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MONKEY MAN Starring: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala, Sikandar Kher, Vipin Sharma, Ashwini Kalsekar, Adithi Kalkunte, and Makarand Deshpande Director: Dev Patel QUENTIN There is nothing bad about Monkey Man , other than since it’s reminiscent of so many movies I’ve seen before, I found myself losing interest as it went on. John Wick , Kill Bill , and Batman Begins are all there…they just have an Indian flavor now. Plus, I think the story would have been more engaging had it been told in a different order. That said, on a positive note, this is a tremendous debut for Dev Patel behind the camera. The shots he created demonstrate that he has an excellent eye, and if nothing else, Monkey Man has made me eager to see what he directs next. ADRIANO In Monkey Man , Dev Patel steps behind the camera for the first time with the ambition and talent of an experienced director. I do wish the movie's writing was more engaging and less of a sloppy mess, though. For the first 40 or so minutes, I was thinking to myself, "can we move on?" That said, once the action hits, it HITS; it's stylized, precise, gory, and so intensely brutal. I was eating every second of it, especially during the wildly kick-ass third act. I'm very excited to see what Dev Patel's directorial career has in store. NICK With Monkey Man , Dev Patel, in his directorial debut, becomes the latest actor to jump into the role of action star. In terms of his performance, he is badass, violent, and commands the screen. The direction and script need work, though. Patel shows promise behind the camera, but whether it’s him or the editors, the action in the first half of the film is far too frenetic and hard to follow. Also, the social and cultural commentary lack the development they need to carry weight. It’s a fine first crack, but I look forward to Patel’s growth in his next effort. AMARÚ Damn, Dev Patel did not have to go that hard. From the epic needle drops to his forceful direction and powerful performance, Monkey Man is his tour de force as writer, director, and action star. Even amongst massive pacing whiplash in the second act that made the film drag a tad bit too long, you can feel the sheer focus of Patel’s voice and the intense passion he put into each frame. This directorial debut is a helluva statement, and if his next outing can tighten up the narrative structure, we may have the next event filmmaker on our hands. KATIE Monkey Man is an electrifying directorial debut from writer, director, and star Dev Patel, who gives an exceptional performance as the titular action hero. Patel’s passion for the project is evident in every frame, and the film is not only an impressive addition to the action-revenge genre, but also sets itself apart by diving into themes of political unrest. The action is ultra violent and frantic, beautifully choreographed with enough sweat and grit to have an impact and appear authentically brutal, while the camera fluidly follows every punch thrown and bone broken. I cannot wait to see what Patel does next. PRESTON Monkey Man could be reductively classified as an Indian John Wick , but that may be giving the film a little too much credit. While I think Dev Patel does a great job with his acting, the film suffers from a lack of focus overall. Patel’s directing style, featuring crazy whip pans, shaky handheld shots, and zooms are ambitious but disorienting. For a style that is usually right up my alley, I quickly lost interest, and coming in at two hours, the editing could be much more robust. The potential is there, though, and I hope Dev Patel continues on this well-intentioned path. CALEB Although it has some problems, Monkey Man is still an extremely impressive directorial debut from Dev Patel. It’s a blood-soaked revenge-thriller that’s bursting at the seams with adrenaline and grit. The action sequences are undeniably fantastic, but the narrative occasionally stumbles. Although I can commend the second act for addressing some important cultural and political problems, I wish it didn’t have to grind the film to a halt in order to do so. Despite the wonky pacing, Monkey Man is still a solid action flick with amazing cinematography, passionate performances, and one hell of a finale.

THE BAD GUYS 2 Starring: Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne, Maria Bakalova, Alex Borstein, Richard Ayoade, and Lilly Singh Directors: Pierre Perifel and JP Sans AMARÚ The first Bad Guys is one of my favorite unsung films from Dreamworks Animation. The mix of heart and great characters carried that simple story a long way. While its sequel still has lovable characters and a matching voice cast, the comedic bits revert back to the shallowest of children’s sensibilities seen in Dreamworks’ lesser catalog. It focuses on bigger spectacle instead of its grounded themes of redemption, undercutting the solid messages it has surrounding second chances. Yet, with the amazing animation and some fun additions to the cast, I had a good enough time to want to visit with this crew on another outing. ADRIANO Like its predecessor, I don't have a strong inherent issue with The Bad Guys 2 . While I'd actually consider it an improvement, it just didn't leave a strong impression on me. But, I can't let that cloud the fact that it likely will for others. Setting aside that I didn't find it that funny, the film has an endearing message for kids on top of excellent voice acting and characters, and a pacing/animation style that led to pretty memorable set pieces. These movies aren't for me, but I see the value in recommending The Bad Guys 2 nonetheless.

M3GAN 2.0 Starring: Jenna Davis, Violet McGraw, Allison Williams, Amie Donald, Ivanna Sakhno, Brian Jordan Alvarez, Jen Van Epps, Aristotle Athari, and Jemaine Clement Director: Gerard Johnstone AMARÚ M3GAN 2.0 is a definite upgrade from M3GAN , vastly due to the massive improvements to the title character (Jenna Davis) in every way. M3GAN (physically played by Amie Donald) is hilarious, whip-smart, the perfect amount of petty, and Davis’ voice performance creates energy with every line she utters. When she is on screen, the action, comedy, and thrills deliver on the “knowing exactly what movie she’s in” fun you hope for. When she’s not on screen, the film is exposition-filled, predictable nonsense. Luckily, M3GAN is there 70% of the time, and 70% of her iconic energy outweighs 30% of stupidity. ADRIANO When I heard the sequel to M3GAN was going to shift tones entirely, opting for a more T2 -esque action feel instead of horror, I honestly thought that sounded hilarious. Unfortunately, M3GAN 2.0 takes itself way too seriously. It's at its silliest when the titular character is there, but she's barely in it. The performances aren't bad, but it focuses on these characters for so long that I eventually stopped caring about any of the emotional stakes. The action was fine I guess, but the M3GAN franchise needs to own its campiness, and this doesn’t own it at all. NICK What was viewed as a horror franchise has now turned into an action-comedy as M3GAN 2.0 goes the Happy Death Day route of genre-flipping the sequel. Despite that tonal shift, it still works about as well as the first film. As someone who thought M3GAN was fairly middle-of-the-road, this didn't change my opinion drastically in either direction. The laughs are more frequent, and M3GAN grows as a character, but the film suffers when she's off screen and it presents a very confusing stance on AI. This will still appease fans, but if you didn't love the first one, I don't expect this will change your mind. BODE I’d be lying if I said I was a huge fan of the first M3GAN , but I did still find it to be a decent enough horror comedy that crafted a memorable character and provided some undeniably meme-worthy moments. You’d think that creating a sequel to it - let alone one that pulls a Terminator 2 -style genre switch - wouldn’t be so difficult, but M3GAN 2.0 proves exactly the opposite. Its punchlines are barely funny, the action isn’t very exciting, and even its commentary on the threat posed by AI falls incredibly flat. It’s a downgrade in every way possible.

SISU Starring: Jorma Tommila, Aksel Hennie, Jack Doolan, Mimosa Willamo, and Onni Tommila Director: Jalmari Helander QUENTIN If I walked away from 2022’s Toronto International Film Festival with only one discovery that I needed to tell everyone about, it was Sisu . It’s an action-packed thrill-ride featuring over-the-top revenge violence directed towards everyone’s favorite villain, Nazis. Imagine John Wick meets Captain America: The First Avenger , as directed by Quentin Tarantino. Does that sound bonkers? It most certainly is. But it’s also one of the best times I’ve had in a movie theater in quite some time. It was easily one of TIFF’s best offerings, and is now one of 2023’s best movies. Plus, don’t be fooled by its foreignness - it’s in English. JACOB True to its premise, perhaps to a fault, Sisu is as simple as it sounds and as entertaining as its premise promises. About a former Finnish commander killing a bunch of Nazis in violent and brutally badass fashion, comparisons to the John Wick franchise are warranted, but director Jalmari Helander’s 90-minute actioner takes a more grounded approach to the mayhem as Jorma Tommila soldiers on through various perils to exact his vengeance. The film could have used a slightly more thorough emotional through-line (all we really get is one exposition scene), but beyond that, there’s very little not to enjoy here. ADRIANO Sisu is the kind of movie that falls apart if the director takes it too seriously, and thankfully, that’s not what happens here. While the story is paper-thin, the film is wholly watchable for the absurdity of it all. An old man expertly and gruesomely slaughtering Nazis left and right in a John Wick meets Quentin Tarantino fashion is a satisfying sight to behold. I wish the female prisoner storyline got a little more attention because I liked the potential of it much more than what we actually got; nevertheless, even if Sisu is really stupid, that’s why I enjoyed it. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

QUASI Starring: Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Adrianne Palicki, Eugene Cordero, and Marcus Henderson Director: Kevin Heffernan JOSEPH Full disclosure, outside of Beerfest , I’m unfamiliar with Broken Lizard’s filmography. That being said, I can confidently say Quasi is probably their worst film yet. There are some chuckle worthy moments, but only enough to count on one hand. I cannot fathom if the humor of this film is dated or just too stupid (or too smart?) for its own good. Even with copious amounts of alcohol or weed, I’m sure Quasi will barely elicit a reaction. You’re far better off rewatching an old favorite or just going to sleep. QUENTIN Quasi is the worst movie I’ve seen in years. There are no jokes, quotable one-liners, or even mediocre production values to be found here. Hell, the outtakes aren’t even funny. In fact, with each Broken Lizard member playing two roles, it’s almost like no one else wanted to be associated with it. I have no doubt the comedy troupe found the idea hysterical while discussing it over bong rips, but this won’t even hit with the stoners. In terms of hilariousness, it’s the opposite of Super Troopers . No one should watch this, and no one should be giving Broken Lizard more money to make movies.

SOMEBODY I USED TO KNOW Starring: Alison Brie, Jay Ellis, Kiersey Clemons, Danny Pudi, Olga Merediz, Haley Joel Osment, Julie Hagerty, and Ayden Mayeri Director: Dave Franco AMARÚ Somebody I Used to Know struggles mightily to find its groove. There are 30 minutes in the second act where the film is what the trailer promised, an uneasy romance about Alison Brie seeing her ex-boyfriend (Jay Ellis) on his wedding weekend. Ellis plays these romantic conundrums well (see Insecure ), and Kiersey Clemons is electric as his fiancé, so I’m not sure why it focused on Brie being the shittiest human possible stuck in awkward comedic situations akin to American Pie . The conflicting tones and unlikable (read: uninteresting) lead killed any momentum the engaged couple sporadically brought to this unappealing film. NICK Somebody I Used to Know deserves its props for trying to do something outside the traditional rom-com format. That said, it provides mixed results. On the technical side, Dave Franco continues to show some promise as a director; however, with questionable decisions for many of the characters, I was hard pressed to root for anyone. The marketing also hurt it because the trailer teased a direction that would have served the story well, yet it is never fully realized. Honestly, it’s a bit of a disappointment by the end. However, I couldn’t help but enjoy the Community reunion of Alison Brie and Danny Pudi. PAIGE Somebody I Used to Know is definitely not your run-of-the-mill rom-com. Tonally, it’s a little all over the place, but at its core is a film about self-worth and love. It’s refreshing to get adult-like coming-of-age stories that many can relate too. Yes, it has its cute, light-hearted rom-com beats, but when director Dave Franco digs into the overall message of the film, that’s where it shines the brightest. Overall, it’s a cute little gem that starts off a little rough around the edges, but cruises along quite gracefully once it finds its groove. QUENTIN Despite the cast’s chemistry, Somebody I Used to Know can be summed up in two words, contemptuously uttered by Kiersey Clemons’ character about our “hero,” Ally (Alison Brie): “…dis bitch.” Like many rom-com protagonists, Ally is a terrible person. Her aim is to break up an engagement mostly to make herself feel better, and since the film’s tone is closer to pseudo-serious dramedy than charming comedy, it makes for an ickier version of My Best Friend’s Wedding . It’s not a bad movie at all, and it’s nice to see Community alum Brie and Danny Pudi reunited on screen, but it’s a hard story to root for. JOSEPH Mix My Best Friend’s Wedding with a Hallmark romance, throw in Allison Brie, and you get Somebody I Used to Know . It’s a mess of a movie that fails to be romantic, funny, or even likable. There’s no charm, little humor, and awkward character traits and backstory. However, I think Brie is the main issue because it’s hard for me to buy her as a small town girl. She never fits in with the rest of the movie, and it weighs everything and everyone else down substantially. It’s a huge miss that fails to entertain on most every level.

THE SURFER Starring: Nicolas Cage, Julian McMahon, Nic Cassim, and Finn Little Director: Lorcan Finnegan QUENTIN Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. KATIE Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans. This film was reviewed by Quentin and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 BFI London Film Festival, respectively.

FAST X Starring: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris ‘Ludacris’ Bridges, Jason Momoa, John Cena, Jordana Brewster, Nathalie Emmanuel, Sung Kang, Brie Larson, Alan Ritchson, Leo Abelo Perry, Charlize Theron, and Jason Statham Director: Louis Leterrier AMARÚ If there are two more Fast sequels coming, please don’t include the hour-long rendition of Wiz Khalifa’s “See You Again” that Fast X starts with. Director Louis Leterrier doesn’t do this movie any favors by opening with 60 minutes of tribute meme dialogue set to a pop/rap soundtrack, then shooting the franchise’s fakest looking action sequences. Luckily, once they stopped waxing poetic about the previous nine movies, the focus moved to Jason Momoa’s Dante Reyes, whose wacky, brilliant, devilish, assignment-understanding glee makes up for every head-shaking “why?” moment. So much so, in fact, that I’m actually looking forward to the next ride. QUENTIN At this point, what else is there to say about new Fast & Furious movies? Expensive cars go vroom, big bombs go boom…yada yada yada…boo physics, yay family. You likely already know if you’re crossing the finish line with this series is what I’m saying. Either way, Fast X is about the same, for better or worse, as The Fate of the Furious and F9 . That said, Jason Momoa is the jolt of life the franchise needed. He seems to be the only one who realizes that a tenth(!) Fast movie should be dumb fun, so he goes absolute HAM being gleefully Momoa-y. He’s just…*chef’s kiss* NICK Although Fast X is superior to the series' prior two entries, it's still a far cry from the franchise’s heights. What was once a story about street racers has become one about family, heists, and truly terrible dialogue. Seriously, these films would be so much better if most characters would just shut up. The action is undeniable, but there is no longer any room to think of things logically. It's as if Fast & Furious has become its own parody with how ridiculous it has become. The standout positive, however, is Jason Momoa, in what may be the top performance of his career (seriously). ADRIANO Fast X is proof that this franchise is out of fuel. If it weren’t for Jason Momoa’s gleefully committed villain…the franchise’s most entertaining yet…I’d see nothing of value here; however, he is worth the price of admission. I understand that plot isn’t “important” when it comes to these movies, but this one is a complete mess, with nonsensical diversions and constant conveniences. The dedication to disregarding reality is just not entertaining anymore, and it feels less intentional and more like nobody cares. Lastly, the ending infuriated me, and I am not in any way excited for the next one. JACOB While Jason Momoa may be having the most fun of his entire career in Fast X , much of the excitement the franchise once boasted has unfortunately stalled. Between the frankly atrocious editing, mostly unfollowable action sequences, and the barrage of truly terrible dialogue, the Fast franchise has slowed itself to new lows, especially in scenes featuring Brie Larson's and Alan Ritchson’s one-note cardboard characters. I’m all for the dumb fun of Fast & Furious as a brand, but even this barely passes muster as a movie. Thank god the end of the road has begun, because this series is out of gas.

NUREMBERG Starring: Russell Crowe, Rami Malek, Leo Woodall, Michael Shannon, John Slattery, Mark O'Brien, and Richard E. Grant Director: James Vanderbilt QUENTIN Although it certainly has moments when it feels more like a history lesson than it should, the fact remains that it’s a lesson some still need to learn. Through powerhouse performances, particularly from an Oscar-worthy Russell Crowe who somehow gives Hermann Göring humanity, director James Vanderbilt delivers a compelling courtroom drama that, surprisingly, mostly lets the facts speak for themselves without sensationalizing them (not that he really needed to). It can, admittedly, get a little preachy, but like I said, this is a sermon that many people still need to hear, sadly. Nuremberg is a dark horse Oscar player. AMARÚ For a two-and-a-half hour movie about one of the darkest parts of world history, Nuremberg is a breakneck tour de force of actors chewing the hell out of their respective scenery. Russell Crowe is as enticing as evil is allowed to be, Michael Shannon has a quiet force that only he can muster, and Rami Malek hasn’t been this engrossing in a long while. The gripping drama is as compellingly written and performed as an Aaron Sorkin thriller, just without the word-per-minute quota. It touches the melodramatic quite a few times, but the psychological cat-and-mouse is so intriguing that it fits the verbal tête-à-têtes quite well. NICK To anyone who forgot how good of an actor Russell Crowe is, he is here to emphatically remind you in Nuremberg . Crowe is quietly menacing as Hermann Göring, but more impressive is the humanity he brings to Adolf Hitler's second-in-command. This makes the evil hit harder, especially when contrasted against the members of the prosecution, including Rami Malek, Michael Shannon, and Leo Woodall, all of whom are great in their own right. Look, Nuremberg may feel like a history lesson, but it's one that kept me engaged the entire runtime. Also, sadly, one that is all too prevalent today. ADRIANO While in many ways Nuremberg is sluggish dad porn, I also think it's riskier than I assumed it would be. The writing, while not perfectly focused, does attempt to ask viewers to see the atrocities of the Holocaust through the lens that human beings carried them out, an angle that can be haunting (i.e., The Zone of Interest ). But James Vanderbilt's direction weighs this down. It's a tonal mismash that's lethargically paced, with cinematography as grey as a Ridley Scott movie. Despite excellent performances from Rami Malek and Russell Crowe, Nuremberg is a potentially interesting but ultimately fine film. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2 025 Zurich Film Festival.

MY FATHER'S DRAGON Starring: Jacob Tremblay, Gaten Matarazzo, Golshifteh Farahani, Dianne Wiest, and Rita Moreno Director: Nora Twomey JOSEPH If you don’t have children, it’s perfectly understandable if you want to avoid My Father’s Dragon . It’s very much a film targeted at younger audiences, and will likely be most enjoyed by the very youngest. That being said, the themes, beautiful animation, and heartfelt characters are more than enough to keep any jaded adult’s attention. My Father’s Dragon is a testament that simplicity does not mean boring, and that style and substance can coincide. Nora Twomey is one of the most talented animation directors out there. JACOB Most of My Father’s Dragon feels fairly two dimensional (no pun intended) when compared with Cartoon Saloon’s other works, such as the Irish Folklore trilogy, but it’s the bookends of the film that put it a cut above most animated children’s stories. The beginning sets up that this story clearly has more on its mind than what people might expect, and while the art itself doesn’t quite boast as interesting a look as something like Wolfwalkers for most of its runtime, the third act is beautiful to see (and somewhat emotional). This is definitely one of 2022’s most underrated films.

THE LOST CITY Starring: Sandra Bullock, Channing Tatum, Brad Pitt, Daniel Radcliffe, and Da’Vine Joy Randolph Directors: Aaron Nee and Adam Nee JACOB What its adventure elements lack in awe and adrenaline, The Lost City makes up for in pure charm. Channing Tatum and Sandra Bullock’s terrific chemistry carry a mainstream studio comedy the likes of which just don’t really happen anymore (with a brief appearance from Brad Pitt absolutely stealing the show). Where the film falters, ultimately, is in not making Abigail Fairfax (Daniel Radcliffe) as fun a villain as Radcliffe clearly wants him to be, and some particular subplots feel woefully underdeveloped. That said, this is about as fun as it could have been, given what it had to work with. AMARÚ The Lost City tries really hard to be charming, but it’s mostly just a run-of-the-mill romantic comedy. Every trope, relationship, and plot point from every 90s/2000s rom-com you’ve ever seen is reused here. The film tries to coast on the starpower of Sandra Bullock, Channing Tatum, and Brad Pitt to keep you interested, but they aren’t enough. We’ve seen Bullock play the hard-shelled lead as much as we’ve seen Tatum play the more-than-meets-the-eye-candy. Pitt gives a little more intrigue (as does Daniel Radcliffe), but it doesn’t offset the predictable, forced comedy that only garners a chuckle or two. PAIGE Paramount has struck gold with this generation’s take on Romancing the Stone with the Sandra Bullock-led The Lost City . This film is as charming and adventurous as you’d hope, working perfectly as a hilarious popcorn flick. Have we seen films like this before? Of course! However, the effortless chemistry between Sandra Bullock and Channing Tatum, who truly sparkle together, make the movie a cut above the rest. Give me more rom-coms with these two, Hollywood!

THE HAND THAT ROCKS THE CRADLE Starring: Maika Monroe, Mary Elizabeth Winstead, Raúl Castillo, Martin Starr, and Milejah Vega Director: Michelle Garza Cervera PAIGE Let it be known that this remake is completely different from the original 1992 flick. I give it credit for trying to do its own thing, but 2025's The Hand That Rocks the Cradle is a very underwhelming film. It doesn’t come nearly as close to being as cringeworthy and thrilling as the OG version. This movie lacks depth and suspense, and its pacing is extremely sluggish. Maika Monroe and Mary Elizabeth Winstead are easily the best things in this streaming movie, as they are the only thing that keeps this movie somewhat afloat. Without them and their performances, there isn’t much to grasp onto here. KATIE I haven't seen the original The Hand That Rocks the Cradle , so I had nothing to really compare this remake to. It initially has some momentum and a good sense of tension, but it's too long and predictable. As is often the case in these types of films, the husband character is unfathomably imperceptive and unsupportive of his partner, which is necessary for the plot, but frustratingly so. Mary Elizabeth Winstead's and Maika Monroe’s performances are great, particularly Monroe, who is very unnerving and intense as the sinister nanny. However, aside from that, I found it unfortunately tedious. ROBERT I had a preconceived notion about The Hand That Rocks the Cradle and the ensuing conflict: I assumed Maika Monroe’s Polly was just a crazy stalker. Praise should be heaped upon director Michelle Garza Cervera and the writers for recognizing how to build out three acts to sow real discontent between Polly and Mary Elizabeth Winstead’s Caitlin that is surprising. Despite that strong base, everything else around it is a rickety house of cards, with mood and tonal shifts per scene that could cause whiplash, wooden supporting characters, and nothing but idiotic decisions to drive us to the conclusion. In the end, it all falls down. NICK I’ve never seen the original The Hand That Rocks the Cradle , so I don’t know if it's as slow a burn as this one, but this film really takes its time to get going. Maika Monroe and Mary Elizabeth Winstead (often underused actors) give solid showings, but the story they're working with feels half-baked, and honestly, lacks teeth. Had this embraced the apparent campiness of the original more, it could have been fun, but it all just feels unnecessarily dour. In the end, this remake is a fairly forgettable film that is bound to be lost in a sea of better offerings.