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STUDIO 666 Starring: Dave Grohl, Taylor Hawkins, Pat Smear, Nate Mendel, Chris Shiflett, Rami Jaffee, Whitney Cummings, Will Forte, Jeff Garlin, and Leslie Grossman Director: BJ McDonnell NICK Studio 666 doesn’t take itself too seriously, but the execution of the film is top notch. It’s ambitious, yet it works because it knows exactly what it is. You’re not going to find solid acting or some intricate mystery here - it’s a horror film starring Foo Fighters. That said, the band's chemistry translates to the big screen, and there are some surprisingly gnarly scenes (including one with a chainsaw I won’t soon forget). To fans of Foo Fighters, this will surely become a cult classic, and as for non-fans, Studio 666 is at least worth checking out. QUENTIN It’s not easy to thread the needle on a horror comedy, and while Studio 666 doesn’t exactly nail it, it’s not without its goofy charms. Admittedly, I’m a massive Foo Fighters fan so I may be biased, but it has a B-movie silliness and self-awareness that is infectious. It’s dumb, but they know it’s dumb and are in on the joke. The fact that they can’t act worth a damn only adds to its weird appeal. It's not perfect, but it’s not a waste of time or a vapid vanity project either. It’s likely to become a cult classic. PAIGE Studio 666 is a rad horror comedy that shreds in the laugh department while also indulging us with a bloody headbanging good time! Yes, it’s a silly B-movie that is over the top, but it’s also self aware, which makes it rock that much more. It really hits all the right notes. Truth be told, I already loved Foo Fighters, and this flick just made me love them even more. JACOB There’s a B-movie, grindhouse sort of fun to be found in Studio 666 , but unfortunately, the incredibly messy script and Dave Grohl’s terrible lead performance keep getting in its way. When the film really leans into just how ridiculous it is, it starts to shine; However, it keeps attempting to turn that ridiculousness into genuine horror, falling flat on its face every time. Fans of Foo Fighters may turn this into a cult hit down the line, but anyone seeking a diamond in the rough will unfortunately be met with a lump of damp coal.

KILLERS OF THE FLOWER MOON Starring: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, Jason Isbell, Sturgill Simpson, Scott Shepherd, Cara Jade Myers, JaNae Collins, Jillian Dion, William Belleau, Louis Cancelmi, Tommy Schultz, Ty Mitchell, Brendan Fraser, and John Lithgow Director: Martin Scorsese QUENTIN Coming into 2023, I genuinely expected Killers of the Flower Moon to be in competition for my favorite movie of the year. Alas, it wasn’t meant to be. Admittedly, it features all the things you’d expect from those involved: great cinematography, powerhouse performances, strong messaging, and interesting directorial flourishes. Sadly, though, at 3.5 hours, it unsurprisingly has massive pacing issues. Some parts are extremely rushed while others are incredibly sluggish, not to mention some questionable editing that makes it hard to establish the story’s timeline. It’s good, but far from great; definitely not the Martin Scorsese masterpiece I heard about coming out of Cannes. NICK I will never advocate for films to be longer than three hours; if the story calls for it, make it a miniseries. However, as that trend continues, Martin Scorsese gives a solid effort justifying the runtime of Killers of the Flower Moon . This multi-year saga gets stronger as the story unfolds, with Scorsese diving into themes of greed, manipulation, and the disregard for indigenous human life. Yes, it features fantastic performances from both Leonardo DiCaprio and Robert De Niro, but this film succeeds largely on the work of Scorsese and his ability to keep a solid pace while keeping things thoroughly engaging. ADRIANO It's a gift to be living in a time when Martin Scorsese is still making masterworks like this. Killers of the Flower Moon may feature familiar beats from Scorsese’s past films blended with his recent trend of mature somberness, but it makes for an affecting viewing experience. The tragedy on display is made exhilarating thanks to Scorsese's energetic direction, making the three-and-a-half-hour runtime breeze by. Outstanding performances from Lily Gladstone, Robert De Niro, and a career-best Leonardo DiCaprio mixed with a haunting story of greed, white supremacy, and American history, you have another win for the legendary filmmaker. AMARÚ Killers of the Flower Moon is like a non-stop ticking time bomb that’s continuously exploding, with wave after wave of death and the coldness of those who committed the atrocities against the Osage people. Director Martin Scorsese serves the story up on a silver platter, presenting the darkness without judgment or emotion. Robert De Niro is at his best, as is Leonardo DiCaprio in an unglorified never-really-seen-from-him-before type role; however, the heart is Lily Gladstone, whose constant pain, despair, and anguish never extinguish the strength behind her eyes. Her quietly powerful presence encapsulates this demanding yet important three-and-a-half-hour epic. PAIGE While Killers of the Flower Moon is a beautifully crafted crime epic that may be director Martin Scorsese’s most daring effort yet, I couldn't help but yearn for more insight into the Osage. At more than three hours, it needed a more balanced structure to generate a stronger story. Its depiction of power and greed overshadows the real story here, and it seems like Scorsese cared more about showing how these crimes were committed instead of the effects they had on the Osage. Don’t get me wrong, the film has many positive things going for it, but the overall story left me a wee bit underwhelmed. KATIE Killers of the Flower Moon is a mesmerising film that mediates upon the greed, violence, and oppression that embodies American history. Although the runtime seems daunting, it's incredibly well-paced and engaging, spurred on by the tense, rhythmic score. I feel that its length is justified since it forced me to ruminate on the tragic stories of grief experienced by the Osage people and the senseless atrocities committed against them, whilst savouring stunning shots of nature, joy, and heartbreak. All the performances are outstanding, but Lily Gladstone outshines everyone, which is an amazing achievement considering the heavyweight cast. PRESTON Killers of the Flower Moon features two pairings of heavy hitters: director Martin Scorsese and cinematographer Rodrigo Prieto join forces to bring beautiful, picturesque gravitas to the outrageous Osage Murders, while acting titans Leonardo DiCaprio and Lily Gladstone perfectly capture their characters’ complicated, emotional, and dichotomous nature. It’s far from perfect, though…perhaps Scorsese’s passion for doing this striking story justice prevented the necessary editing that would’ve alleviated its tortuous length, confusing timeline, and inconsistent pacing. In the end, I’m glad I endured this intense chronicle at least once, even if logging a second viewing is unlikely. PHILL Martin Scorsese will already go down as one of the greatest directors of all time, but, sadly, he is far from his best here. Killers of the Flower Moon showcases remarkable performances from the ever-legendary Robert De Niro and Leonardo DiCaprio amongst a stellar ensemble cast, and while the plot is grim and weighty, it is far too long and a little dull in parts. It lacks the tension Scorsese usually achieves so well. There is a great film in there somewhere, and it will likely make a lot of noise come awards season, but it certainly feels more suited to streaming. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Zurich Film Festival.

FRANKENSTEIN Starring: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, and Lars Mikkelsen Director: Guillermo del Toro NICK Frankenstein is director Guillermo del Toro’s heart laid out on screen. The director’s passion for this story is evident in every scene, and I truly think this is some of his best work to date. The world building and appearance of the film are exceptional, as del Toro's unwavering use of practical effects shines through. Jacob Elordi as The Creature blows away all expectations while del Toro continues to succeed in finding humanity within a monster. It’s not perfect, mind you – Mia Goth is miscast and the script could be a touch tighter – but much like Frankenstein’s monster, it rises above any of its imperfections. ADRIANO Writer/director Guillermo del Toro's Frankenstein is long. There was never a moment when I wasn't engaged, but I'll admit there's some fat that could've been trimmed. But the ends justified the means here. As expected from a del Toro film, the crafts are magnificent, from set design to Dan Lausten's cinematography that fully immerses us into this world. But it's the compassionate writing that accurately brings Mary Shelley's book to life, pondering the difference between man and monster with a stunning performance from Jacob Elordi as The Creature. This Frankenstein is another stunning creature feature from the master del Toro! QUENTIN Truth be told, I’ve long considered director Guillermo del Toro to be overrated, but my tune has changed with Frankenstein . Although long-winded and somewhat tonally disjointed, I can’t deny that this immaculately crafted and lavishly designed adaptation hooked me almost immediately through its terrific performances and grand scale. Del Toro’s gothic sensibilities are perfectly aligned with Mary Shelley’s poetic story of loss and guilt, creating everything I wanted and failed to get from Robert Eggers’ Nosferatu (a slog of a movie). I wouldn’t call it a masterpiece like some have, but the Hollywood machine is doing cinema and cinephiles a disservice by releasing Frankenstein on Netflix. AMARÚ From the first swooping action scene in Frankenstein , you can feel that director Guillermo del Toro was aiming for his epic. The visuals and cinematography, coupled with an imposing score, make for a grand retelling of this well-known tale. However, I’ve never experienced it like this. Its grandiose scope clears the way for Oscar Isaac’s strikingly arrogant portrayal of the titular creator, and Jacob Elordi’s magnificent depiction of his creation’s vast loneliness. The three artists’ boundless marriage gives life to a surprisingly simple and straightforward story, so while the emotional resonance may not connect, the presentation and performances keep you fully engaged. BODE Guillermo del Toro has wanted to make his version of Frankenstein for forever. Now that it’s finally made it to the screen, does the long wait pay off? Well…sort of. His emotional connection to the source material is tangible, the performances (especially Jacob Elordi as The Creature) are solid, and, as always with a del Toro project, the technical aspects are top-notch. But it’s undeniably overlong, and the increasingly literal themes of “who’s the real monster?” (not new for GDT) kept me from embracing it further. Perhaps another viewing will smooth some issues over, but for now, I can only admire this. PAIGE While Guillermo del Toro’s take on this classic monster tale may not bring anything particularly new to the table with its story, it still is an exquisitely grotesque, atmospheric, and enthralling experience. Surprisingly, its weakness doesn’t lie in the humanization of the monster, as Jacob Elordi’s portrayal of the creature is actually my favorite part of the movie; it’s the character of Victor Frankenstein, played by Oscar Isaac, that is lacking here. Elordi brings so much depth and vulnerability with his performance, while Isaac’s character felt emotionless and somewhat stale in comparison. Despite its tragic yet hopeful ending, it’s missing a charm that would have made it feel complete. KATIE I enjoyed every minute of Guillermo del Toro’s Frankenstein. It’s a very del Toro film in the best way, with gorgeously detailed set design, a humanistic story that’s full of heart, and that crafty, theatrical yet lavish sheen. It’s romantic and darkly gothic, and the practical effects are fantastic and wonderfully squishy. The focus on the obsessive relationship between Victor Frankenstein, played with scene-chewing gusto by Oscar Isaac, and his monstrous creation, played by an impressively sympathetic yet imposing Jacob Elordi, is very compelling, and del Toro’s reverence for the story is evident in every frame. ROBERT When Frankenstein opened in the Arctic, I thought to myself, “I’ve seen this once upon a time”. As it continued, I kept being transported to previous iterations of the story I’ve seen, and while interesting to look at, I didn’t understand how this was specific to Guillermo del Toro. The production design with some of the practical sets was breathtaking, and the makeup and costumes filled out the aesthetic of 19th-century Europe spectacularly. However, the film drags in multiple areas, and while Jacob Elordi as The Creature is sympathetic, I can’t root for or connect with any other character; the seams here are exposed. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

BUFFET INFINITY Starring: Kevin Singh, Claire Theobold, and Donovan Workun Director: Simon Glassman This film has been reviewed by Quentin, Bode, and Nick as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Harkening back to the days before streaming services, Buffet Infinity does the channel surfing for you. The parade of low budget television ads are entertaining at first but eventually become quite repetitive - outside of the battle for ad space between Buffet Infinity and Jenny’s Sandwich Shop. While I respect the craftsmanship and the difficulty in putting this all together, it just didn’t need to have a feature runtime. The original idea came from a YouTube skit and turning this into a 20-or-so minute short would have been the ideal way to expand it. QUENTIN I respect artists who have an experimental vision and the dedication to see it through. That is where my praise for director Simon Glassman’s Buffet Infinity ends. FYI, this isn’t a movie in the traditional sense. Sure, it’s 99 minutes long, but it’s composed entirely of cheap local commercials that mostly run under a minute. Given that approach, it quickly becomes incredibly tedious and repetitive because there aren’t any characters or story to invest in. Glassman created Infinity Buffet as a 30-second YouTube clip at the beginning of COVID, and it definitely feels like the out-of-control creation of someone trying to hold it together during lockdown. BODE I believe that a movie should be however long as the filmmaker wants it to be. But there’s just no denying whenever you feel a film is overlong, and Simon Glassman’s directorial debut Buffet Infinity is a prime example of this. While the concept of an alien invasion tale told exclusively through low-budget commercials is certainly admirable, it’s clearly better suited for a 30-minute short (ideally watched on Adult Swim) and not a 100-minute feature. The longer it went on, the more its absurdist charm dissipated, leaving this experiment fizzling as a result. Protect Ahmed at all costs though.

GUILLERMO DEL TORO'S PINOCCHIO Starring: Ewan McGregor, David Bradley, Gregory Mann, Ron Perlman, Cate Blanchett, Finn Wolfhard, Christoph Waltz, and Tilda Swinton Director: Guillermo del Toro and Mark Gustafson ADRIANO After multiple iterations of Pinocchio over the course of several decades, you would think we had seen everything this tale can provide. However, in comes Guillermo del Toro’s Pinocchio to prove that notion wrong. There is so much to praise about this film that goes beyond 100 words: the updates to the source material are brilliant, the stop-motion animation is mind-blowing, the score feels legitimately magical, and the film’s themes of grief and love are outright beautiful to the point where I was in tears for the final 10 minutes. I truly believe this film is a masterpiece. NICK Guillermo del Toro is one of the best fantasy filmmakers of all time, and he once again proves it with this adaptation. An improvement on the 1940 Disney classic in every way, this is nothing short of a masterpiece. Del Toro leans into darker aspects of the story to create an unforgiving and honest commentary on mortality bolstered by some terrific voice work and stunning visuals. In a year where Marcel the Shell with Shoes On (a great film in its own right) felt like a foregone conclusion awards-wise, Pinocchio has blown that guarantee out of the water. An exceptional effort by del Toro. DARRYL Of the two Pinocchio adaptations moviegoers received this year, Guillermo del Toro’s proves to be the far superior in every possible category. One of the year’s best animated films, del Toro manages to appeal to both adults and kids alike, delivering a fun adventure while also dwelling on the magnificence that is life. With stellar vocal work from Gregory Mann and David Bradley (Pinocchio and Geppetto, respectively), the emotion shines through the performances, providing a wonderful father and son story that will stand the test of time. In all, del Toro continues to prove he’s one of the best in any genre and any medium of storytelling. QUENTIN If judging purely on craftsmanship, I’d give Pinocchio five reels. The character design is stunningly beautiful and hauntingly detailed, while the stop-motion animation is absolutely flawless. However, as a whole, the film didn’t do much for me. It could be that I was already too familiar with where the story needed to go, or the overly saccharine plot points and bland musical numbers just weren’t for me; either way, I found myself increasingly bored, making the two-hour runtime a struggle. Also, I’m not exactly sure who it’s for, as it feels simultaneously too dark for kids and too childlike for adults. It sure is pretty, though. JACOB Although I wouldn’t quite consider it a masterpiece, Guillermo del Toro’s Pinocchio is nonetheless one of the year’s best films, especially wherein it concerns animation. A multi-layered story of found family, love, loss, and bravery in the face of terror, this richly-textured piece of wonder features gorgeous stop-motion craftwork buoyed by yet another terrific Alexandre Desplat score and great sound design. Some of the dialogue and story progression is a bit broad, as is typical of the Pinocchio story, but del Toro’s affinity for weird creatures and unconventional settings make up for nearly all shortcomings. This one is special. AMARÚ Guillermo del Toro incredibly balances light and dark to tell deep stories in simple ways. That’s why he’s such a great horror director (read: director, period). So, it’s no wonder he re-imagined the most horrifying of all Disney classics, Pinocchio . It’s delightful, harrowing, brutal, and charming, with fantastic voice work (especially Ewan McGregor) and impeccable storytelling. But most striking is the air of constant sadness that sticks with you. The beautiful sadness of knowing that we must cherish our short time on Earth. See? Light and dark. Del Toro wonderfully utilizes both to bring us one of the year’s best films. PAIGE Like Geppetto (David Bradley), director Guillermo del Toro brings the magical tale of Pinocchio to life! With such astonishingly rich stop-motion animation and an outstanding score, del Toro and his team bring his unique style to the forefront of this gem while also appreciating the lore of this classic story. I’m not quite sure how the mature material, which reflects on the power of love, loss, and the preciousness of life, will sit with a younger audience, but I assume the older watchers will appreciate it much more because, damn, this film will give you all the feels.

FLOW Director: Gints Zilbalodis QUENTIN I surely didn’t expect the best film out of Cannes to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. NICK Flow has a lot to say without uttering a single word. This wonderfully animated film follows the journey of Cat and other wildlife as they navigate their way through the flooding of their home. Although there are no human characters, the themes of class, family, and isolation are all prevalent, which leaves a lot of aspects to relate to. Even if you take away that depth, you’re still left with a very cute film about animals (with tons of personality) coming together in the face of disaster. Just like the best animated films, this one is bound to appeal to children and adults alike. ADRIANO Flow is simply adorable, but I kinda wanted a little more. The animation is cute, with some beautifully grand visuals occasionally, and its concept is simple enough, featuring a band of animals trying to survive a flood. Plus, at just under 90 minutes, it never overstays its welcome and I did thankfully find myself constantly drawn towards the increasing action of the plot. However, the climate change themes are overshadowed by the "friends along the way" narrative. That all said, with no dialogue at all, Flow wound up being a very endearing watch. AMARÚ With our inherent obsession with cute animal videos, what is not to love about the one-of-a-kind experience that is Flow ? While it is adorable watching a cat navigate the world’s perils, this masterfully animated feature is so much more than a social media distraction. It’s an absolutely stunning journey that uses themes of empathy, compassion, found family, and the kindness of others to explore the beautifully unforgiving power of nature and the powerfully beautiful resilience of community. Using profound aesthetics from both the natural and mystical world, Flow is sorrowful, heartwarming, magical, and endearing, and it won’t be leaving my thoughts for a long while. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

LUMINA Starring: Eric Roberts, Emily Hall, Andrea Tivadar, Gino McKoy, Sidney Nicole Rogers, Eleanor Williams, and Ken Lawson Director: Gino McKoy KATIE Maybe I didn't understand Lumina , but I was constantly shocked and, at times, impressed by the lack of character development or reasoning for anything that happens. I did not understand the relationships between any of the characters, who are of little consequence and seem to materialise out of nowhere only to disappear just as quickly, and we’re given no insight into their ridiculous motivations. Plus, the excruciatingly shoddy and cheap-looking CGI is about as convincing as the awful performances. Nonetheless, some of the line deliveries and bad CGI are entertaining in their own way, resulting in something so disastrous I nearly had a good time. QUENTIN In 2015, I bought a car for $500. The paint was flaky and faded, the saggy cloth seats had cigarette burns, and when you cranked the AC, the headlights dimmed noticeably. It was an embarrassing and creaky shitbox, but it was, technically, an automobile. After months of “fuck this car,” I donated it for the tax write-off. Where am I going with this? That car was a 2000 Chevy Lumina. Gino McKoy’s sci-fi horror Lumina evokes that car’s memory. Is it technically a movie? Yes. Is it an embarrassing, “fuck-this-movie” shitbox that should have been shelved for the tax write-off? Also yes.

SCREAM VI Starring: Melissa Barrera, Jasmin Savoy Brown, Jack Champion, Henry Czerny, Mason Gooding, Liana Liberato, Dermot Mulroney, Devyn Nekoda, Jenna Ortega, Tony Revolori, Josh Segarra, Samara Weaving, Hayden Panettiere, and Courteney Cox Director: Matt Bettinelli-Olpin and Tyler Gillett PAIGE Admittedly, I was a little skeptical going into Scream VI since I wasn’t the biggest fan of 2022’s Scream , but I was wrong because the sixth installment of this franchise is a killer time. You can truly feel directing duo Radio Silence’s love for horror in this one, as there is plenty of slicing and dicing going on with the most brutal Ghostface yet. I’m still not the biggest fan of Melissa Barrera’s character, but the Core Four delivers with their charisma, and while the commentary and motives aren’t as strong as the other sequels, it’s definitely the most stabtastic entry yet. QUENTIN At this point, the Scream franchise isn’t winning new fans. If you love the formula and have nostalgia for the characters, Scream VI probably is quite enjoyable. It’s comfort food that has no nutritional value. Alternatively, if, like me, you're objective and don't hold a special place in your heart for all things Ghostface, it's just good enough that it doesn’t feel like a waste of time, but is ultimately just another entry in a string of sequels that are becoming stale. Nothing else I say about the acting, story, or predictability is going to sway opinions beyond that. I appreciated the elevated visceral gore, though. JACOB Scream VI has some of the franchise’s greatest set-pieces and a few gnarly kills, but while I enjoyed the film overall, I found myself disappointed by its writing in comparison to its immediate predecessor. My favorite part of the Scream films has always been their commentaries on the state of movies at the time of their release, but this opts for a more straightforward thriller angle without having much that’s new to say. Plus, what it does say is handled a bit clumsily. That said, it is a fun time to have at the theater, and Melissa Barrera is marginally better this time around. ADRIANO I’m a big fan of the Scream movies, so I’m delighted to say I really liked Scream VI …until I didn’t. The mix of funny meta commentary and suspensefully brutal kills is there to entertain the slasher fan in me, but it felt like it was building to something interesting before revealing Ghostface’s true motivations, which just didn’t do the setup justice. I guess I was fooled, but it felt like more of a lie than a clever twist. It didn’t ruin the fun I had, but it left a sour taste in my mouth.

LUTHER: THE FALLEN SUN Starring: Idris Elba, Cynthia Erivo, Andy Serkis, and Dermot Crowley Director: Jamie Payne DARRYL While not as strong as the series it stems from, The Fallen Sun is enjoyable for what it is: a feature length crime thriller spearheaded by everyone's favorite rogue criminal inspector. Idris Elba continues to be brilliant in his portrayal of the long-suffering protagonist, showing Luther as a weary ex-cop weathered by past decisions while doggedly pursuing his man. Although he has been better in recent roles, Andy Serkis (and his ridiculous wig) is serviceable as the weakly written antagonist. The story crumbles in the third act, but The Fallen Sun still holds up enough to be a decent weekday watch. QUENTIN As a fan of Luther , The Fallen Sun scratched my itch for more gruff crime-solving from Idris Elba and his trademark overcoat. However, as a standalone movie, it’s nothing particularly special, coming in slightly better than serviceable-yet-forgettable 2000s crime thrillers like Along Came a Spider and Taking Lives . I guess it feels bigger and more “professional” than the show, but it doesn’t quite feel cinematic either. Still, the acting is solid (despite whatever Andy Serkis’ wig is doing), the cat-and-mouse games are just compelling enough to hold viewers’ interest, and best of all, you don’t need to have seen the show to enjoy the movie.

TALK TO ME Starring: Sophie Wilde, Joe Bird, Alexandra Jensen, Otis Dhanji, Chris Alosio, Zoe Terakes, and Miranda Otto Directors: Danny and Michael Philippou NICK Harkening back to games like Bloody Mary, Talk to Me takes things one step further as it not only turns possession into a game, but a game that becomes the equivalent of a street drug. Directors Danny and Michael Philippou have crafted a new take in a bloated genre that isn’t reliant on jump scares to unsettle you. Instead, they use foreshadowing and metaphors to navigate the way we handle grief. Much like Ari Aster with Hereditary , I expect this to be a launching pad for the two brothers. The Horror King of 2023 is here, and I can’t see it being unseated anytime soon. PAIGE Hands down, this is the best horror flick of the year thus far. If the directors (Danny and Michael Philippou) decide to stick with this genre, I think horror fans will be in good hands because Talk to Me will rattle you to your core with how unsettling and chilling it is. This A24 gem is a stylish and disturbing tale of grief and loss, but what gives it the upper hand is its killer cast, spearheaded by Sophie Wilde. This movie will keep you on edge from start to finish, it's that bloody good. ADRIANO Talk to Me is the kind of movie you need to see to believe. Debut directors Danny and Michael Philippou get full freedom to make a wild and deranged flick, the kind of film that once its central premise kicks in, it never lets up. It’s bloody, it’s insane, and despite its short runtime, it takes its time to tell a genuine story about grief, anchored by a star-making performance by Sophie Wilde. Plus, the grand finale is the perfect way to end such a frightening ride, and if a prequel were to be made, I wouldn’t be upset.

STOPMOTION Starring: Aisling Franciosi, Caoilinn Springall, Stella Gonet, Therica Wilson-Read, and Tom York Director: Robert Morgan KATIE Robert Morgan’s feature debut, Stopmotion , tells a familiar tale of an artist being consumed by their work in a similar vein to Saint Maud and Censor , but it is elevated by the deeply unsettling use of stop-motion animation combined with compelling live-action performances. The stop-motion creations are the stuff of nightmares, and they imbue the film with a distinctively creepy quality, emphasised by its spine-tingling sound design. Aisling Franciosi is amazing as Ella, delivering a performance that embodies her character’s emotional journey and anchoring the viewer’s engagement with the story. Overall, Stopmotion delivers on both style and substance. PAIGE Stopmotion is a nightmarish film directed by Robert Morgan that explores the psychological agony of an artist's fixation with pouring too much of oneself into their work. Even though the concept is intriguing and has the potential to be thematically rich, the delivery of the ideas is often too obvious, dull in dialogue, and missing pieces of the narrative. The story just isn’t developed enough to feel like a coherent movie. In my eyes, this would’ve worked much better as a short film. However, I will say that the stop-motion animation used throughout the movie is really eerie. CALEB For a scrappy, low-budget horror flick, Stopmotion manages to pull off some really impressive sequences. All the stop-motion scenes are wildly creative, so it’s a shame that the rest of the movie pales in comparison to them. The acting ranges from decent to mediocre, the cinematography is drab (outside of the animated sequences), and some of the editing and sound mixing decisions are frustratingly tacky. The narrative itself is rather uninspired too, delivering on most of the “elevated” clichés that you’d expect from a horror movie about a tortured artist. While Stopmotion has some great ideas, it never fully manages to take shape. NICK Although, conceptually, it's a fun idea, Stopmotion - much like the execution of the film's subject - is very tedious. I was all in on the eerie wax characters and every second that the film used stop-motion animation, but those moments were sadly fleeting. Instead, I got a film bogged down by one dimensional human characters, a muddy plot, and an unnecessary hallucinogen-fueled cut scene. All director Robert Morgan had to do was tell the story of an animator trying to make a spooky film as it begins to take hold of her, and we were set. Sometimes less is more.

FREAKY TALES Starring: Pedro Pascal, Ben Mendelsohn, Jay Ellis, Ji-young Yoo, Jack Champion, Dominique Thorne, Normani, Keir Gilchrist, and Angus Cloud Directors: Anna Boden and Ryan Fleck NICK There's no better compliment or descriptor I can give Freaky Tales than to say it's just a straight-up vibe. It captures the 80s perfectly with its music and overall feel while the anthology formula works to mask any of its plot shortcomings. Although it may feel directionless at times, patience will be rewarded as the stories begin to come together ahead of an explosive finale. From its infusion of animation, to its over-the-top characters, to a surprising yet pitch-perfect cameo, above all else, Freaky Tales is a purely fun and chaotic time. AMARÚ When you’re from The Town (a.k.a. Oakland) (or you lived there for a long period of time like I did), there’s a part of you that is always connected to its spirit. There’s no way to explain it unless you've lived it, but Bay Area native Ryan Fleck and his directing partner Anna Boden come heartwarmingly close to visually representing it in Freaky Tales . Their mix of gritty texture and retro-futurism allows an eclectic and entertaining ensemble to embody the revolutionary, family-centered, unfiltered, unfair but resilient East Bay culture. This film is hella Oakland, and honestly, that is all that needs to be said about how good it is. PAIGE Freaky Tales has cult classic written all over it. With four interconnected stories, this bonkers anthology film features an impressive ensemble and such fun cameos. It’s a bit messy narratively, and not everything ties together perfectly, but man, does this film have style. This campy, ultra-violent flick will certainly have you entertained from beginning to end with its stylish grindhouse vibe and zany energy. Not only did directors Anna Boden and Ryan Fleck craft a love letter to Oakland, but they accomplished it in a way that is both compelling and in line with the distinct aesthetic of films from the 80s. QUENTIN While Freaky Tales has moments of brilliance — notably the overarching presence of Too $hort as the narrator, an on-screen character, and a cameo in a movie about Oakland in the 80s — the Tarantino-esque story structure makes for a very disjointed viewing experience. There are multiple seemingly disparate chapters that, although they loosely tie together eventually, make it hard to become invested in the barely-there throughline. That said, a cameo here, a rap battle there, the stylish 80s pastiche, and a bloody finale provide enjoyment in a vacuum in the same way that watching a YouTube clip might. It just doesn't hold together well as a movie. KATIE I often find anthology films inconsistent with wildly varying quality, but Freaky Tales turned out to be one of my favourite films of 2025 so far. With four separate but interconnected chapters taking place in the same city, each story is equally as entertaining and fun, and whilst distinct, they come together without feeling forced. It indulges in different styles, and draws inspiration from various genres and aesthetics, from comic book-style visuals to Tarantino-inspired bloodshed, with an anarchic and mischievous energy that ties it all together. Along with the fantastic performances and unexpected cameos, Freaky Tales is a ridiculously fun time. BODE In the context of directorial duo Anna Boden and Ryan Fleck’s career, Freaky Tales is fascinating, especially since their previous work (which includes 2019’s Captain Marvel ) didn’t quite indicate that they had such a pulpy anthology flick in them. It’s also fun to see them take a big swing like this, even if the overall execution is a little too uneven (as anthology films often are) and surface-level (in terms of commentary and nostalgia) to leave a lasting impression. Still, there’s enough creativity in this blood-soaked love letter to Oakland that the impression isn’t…too short. Want to hear even more of our thoughts? Amarú, Nick, and Katie join Matt to take A Bigger Bite out of Freaky Tales HERE .