ritchie-style freneticism can feel out of place at times, but all-in-all, Enola Holmes 2 is a charming sequel that makes the prospect of a third movie a likable one. JACOB Enola Holmes 2 espouses much of the same fun as its predecessor, but it is less structurally sound. The central mystery is interesting until the viewer solves it about halfway through, and even though the journey is entertaining, arriving at its conclusion can sometimes feel tedious (especially as a separate mystery contains far more intrigue). Subplots appear and disappear at will, certain characters seem more like placeholders than people, and the ending drags on for far too long. I’d like to say this was an improvement, but truthfully, it’s just the same package as before but in a less impressive box.

SPACEMAN Starring: Adam Sandler, Carey Mulligan, Paul Dano, Kunal Nayyar, Isabella Rossellini, and Lena Olin Director: Johan Renck PRESTON Spaceman , if nothing else, is a conversation starter. Adam Sandler continues to impress in his adeptness with any acting role he is given, and the film is mesmerizing with its beautiful cinematography and a particularly eerie character (Hanuš), voiced by Paul Dano. In truth, my adoration for its more compelling elements, including its lofty narrative about the human condition, the need for connection, and the exploration of what really matters in life, isn’t enough to pull it out of its esoteric and shallow hole. It doesn’t quite come together in the end, leaving me in a confused and rather somber state. AMARÚ There’s a weird thing that happens with Adam Sandler’s Czech accent in Spaceman . He doesn’t really attempt the accent, but he’s not speaking normally either, except, occasionally, when a New York inflection creeps through. It’s very fascinating to witness, if not well executed, and the movie is just as fascinating in its flawed execution. The premise is immediately intriguing, but something unintentionally funny or deadpan often takes you out of it. However, that disconnect brings about another premise that you're compelled to keep watching. This two-hour cycle of peculiarity ultimately ended in an uncanny experience I couldn’t help but enjoy. PAIGE Unfortunately, Spaceman is a plodding astronaut drama that gets lost in space. Apart from its pretty cinematography, decent score, and Paul Dano's calming vocal performance as the inquisitive and compassionate space spider, Hanuš, this self-serious sci-fi movie falls short on many levels. Carey Mulligan is underused, Adam Sandler is completely miscast, and the film struggles to evoke a thought-provoking contemplation on loneliness. All in all, we’re left with a simple man slipping down the rabbit hole, reliving his fragile memories and dealing with his mistakes. QUENTIN Spaceman is a slow-moving, meditative, and melancholy sci-fi oddity that, while I can’t say is something I loved overall, is *thisclose * to being a subtly brilliant examination of the human psyche, loneliness, and the evolution of a potentially fading love. Broken down to its individual parts, it offers a lot to be enamored with: Adam Sandler’s soulful performance, a talking spider (voiced terrifically by Paul Dano), and aesthetically pleasing, planetarium-esque visuals. However, despite all that, it’s a bit of a drag. Much like Steven Soderbergh’s Solaris , Spaceman is a worthy movie for extremely patient fans of cerebral sci-fi, but it’s certainly not for everyone. ADRIANO While I am very pleased to see Adam Sandler continue down a path that allows him to show off just how good of a dramatic actor he is, Spaceman is not great. It’s not horrible by any means, as there are some visually grand moments and Sandler is fantastic alongside a great vocal performance from Paul Dano; however, the film's attempts at deep and emotional wisdom are just too much at a distance, especially when it's in contrast to nonsensical world-building and a third act that makes no sense. I see genuine motives in this film, but the execution falls flat. CALEB Beneath its veneer of cosmic wonder, Spaceman lacks depth. Jakub (Adam Sandler) and Lenka’s (Carey Mulligan) star-crossed relationship is the focus of this space-drama, but their marriage isn't complex enough to justify the time spent on it. Jakub’s arc is extremely basic, and it’s a chore watching him come to the obvious realization that he should treat his wife better. Hanuš (Paul Dano), the telepathic alien, is likable, but his tendency to bluntly state how the protagonist is feeling gets old fast. Spaceman may look great, but its impressive visuals are wasted on a script that never really takes off.

THE LAST EXIT Starring: Joely Richardson, Neil Linpow, Sadie Soverall, Harry Cadby, and Roger Ajogbe Director: Matthias Hoene NICK The Last Exit (aka Little Bone Lodge ) is quite the ride. What starts off feeling like a run-of-the-mill home invasion thriller soon becomes something far more interesting. Director Matthias Hoene isn’t afraid to take big swings, and while they don’t all pay off, the attempts should be commended. The film is more than just the sum of its twists, however, as Joely Richardson and Neil Linpow are the ones who really sell the somewhat convoluted script with honest performances. The Last Exit isn’t without flaws – it’s low on rewatch value and drags a little – but it’s bound to keep your attention. KATIE The Last Exit is a tense home-invasion thriller with dark secrets around every corner. From the outset, it establishes an oppressive atmosphere that sets up some interesting alongside questionable family dynamics. Although some of the twists and turns announce themselves a little too early on, the dedicated cast drives the story. Joely Richardson gives a striking performance as the matriarch, transforming effortlessly between being sweetly benevolent and severely unhinged, and Harry Cadby and Neil Linpow’s dysfunctional brotherly relationship brings intense emotional melodrama. It’s not perfect, but it undeniably gripped my attention. PAIGE The Last Exit, also known as Little Bone Lodge , is a dark and intense film that, unfortunately, isn’t thrilling enough to latch onto. Admittedly, it does have a tolerable amount of mystery and enough surprises to keep an audience engaged, but the twists are just not overwhelmingly shocking. The story is lackluster at times due to its pacing, and it’s filled with familiar tropes from a basic script that feels like it’s missing ambition in its concept. That said, the film does manage to excel in its characters and their dynamics. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto After Dark Film Festival.

THE NORTHMAN Starring: Alexander Skarsgård, Anya Taylor-Joy, Ethan Hawke, Nicole Kidman, Claes Bang, Willem Dafoe, Björk, Gustav Lindh, and Elliott Rose Director: Robert Eggers AMARÚ Vengeance is a bloody, messy affair, and director Robert Eggers took that to heart with The Northman . It’s an epic worthy of the Norse Gods, accompanied by a booming score and vibrant visuals. Alexander Skarsgård carries the wrath of this film in every stare, slash, and guttural exclamation, making the action and dialogue all the more visceral. The characters’ motivations are pretty straightforward, making your connection to them a slight bit hollow, but when it comes to revenge, you’re not really looking for depth. You’re looking for blood. And blood you get. JACOB Robert Eggers’ The Northman is a Viking revenge epic truly worthy of the term. Though it falls short on pacing and some character elements compared to the director’s other work, this hyper-faithful adaptation of the Icelandic story of Amleth is simultaneously furious and meditative. It’s a beast of a film with blood in its heart. Alexander Skarsgård owns the titular part, towering and menacing as an animal with a lust for vengeance, making this his and Eggers’ movie all the way. Though more engaging as a craftsman’s piece than enrapturing as a story, it’s a cinematic experience one won’t soon forget. ADRIANO The Northman is glorious. Director/co-writer Robert Eggers’ viking revenge epic is pure indie Eggers, but with a $90 million dollar budget. Seriously, the crafts are absolutely nuts. It looks gorgeous, the production values are grand, the sound design is excellent, and it has an amazing score. The battle sequences are brutal and awesome too. The entire ensemble is incredible, but especially fantastic is Alexander Skarsgård, who is ferocious and super badass. Anya Taylor-Joy is also great; same with Nicole Kidman. While it could turn off some viewers, I really enjoyed the mythology the film presented. This is yet another win for Eggers. QUENTIN With The Northman , a Gladiator meets Vikings hybrid, director Robert Eggers has delivered his most accessible film yet, but one that is still more artsy than mainstream. While the acting is strong and the story is intriguing, it suffers from issues that plague similar epics – namely, that it’s too long and tries to do too much. For example, Anya Taylor-Joy gives a good performance, but her character seems unnecessary. That said, the cinematography is absolutely breathtaking, so even if the story drags some, the stunning visuals stave off any boredom. Also, special shout-out to Alexander Skarsgård’s trap muscles on their upcoming Best Supporting Actor nomination. NICK Director Robert Eggers has crafted a gorgeous and authentic film that transports you back in time, and although it doesn’t quite flow seamlessly and is a tad overlong, it makes for an engaging epic. Led by Alexander Skarsgård, who excels in roles which ask him to be an imposing presence with scant yet poignant dialogue, the cast is airtight with surprising showings from Nicole Kidman and Claes Bang. It’s the cinematography, however, that shines the brightest. The visuals in this film are stunning and exactly what you’d expect from Eggers, a director who doesn’t seem to miss. PAIGE With The Northman , director Robert Eggers brings another haunting and visually beautiful film to life, this time in the form of a bloody revenge epic. The film is enhanced by its brooding and primal score, while the breathtaking cinematography only serves to highlight the brutality that takes place on screen. And even though everyone gives strong performances, Alexander Skasgård especially channels an animalistic performance that is Oscar worthy. The Northman may be Eggers’ best film yet.

BEETLEJUICE BEETLEJUICE Starring: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, and Willem Dafoe Director: Tim Burton ADRIANO Warts and all, I will take the unflinching mayhem of Beetlejuice Beetlejuice over the majority of careless blockbusters we get nowadays. Yes, the script is overpacked, and a lot of what is set up is left in the wastebasket. However, director Tim Burton ditches any type of lame nostalgia baiting and pandering (Deadpool & Wolverine , cough cough) to go full sicko mode with wonderful practical effects and an on-brand insanity that had me laughing. You'd swear he and Michael Keaton never left the set in 1988 with their faithfulness to the original. QUENTIN I’m extremely divided on Beetlejuice Beetlejuice , which, frankly, isn’t a sequel I wanted or needed since Beetlejuice is such a stone-cold classic. With that in mind, Michael Keaton hasn’t missed a beat as “The Ghost with the Most,” and stepping back into director Tim Burton's visionary afterlife tickled all my nostalgia bones (Danny Elfman's score too!). However, the story is borderline trash, taking way too long to get going and having way too many moving parts. Plus, there are some flourishes and directorial choices that I really hated (some I loved too), resulting in an attempt that I formally appreciate, but a movie I’ll never revisit. PRESTON Beetlejuice …*sigh*…Beetlejuic e. After 36 years, the highly anticipated sequel only served to trample my meager hopes for something close to worthy of the original. Mostly, the pain I feel is a result of the shallow production that I had to witness. The chaotic plotline and numerous subplots are haphazardly shoved together in order to advance a shameless reliance on nostalgic pandering, with the nonsensical “Bobs” acting as a Minion -esque marketing ploy. Even the couple in front of me, who burst out in outrageous laughter during the Red One trailer, had difficulty mustering more than a faint chuckle during the film! Sad Trombone. PAIGE Though the plot is a bit overstuffed with story threads that are undercooked, there’s no denying that Beetlejuice Beetlejuice has heart, or that it brings us back into the surreal world Tim Burton created back in 1988. This sequel feels like a return to form for Burton, and the whimsical practical effects and vibrant production design in the afterlife are astounding. The returning ensemble, especially Catherine O'Hara and Michael Keaton, are fantastic, not to mention that Jenna Ortega fits right in with the madness. All in all, Beetlejuice Beetlejuice may be messy, but it’s a ghoulish good time! AMARÚ Nostalgia is working overtime to find much enjoyment in Beetlejuice Beetlejuice . While it looks beautiful, with Tim Burton putting his whole foot in the direction, the entire film treads through unfunny and overlong comedic set pieces to juggle fifty million storylines that never have enough time to delve deeper than made-for-TV story depth. One specific plotline, if focused on, would’ve been interesting if it wasn’t resolved in two-point-WTF-thats-all-it-took-to-figure-that-shit-out seconds. Every non-makeup or visual effect aspect of the film is treated with that modicum of care, and damn was it a waste of time. KATIE Beetlejuice Beetlejuice is one of the strongest legacy sequels I’ve seen, and I left the cinema refreshingly impressed with director Tim Burton’s darkly funny return to his 80s classic. Danny Elfman’s energetic score sets the tone for the film’s gleefully ghoulish energy, and Michael Keaton faultlessly reprises his titular role, bringing an infectious sense of eerie exuberance that made it impossible not to have a good time. Whilst the film cannot quite support the increasing weight of side characters and subplots, the practical effects are fantastic, the performances are strong, and, most importantly, it stays true to the anarchic spirit of the original.

FREAKIER FRIDAY Starring: Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons, Manny Jacinto, Mark Harmon, Maitreyi Ramakrishnan, and Chad Michael Murray Director: Nisha Ganatra NICK One could make a strong case that 2003's Freaky Friday reigns supreme when it comes to body-swap comedies. With that in mind, the highest praise I can give Freakier Friday is that it does right by its characters. It was the right choice to have Jamie Lee Curtis and Lindsay Lohan anchor this story because they're both great (especially Curtis), which takes the pressure off their younger counterparts (Julia Butters and Sophia Hammons). The thing that really makes this work, however, is the heart threaded through it. I laughed, I teared up, and I continuously found myself with a smile on my face. ADRIANO The thing that made Freaky Friday work was the genuine heart intertwined with the body-swap comedy. Sadly, Freakier Friday leans too far into the body-swap humour, which would be fine if it made me laugh, but it rarely did, even if Lindsay Lohan and Jamie Lee Curtis make some of the cringier moments watchable. The final 20 minutes finally brought the film to a heartfelt place, which is a little late but not entirely ineffective. Admittedly, Freakier Friday could've been way worse, but it still reeked of desperation. Also, Julia Butters, get back to Steven Spielberg and Quentin Tarantino as soon as possible. Want to hear even more of our thoughts? Nick and Shak join Matt to take A Bigger Bite out of Freakier Friday HERE .

THE OLD GUARD 2 Starring: Charlize Theron, KiKi Layne, Matthias Schoenaerts, Marwan Kenzari, Luca Marinelli, Veronica Ngô, Henry Golding, Uma Thurman, and Chiwetel Ejioforr Director: Victoria Mahoney ADRIANO I watched The Old Guard for the first time shortly before seeing this, and that movie isn’t that good. But even with that low bar, what a colossal downgrade. The Old Guard 2 feels like a deliberate attempt to worsen everything people liked about the first one. It's one thing that the script is a narrative and character misfire in every way, but the action doesn’t even work. It’s far too choppy, and Charlize Theron being a badass saves nothing. Just a purely irredeemable sequel that guarantees I will not be watching the third film that they set up. AMARÚ When I learned that Gina Prince-Bythewood wasn’t directing the Old Guard sequel, I was worried. Then I watched said sequel’s first scene and got more worried. The rest of the film did nothing to quell that apprehension. Even with its formulaic elements, the original had a grittiness that held my interest. This one treats immortality like a glossy Saturday morning cartoon with unserious physical gags and stilted dialogue continuously reminding us of the so-called stakes. It's a damn shame too, because there’s some cool world-building concepts here that would’ve been exciting if executed with any sort of gravitas.

THE CONTRACTOR Starring: Chris Pine, Ben Foster, Kiefer Sutherland, Gillian Jacobs, Eddie Marsan, JD Pardo, Florian Munteanu, Nina Hoss, Amira Casar, Fares Fares, and Sander Thomas Director: Tarik Saleh NICK Chris Pine and Ben Foster were excellent together in Hell or High Water (and, to a lesser extent, The Finest Hours ), so I was eagerly anticipating their reunion in The Contractor . What a disappointment. None of the magic these two have shown is present here. Instead, you’ve got a cookie-cutter action film that I began to forget as I was still watching it. It could have been salvaged with some exciting and innovative action sequences, but just like the rest of the film, nothing stands out. I hope Pine and Foster get another crack at working together, but next time with a better script. QUENTIN After two successful pairings (Hell or High Water , The Finest Hours ), Chris Pine and Ben Foster join forces again for the uninspired and predictable The Contractor . It feels like every Bourne rip-off and forgettable Mark Wahlberg movie from the mid-2000s (remember Broken City ? Contraband ?). All the tropes are here: escapes through sewers, backpack and baseball hat pulled low, double-crosses and subsequent revenge. Worse though, is that the film never gives a reason to care about Harper (Pine) outside of “he’s the good guy,” while the “why?” of it all is never fleshed out enough to be intriguing. This third time is not a charm.

THE GREEN KNIGHT Starring: Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Ineson, Sean Harris, Kate Dickie, Barry Keoghan, Erin Kellyman Director: David Lowery JACOB A bit overlong, though never without justification, David Lowery's The Green Knight is a stunner of the highest caliber. An epic that is always centered on the personal, there's nothing in fantasy quite like it. Lowery's camera moves with patience and precision, capturing both the intimate and the enormous, while the story is anchored by a perfect leading performance from the increasingly impressive Dev Patel and phenomenal voice work from Ralph Ineson. The cinematography is magnificent, but refuses to overshadow the film's most impressive feat - sincere faithfulness to unconventional source material bolstered by fantastic production design and makeup technique. QUENTIN Although a tad long and a bit slow at parts, The Green Knight boasts such beautifully dreamlike visuals and arresting cinematography that it’s easy to get swept up in this unconventional take on the Arthurian legend. On top of that, Dev Patel is superb, grounding the more fantastical elements with his quiet humanity. Fair or not, it’s the first time I’ve seen a Patel performance and didn’t think “oh, it’s the kid from Slumdog Millionaire .” The film isn’t a 100% faithful adaptation, which may annoy purists, but it’s still one of my favorite movies of the year.