GOODRICH Starring: Michael Keaton, Mila Kunis, Carmen Ejogo, Michael Urie, Kevin Pollak, Jacob Kopera, Nico Hiraga and Vivien Lyra Blair Director: Hallie Meyers-Shyers AMARÚ Goodrich is as run-of-the-mill as it gets. Workaholic father gets “stuck” with his grown-ass 4th graders after his much younger wife checks into a rehab center partially due to his lack of attention, similar to the lowkey neglect he gave to his adult daughter who he has a slightly better relationship with now. We’ve all seen this movie before, but with entertaining cast members such as Michael Keaton, Mila Kunis, Michael Urie, and young standout Vivien Lyra Blair, director Hallie Meyers-Shyers utilizes their charisma to make oft-tread territory watchable. While it is enjoyable, it’s still a surface level attempt at a feel-good heartwarming story. QUENTIN Goodrich isn’t without merit, but it’s a fairly standard, almost slight, semi-heartwarming, “man has a mid-life crisis” movie (ignore that said man (Michael Keaton) is 73 years old). Honestly, if not for Keaton, of whom I’m a big fan, I probably wouldn’t have maintained the modicum of interest I did. In fact, it plays a little like a serious remake to 1983’s Mr. Mom (also starring Keaton), and there is even an endearing Multiplicity connection (a possible Keatonverse ? ). So, suffice to say, he does enough of his typical thing, alongside some solid supporting turns, to hold it all together. Overall, a pleasant yet forgettable experience.

AQUAMAN AND THE LOST KINGDOM Starring: Jason Momoa, Patrick Wilson, Yahya Abdul-Mateen II, Randall Park, Nicole Kidman, Temuera Morrison, Amber Heard, and Dolph Lundgren Director: James Wan AMARÚ “You know what…” - Usually, when you see a review start with those words, the film isn’t that bad. That doesn’t apply to Aquaman and The Lost Kingdom . It’s not good. Sure, it could’ve been worse, but let’s not fool ourselves. It’s bad. The best thing I can say is that it’s watchable. The action doesn’t suck. James Wan’s direction doesn’t suck. Jason Momoa and Patrick Wilson’s dynamic doesn’t suck. Anything that isn’t the storytelling, dialogue, and plot (basically the actual movie) doesn’t suck. The DCEU ends how you’d expect, and all that’s left is hope that James Gunn’s nepotism can help DC out a bit. ADRIANO In a way, Aquaman and the Lost Kingdom is a fitting end to the DCEU, meaning it's a misguided and rushed disaster that feels like a failure at launch. The staggering lack of competence from just about every department here is wild. Other than a couple of fun moments, I struggle to find anything of value in this movie. Jason Momoa's fun, rock-on attitude is missing here, and the script is so bad that not even the talented cast can make the dialogue believable. A largely forgettable experience that closes the book on an embarrassing cinematic universe.

ONSLAUGHT Starring: Adria Arjona, Dan Stevens, Eric Wareheim, Reginald VelJohnson, Michael Biehn, Alex Pereira, Drew Starkey, and Rebecca Hall Director: Adam Wingard ADRIANO Onslaught has too many ideas for a small package, yet also not enough. There are suggestions of military PTSD messaging, but it never does anything with it. It’s too short, but also crammed. It’s a bunch of contradictions, but for something marketed as an Adria Arjona shoot-em-up, but really is a slasher, that tracks. Honestly, I had a lot of fun in spite of everything. Dan Stevens’ ageless German doctor is as entertaining as it sounds. It’s gory, it’s mean, it’s also anticlimactic. But even if it thematically doesn’t get the job done, it certainly succeeds on pure thrills. NICK If you’re looking for director Adam Wingard to bring you a new version of The Guest , Onslaught is not that. Instead, this is a film that embraces its B-movie tendencies with everything from unnecessarily ridiculous characters to mindless carnage. Unfortunately, Wingard doesn’t fully embrace his plot’s weirdness nor does he provide anything creative in its violence. It’s all a bit of a missed opportunity. That said, Adria Arjona and Reginald VelJohnson keep things entertaining despite the film's more pedestrian aspects and lack of formidable villains. I just wish Wingard took a few more risks with this one. BODE Onslaught sees director Adam Wingard and frequent writing collaborator Simon Barrett returning to the tone and feel of The Guest , complete with angrier commentary regarding the U.S. government and an 80s-inspired synth score (courtesy of composer Matthew Pusti). It doesn’t quite match the levels of that pulpy masterwork, given a few too many threads left dangling and the lack of a barnburner finale. Still, with how gory, amusing, and thrilling the package is, I was mostly entertained. No movie with Adria Arjona kicking ass, or Rebecca Hall and Dan Stevens getting their freak on can be bad in my books. ROBERT As much as things change, as much as they stay the same. Adam Wingard took a stroll through IP land and landed back in familiar territory with Onslaught . If you combine You’re Next with Planet Terror and a sprinkle of The Strangers , you have this film. For me, marketing and word-of-mouth set an expectation of weirdness that, while edging towards it throughout, never quite grasped it. I like the stylistic choices with its action and slasher atmosphere, harkening back to the 1980s. While cool, it still created an air of forgettability. Like the killers, this film works best under cover of obfuscation.

HURRY UP TOMORROW Starring: Abel Tesfaye, Jenna Ortega, and Barry Keoghan Director: Trey Edward Shults ADRIANO After his performance in The Idol was destroyed, you'd think Abel Tesfaye would try to evolve; however, judging by the ego-fueled vanity project that he co-wrote, Hurry Up Tomorrow , he learned nothing. He's just awful, especially against Jenna Ortega, who's actually quite good. His performance aside, Tesfaye's narcissistic fingerprints are all over this, playing with psychedelic imagery and genre turns that feel purposeless and at odds with director Trey Edward Shults' previous use of those techniques. It feels like it exists mostly to sell an album, but also to fuel a self-image hidden by phony self-reflection. It's simply terrible. BODE On his album Hurry Up Tomorrow , Abel Tesfaye attempts to retire his alter ego, The Weeknd, for good, reflecting on his own fame, pain, and healing through vulnerable lyrics and blockbuster production. It’s effective, if a tad bloated. The same can’t be said about its companion film, where director Trey Edward Shults’ technical artistry can’t distract from its failure to add more context to its themes, especially when it devolves into Gen-Z Misery (with Jenna Ortega as an Annie Wilkes-type). It’s not a total dumpster fire, but I don’t think that even the most hardcore Weeknd fan will get much out of it.

MOANA 2 Starring: Auli’i Cravalho, Dwayne Johnson, Hualālai Chung, Rose Matafeo, David Fane, Khaleesi Lambert-Tsuda, Temuera Morrison, Nicole Scherzinger, Alan Tudyk, and Rachel House Directors: Jason Hand, David G. Derrick Jr., and Dana Ledoux Miller AMARÚ Moana 2 is more than just a solid follow up to one of Disney’s best 21st century original animated features, it’s a natural continuation to one of their best hero’s story. With more heart than the first, if that’s even possible, this sequel keeps its themes rooted in family and culture, making even the most trope-ish of Disney plotlines emotional, funny, and magical. The story is pretty straightforward, with curses, omens, and signs we’ve all seen before, but the delightful new characters, especially “Lil Sis” Simea (Khaleesi Lambert-Tsuda), great new music, and sincere themes make for a beautiful time for all to enjoy. ADRIANO Moana 2 is a fascinating one. Not because it's amazing or because it's awful, but because it's neither. It is just so aggressively nothing. This film was supposed to be a Disney+ series that was re-edited into a movie, and it shows since so much of the story and character development were seemingly left on the editing room floor. The adventure plot is serviceable enough, and Auli'i Cravalho and Dwayne Johnson are great once again, but aside from Moana (Cravalho), none of the characters are given emotional weight. Plus, I couldn't hum any of the songs right now for the life of me. It's just so forgettable.

H IS FOR HAWK Starring: Claire Foy, Brendan Gleeson, Sam Spruell, Denise Gough, Lindsay Duncan, Josh Dylan, Arty Froushan, Emma Cunniffe Director: Philippa Lowthorpe QUENTIN H is for Hawk features two plotlines. The first is about Helen (Claire Foy) coping with her father’s death. While Foy carries the requisite emotional weight, it’s thinly written and seems beside the point. The second, more central plotline shows Helen becoming addicted to falconry, which is engrossing as her relationship with the hawk takes flight. However, true story notwithstanding, the grief angle isn’t needed; it distracts from the compelling bird-training moments. Hawk would have been better had it simply been about a woman and her new hobby instead of an uplifting and tropey take on grief-induced addiction (H is for hawk, not heroin, you see). KATIE H is for Hawk follows Helen (Claire Foy), an academic who loses her father, photographer Alisdair Macdonald (Brendan Gleeson), and seeks emotional respite by training a Goshawk. It’s an eccentric approach that is grounded in realism, and whilst detached in how she presents herself to her friends and family, the character’s grief and pain shine through in Foy’s moving performance. The scenes of her handling the hawk are real, creating a unique authenticity of her emotional experience, and the scenes of the magnificent bird hunting are stunning. Especially if you’ve lost a parent, this is a moving depiction of someone struggling with grief. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

M3GAN Starring: Allison Williams, Violet McGraw, Amie Donald, Jenna Davis, Jen Van Epps, Brian Jordan Alvarez, Jack Cassidy, Ronny Chieng, Lori Dungey, and Stephane Garneau-Monten Director: Gerard Johnstone JACOB From the outset, one can tell that M3GAN is very much in on the joke found in its marketing, and it’s a lot of fun to watch it reach the punchline. Although it doesn’t do much that’s decidedly original, the thriller has more going for it than meets the eye (especially concerning childhood emotional health), and the titular doll is as much of a skeezy weirdo as anyone could hope for. Allison Williams and Violet McGraw have enough solid chemistry to keep things engaging even when she isn’t on screen, but M3GAN is very much the star. DARRYL M3GAN is a decent enough movie that it will help moviegoers make it through the January doldrums. Allison Williams and Violet McGraw's chemistry (or lack thereof), along with Jenna Davis' voice work, make for a well-crafted warning on the dangers of irresponsible science and creation without thought for the consequences. While there are few (if any) surprises throughout the film, Gerard Johnstone's competent direction compensates for it, framing M3GAN in ways that both amuse and unsettle. Thanks to the combined efforts of Johnstone, Williams, and the production team, Chucky no longer corners the market on sadistic killer child dolls. ADRIANO M3GAN is one of those movies where I got exactly what I was expecting, and I love that about it. I do think an R rating could have maybe propelled it to wilder extremes, and the trailer gave away most of the craziness, but the movie offered enough bonkers comedy mixed with creepiness that I had a fun time, nonetheless. And what’s shocking is that, amongst the chaos, there’s a sweet little message hidden in there about parenting. I can say without a sliver of doubt in my mind that M3GAN is already a horror icon. JTE M3GAN is a film that lives up to its potential, but never comes close to exceeding it. At this point in my life, I've seen my fair share of killer doll movies, and while M3GAN is a worthy addition to the genre, it doesn't do much to reinvent the wheel. I couldn't help but think that maybe the studio lost something in chasing the PG-13 rating since the film comes off as more of a comedy than a horror film. Still, I enjoyed the film’s commentary on children and technology, but I wanted more scares and gore. PAIGE Watch out Chucky, we have a new killer doll on our hands and she’s batshit crazy! M3GAN is pretty much an American Girl doll on crack, and the best way to describe the film is Chucky meets The Terminator. It’s a bonkers film that knows exactly what it is and uses that to its advantage, with producers Jason Blum and James Wan cooking up a hella entertaining flick that is campy fun. I personally feel that they played it a little too safe, and I would have loved to see what they could have done with an R rating, but for what it is, it works. QUENTIN Given that it’s January – the dead zone of the cinematic year – you can certainly do worse than M3GAN . That said, it’s not a good movie; it’s merely a good-for-January movie. Ultimately, it’s just not scary enough to be good horror or funny enough to be good camp. Honestly, I’m not entirely sure some of the funnier parts were even intentional, which can certainly skew one’s view (i.e., is it in on the joke or not? Is it a so-bad-it’s-good movie?). I admit that there is an inherent creepiness factor in M3GAN’s character design, but the movie itself is hamstrung by the PG-13 rating. JOSEPH M3GAN is such a fun way to ring in 2023 at the movies because it’s a cleverly written film that offers far more than meets the eye. While it may be lacking in gore, it’s never short on laughs, and it will keep your attention the whole way through. It also offers a thorough critique of technology and our dependence on it. I can only hope this isn’t the last we see of M3GAN because she definitely gives Chucky a run for his money.

THE UNFORGIVABLE Starring: Sandra Bullock, Vincent D’Onofrio, Viola Davis, Jon Bernthal, Aisling Franciosi, and Rob Morgan Director: Nora Fingscheidt NICK Although it’s nice to see Sandra Bullock in another serious role, The Unforgivable doesn’t cut it. It’s not the actors’ faults, but this film wastes the likes of Bullock, Jon Bernthal, Vincent D’Onofrio, and Viola Davis by moving at a snail’s pace until the final act. When it finally picks up, I was already pretty tuned out, sadly. This is a film that needed exceptional dialogue to work, and it just doesn’t have it. It’s dreary, unimaginative, and it violates the cardinal sin of all - it’s boring. Considering the star power, this is one of Netflix’s bigger disappointments. JOSEPH The story The Unforgivable tells is a bit slow and brooding; a constant reflection of how society will not allow for second chances nor are they willing to hear people out. It’s because of this that the film does suffer a bit. It’s not sad enough to elicit much emotion nor does it have a comedic relief, it’s just a persistent downer, and if it weren’t for a specific subplot, it would probably be boring too. Most of the tension is due to this subplot involving random side characters. At least Sandra Bullock is able to truly shine in this.

SCOOP Starring: Gillian Anderson, Rufus Sewell, Billie Piper, Connor Swindells, Keeley Hawes, Romola Garai, Charity Wakefield, Lia Williams, and Richard Goulding Director: Philip Martin QUENTIN For fans of journalism movies, Scoop boasts enough of the typical hallmarks to keep genre fans mildly entertained, even if they ultimately walk away unimpressed and having not learned much. It’s almost too light and breezy, failing to truly capture the tense importance of the moment in the way that films like Frost/Nixon and Spotlight did. There is very little character development, nor are there any bombshell revelations about how it all went down. Newsnight asked for an interview, it was granted…and that’s pretty much it. Maybe it would have resonated more if I was a Brit, but for Americans, there just isn’t much here. KATIE Days before Scoop dropped on Netflix, Prince Andrew led the Royal Family into Easter Sunday service, his most recent appearance in a string of high-profile events. Although it feels too soon for a dramatisation of events from 2019, the film is a reminder that the Prince still holds a prominent position in public life. Scoop treats cameras like guns and the interview like a Western stand-off, adding tension to the familiar story. Although it struggles to engage with the seriousness of the crimes, Billie Piper’s performance as Sam McAlister brings some much needed emotional depth to what is a quite matter-of-fact account.

WARFARE Starring: D’Pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Kit Connor, Finn Bennett, Taylor John Smith, Michael Gandolfini, Adain Bradley, Noah Centineo, Evan Holtzman, Henrique Zaga, Joseph Quinn, and Charles Melton Directors: Alex Garland and Ray Mendoza NICK If we’re just grading on accuracy and realism, then Warfare would be an easy five out of five. This is an immersive, unforgettable sensory experience. That’s the thing, though. It’s more of an experience than a film. There’s no real character development or backstory; no beginning, middle, or end. It’s like an elevated, true-to-life Call of Duty mission, and I mean that with no offense because it is remarkable. Every cast member brings authenticity and poise to their roles (Joseph Quinn's screams will stay with me for some time), but it's the direction from Alex Garland and Ray Mendoza that really makes this thing stand out. ADRIANO At what point do we watch something like Warfare and ask, "is this even a movie?" It admittedly does an excellent job of immersing audiences in the gruelling reality of combat, but still… Truthfully, the sound work, makeup, Alex Garland and Ray Mendoza's direction, and the performances are all effective in really making this an experience. However, that is all this is. An experience. Warfare is nothing more than immersion without real substance, point, or, character development. Very late in the movie, I couldn't help but think, “is this it?" And low and behold, it was. PAIGE Directors Ray Mendoza and Alex Garland may deliver an immersive and polarizing film with stellar sound design that will leave your ears ringing, but overall, Warfare just ends up feeling like a 90-minute Call of Duty mission. With no real plot or arc, its story becomes soulless. The ensemble’s performances are extremely authentic, but there isn’t any characterization with these characters. Frankly, there isn't much at all to take away from this suffocating and harrowing film, so even though it kept me on the edge of my seat throughout the platoon's mission, I couldn't help but feel empty by the time it was over. BODE The best way to describe Warfare is if directors Ray Mendoza and Alex Garland took the D-Day sequence that opens Saving Private Ryan and stretched it out to 95 minutes. It’s as immersive as a film conveying “war is hell” can be, as its visceral brutality is accentuated by its refusal to rely on much in the way of typical cinematic devices like traditional storytelling rules, intimate character details, or a digestible narrative (an almost-deafening sound design, notwithstanding). It’s an unsatisfying experience by design, but I have much respect for it. QUENTIN Warfare is the type of movie that treats the scenario at hand, as opposed to the people on screen, as the main character, providing a wholly immersive battlefield experience through gritty realism and tremendous sound design. As a veteran, I’ve been close enough to similar real-life situations to know Warfare is as close as one can get to confronting the fog of war without actually enlisting. The palpable tension, distressing uncertainty, and jarring what-the-fuck-do-we-do?! chaos — it’s all there for 95 edge-of-your-seat minutes. Fair warning, though… Warfare will be much better on the big screen than at home, and it could be triggering for some combat veterans.

SHOWING UP Starring: Michelle Williams, Hong Chau, André 3000, Judd Hirsch, John Magaro and Maryann Plunkett Director: Kelly Reichardt PAIGE Showing Up is an awkward, tongue-in-cheek film that Michelle Williams carries on her shoulders. Just like her character's sculptures, Williams continues to come out glistening with new layers. The film also gives us a great supporting cast, and director Kelly Reichardt continuing her running theme of showing ways that one may care for others regardless if it’s out of duty or love. Still, as great as that all is, the film lacks a caring story, unfortunately. It just isn’t as intriguing as I had hoped. JACOB Showing Up finds director Kelly Reichardt operating in a slightly more casual mode, but it nonetheless remains successful thanks to a surprisingly funny script and two above-average performances from Michelle Williams and Hong Chau. Williams burrows into the deepest recesses of visual artists’ eternal struggle, and her vulnerability and anxieties are shown forth from her eyes at every turn (after all, the idea of broken dreams and struggle is very much the point here). It’s Chau, though, who ends up walking away with the film’s best moments, including a bit regarding one of the film’s other principle characters: a pigeon. This film was reviewed by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

PADDINGTON IN PERU Starring Ben Whishaw, Emily Mortimer, Madeleine Harris, Olivia Colman, Carla Tous, Samuel Joslin, Antonio Banderas, Hugh Bonneville, Julie Walters, Imelda Staunton, and Hayley Atwell Director: Dougal Wilson KATIE Paddington (Ben Whishaw) returns, but this time, he leaves London for the deep jungle of Peru. Paddington in Peru carries its predecessor's irresistible charm, light-hearted humour, and themes of kindness and acceptance, but feels more straightforward in terms of the story, focusing on action set pieces and impressive visuals. Olivia Colman is perfect as the saintly Reverend Mother, and she made me laugh whenever she was on screen. Antonio Banderas seems to revel his role as the roguish captain Cabot, as well. It may not be the strongest in the trilogy, but Paddington in Peru is still one of the best family films I’ve seen in years. ADRIANO Devastatingly, Paddington In Peru is a massive step down from the previous installments. The film still boasts the charm you can come to expect from the marmalade-loving bear; he's still an easy protagonist to root for. However, previous director Paul King’s absence is sorely felt. It's visually lacking, the storytelling is a lot more disjointed, and emotionally, even at its most heartwarming, none of it felt earned. There's a moment where a character tells Paddington (Ben Whishaw) that he "found himself" and I asked myself "when?" Following up the last two films was always a high task, but this doesn't come close. ROBERT Paddington (Ben Whishaw) on a jungle adventure? How could you not love it? If you expect the same level of craftsmanship and storytelling in Paddington in Peru as the first two films, you will be disappointed. However, it is still a worthy third entry despite how much it made me think of Jungle Cruise as I watched it. Olivia Colman continues to parlay her post-Oscar career into playing a quirky and dry-witted character with hidden intentions, and Antonio Banderas chews up scenery as “Captain Cabot” a.k.a. Puss in Boots in human form. Even with its shortcomings, Paddington in Peru finds ways to ooze irresistible charm. AMARÚ I love myself a good, cheeky, family film, and adding masters-in-cheek Olivia Colman and Antonio Banderas to Paddington in Peru ’s delightful returning cast provides childlike shenanigans and adult-like themes for the whole family to enjoy. Watching Colman and Julie Walters chew scenery together is just one of the many perks of having a dedicated ensemble that delivers comforting warmth, beautiful ridiculousness, and ear-to-ear grins. They guide you through a foreseeable adventure, saying, “we know you know what’s coming, but watch how much you love getting there.” But, man, does that not sum up the warm hug this franchise continues to deliver. BODE I went into Paddington in Peru nervous, but still open to what a third movie in this franchise would be like without previous director Paul King at the helm. While King’s absence is - for the most part - felt, the new creative team (led by first-time feature director Dougal Wilson) do enough to retain the innate charm and sweetness that has defined the series, even with a wobblier story. Olivia Colman and Antonio Banderas are fun new additions alongside its great returning cast (sans Sally Hawkins, though Emily Mortimer proves she’s a worthy replacement). This third entry may be flawed, but it’s still an endearing time.