BONE LAKE Starring: Maddie Hasson, Marco Pigossi, Alex Roe, and Andra Nechita Director: Mercedes Bryce Morgan QUENTIN Bone Lake generally lives up to the expectations set by the posters and the fact that it’s a sex-driven horror thriller with a puntastic title, delivering suspense, thrills, and laughs throughout its brisk runtime. The tension, sexual and otherwise, is palpable, and while there certainly is a feeling of erotic-thriller hotness, director Mercedes Bryce Morgan manages to create that atmosphere without being gratuitous (opening scene aside). Personally, I wouldn’t have minded if it went a little harder and got a little steamier, but I can’t complain with what I was ultimately given. Bone Lake is a wickedly fun ride. NICK Bone Lake is one of those films that I found myself enjoying more and more as it went along. Although it has a tendency to play things a little safe (especially in terms of the erotic nature its promotional material suggests), it makes up for that in a couple of ways. For one, it looks at the dynamics within a relationship faced with challenges like temptation, manipulation, and compatibility; not to mention how two differing relationships co-exist under one roof. Its twists and turns make it hard to dive into things further, but it all comes together in a violent and satisfying finale. BODE If you know me, you’ll know that I’m never above watching hot people engage in some good old-fashioned psychological warfare. The more lurid it gets, the more enjoyable it is. That’s why I can’t help but feel a little underwhelmed by Bone Lake . Don’t get me wrong: there’s fun to be had, and it certainly doesn’t overstay its welcome. But its horny, gory thrills are held back by some respectability, of which it should really have very little. You gotta go balls to the wall with it. For what it sets out to do, it’s fine. It just could’ve been more. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

LUCA Starring: Jacob Tremblay, Jack Dylan Grazer, Maya Rudolph, Giacomo Gianniotti, Jim Gaffigan, Emma Berman, Marco Barricelli, and Saverio Raimondo Director: Enrico Casarosa JACOB It won't land amongst anyone's Top 10 Pixar movies, but the small charms of Luca are enough to keep it entertaining. The characters are fun to follow on their various adventures despite there not being much story involved and they keep things moving along. The film seems a bit averse to any actual tension though, usually taking the less dramatic approach when it's given opportunities to challenge those characters or its own narrative. Poignant themes of friendship and discovery keep it sufficiently afloat to be worthwhile, but those expecting Pixar’s usual level of animated mastery should look elsewhere. AMARÚ Initially, I was getting worried that Luca was just going to be a long-form Pixar short. Great visuals and unique characters can only take you so far if the story isn't grabbing your attention in the first act. But once Emma Berman's Giulia entered the picture and gave us a trio to root for, everything Pixar does well began to fall into place. An original concept with strong characters and meaningful conflicts, Luca ends as a heartfelt, feel-good story that's not as great as some of its predecessors but is still a sweet time for the whole family. JOSEPH Pixar has been on a slight decline lately, but Soul gave me hope that was coming to an end. Luca undid that hope. Luca works as a coming-of-age film, but it's too afraid to lean into the darker themes and allegories it hints at. Characters appear with minimal impact and no real stakes are set, while the villain is dull and irrelevant to the themes and character arcs. The three main characters are well written, but if it wasn't for the humor and charm, I feel this would be among Pixar’s worsts.

THE LUCKIEST MAN IN AMERICA Starring: Paul Walter Hauser, Walton Goggins, David Strathairn, Maisie Williams, Haley Bennett, Shamier Anderson, David Rysdahl, Johnny Knoxville, Brian Geraghty, Patti Harrison, Shaunette Renée Wilson, and James Wolk Director: Samir Oliveros NICK If you're yet to be convinced that Paul Walter Hauser deserves more leading roles, The Luckiest Man in America is here to change your mind. This throwback true story of Michael Larson (Hauser) and the Press Your Luck scandal peeks behind the curtain of the events to keep the uninitiated wondering what will happen next. Director Samir Oliveros transports you back to the 80s with a tight story and vibrant colour palette that makes you feel like you are in the studio audience. No bells and whistles, just an honest approach to the story, which is precisely what Luckiest Man calls for. ADRIANO The Luckiest Man in America is probably the best version of what a movie adaptation of this story could look like. The story of Michael Larson (Paul Walter Hauser) isn't anything that grand, and I kinda thought the movie's attempts to make him out to be some folk hero were a little misguided; however, I still had fun. Hauser gives yet another great, ego-less performance that's easy to root for, and I enjoyed the kinetic editing. The writing is serviceable enough too, with some effective laughs and heart thrown in there. The overall experience was pleasant but forgettable. PAIGE Based on a true event, The Luckiest Man in America is a stylish flick that vividly captures the aesthetic of a 1980s game show. Its sleek and breezy runtime is bolstered by a great supporting cast and, of course, another outstanding and underrated performance from Paul Walter Hauser. Despite this, the film is a bit restrained due to its story not diving deep enough into its characters or ideas. In the end, it may not stick the landing, but it’s at least an entertaining watch that puts you on the set to watch these stakes unfold. KATIE The Luckiest Man in America is a solidly entertaining and stylish drama based on the true story of a 1980s game show scandal. Paul Walter Hauser is fantastic in the leading role as Michael Larson, bringing an uncomfortable intensity that is simultaneously disarming and unnerving. Considering it's based on real life, the film does well at generating suspense, intrigue, and exploring Larson’s motivations, enhanced by the brisk pacing and energetic editing, and the TV studio setting and tight camerawork add an element of claustrophobic tension. It’s not groundbreaking, but The Luckiest Man in America is a fun watch. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

REAGAN Starring: Dennis Quaid, Penelope Ann Miller, Jon Voight, Alex Sparrow, Mena Suvari, Justin Chatwin, David Henrie, and Trevor Donovan Director: Sean McNamara QUENTIN Regardless of your thoughts on Ronald Reagan (Dennis Quaid), his politics, or the degree to which Reagan genuinely is hagiographical, the former president deserved a better biopic than this. Parts of it feel like a religion-tinged movie based on an SNL skit (“Mastermind,” anyone?), with acting that is, at best, a cheap impression (Quaid) and, at worst, built on Lifetime-levels of campiness (Penelope Ann Miller). I mean, Creed frontman Scott Stapp cameos as Frank Sinatra, for Chrissake! On top of that, the score, cinematography, and story structure are borderline garbage, and the level of hand-waving away certain events is offensive to American history. It’s laughably bad. PRESTON Reagan is an outrageously rose-colored tale of the late U.S. President, played by Dennis Quaid. Most oddly, the film is told through narration by a (fictional) former Russian KGB agent, Viktor Petrovich (Jon Voight), who has been following Reagan with awe and trepidation since his start in Hollywood. He just knew that this random actor would be the end of the Soviet Union and, to his dismay, he was ultimately proven right! Laughable. The hagiographic elements go so far as to even spin the Iran-Contra affair in a positive light!! Overall, this toothless script could have been so much more.

ELEMENTAL Starring: Leah Lewis, Mamoudou Athie, Ronnie Del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O’Hara, Mason Wertheimer, Joe Pera, and Matt Yang King Director: Peter Sohn ADRIANO Pixar has set a high bar, but even with that in mind, Elemental is mid-tier Pixar. Don’t get me wrong, it’s a funny and endearing film that will charm audiences, but it’s also got some too-on-the-nose messages about racism and generational gaps in families that are addressed in a way that doesn’t feel fleshed out. The central romance, while cute, just didn’t work for me, and is a little rushed. In certain moments, it felt like it was trying to be Pixar “The Brand” over its own movie, which also didn’t work. It’s not an experience I regret, but it’s nothing I’ll ever watch again either. AMARÚ Elemental is an all-around beautiful movie. The myriad of ways it visually mixes the elements is delightful, but it’s the story’s heart that makes it moving. At its core, it’s a touching immigrant story interweaved seamlessly with multilayered themes of love, tolerance, intolerance, and the weight of family legacy. Early on, some of the characterizations are a bit overcooked, but this sets up an emotionally poignant payoff by the film's end. Elemental is a heartwarming addition to the Pixar filmography, and one of its better outings in recent years. JACOB Elemental is here to remind us of the great potential Pixar still has to make quality animated entertainment…and the commitment they continue to have in not living up to that potential. Don’t get me wrong, the film works fine, and the designs are some of their most creative in years; however, the problem is that the story is told in its most conventional form, rarely deigning to actually explore the world it occupies. There are some unique visuals and it does boast one of Pixar’s better scores in years, but overall, this one remains on the higher end of average.

TOTALLY KILLER Starring: Kiernan Shipka, Olivia Holt, Liana Liberato, Kelcy Mawema, Stephi Chin-Salvo, Anna Diaz, Troy L. Johnson, Charlie Gillespie, Jonathan Potts, Lochlyn Munro, Randall Park, and Julie Bowen Director: Nahnatchka Khan This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. NICK Most people’s opinions of Totally Killer are likely to be very age dependent. For me, I was underwhelmed. Some aspects work: I had no complaints performance-wise (Troy L. Johnson is a highlight), and the Gen-Z comments are initially clever. However, some aspects do not work: the comedy as a whole, how overplayed the jokes became (see: Gen Z comments), and how generic the killer was. There’s also a fine line between homage and rip-off, and Killer tows that line on multiple occasions. It's as if a Disney Channel Original Movie had adult language - think more Halloweentown than Happy Death Day , which surely wasn’t the intended reaction. QUENTIN Totally Killer does absolutely nothing to reinvent the wheel, sporting its obvious influences…including Scream , Hot Tub Time Machine , Back to the Future , and The Final Girls …like a meta badge of honor, but that doesn’t mean there isn’t a moderate amount of fun to be had. Admittedly, the slew of “woke Gen-Zer can’t believe how ‘problematic’ the 80s were" jokes eventually wear thin and the ending is somewhat predictable, but there is enough charm and playful slasher movie tropes to entertain fans of the genre. If you’re looking for something new to watch this Halloween, you could certainly do worse. PAIGE Although Totally Killer doesn’t totally reinvent the horror wheel, it does a great job of taking inspiration from classic slashers like Halloween and Scream . Its meta script results in a fun time for all this spooky season, not to mention that it helps elevate Kiernan Shipka's performance of Jamie, who feels like a modern-day female version of Marty McFly from Back to the Future . The movie can feel predictable at times, though, which is a detriment, overall. PRESTON Totally Killer is directed by Nahnatchka Khan, but has the obvious fingerprints of its producer, Jason Blum. Overall, it’s a black comedy slasher film that takes advantage of its late 80s setting by giving the more nostalgic viewers (“older” might be another word) some comedic looks into the past. As far as Blumhouse productions go, this latest film is above average, but that doesn’t say much given their history. Its formulaic nature lacks the shock factor of its more successful sub-genre competitors, but it’s still entertaining; you can safely add this to the list of date night movies to enjoy on the couch. PHILL Totally Killer should be a lot better than it is considering the premise is basically Back to the Future meets Halloween , with plenty of homages and references to both. There is a great film in here somewhere, but it is consistently let down by an inadequate script, clunky dialogue, and maddeningly stupid characters, all of which lead to a nonsensical yet still predictable ending. Totally Killer is stuck being a horror comedy that is neither funny nor scary, yet is still filled with charm and more than its fair share of fun moments. However, it could have been so much more. CALEB Totally Killer isn’t as clever as it thinks it is. The writing mostly relies on surface-level observations regarding the Gen-X/Gen-Z cultural divide, which quickly become repetitive. The jokes are uninspired too, rarely going further than “wow, you definitely wouldn’t be able to say that today,” and Kiernan Shipka’s performance doesn’t do much to improve the material. A horror-comedy is usually only as strong as its lead, and Shipka’s comedic timing and delivery leave a lot to be desired. The mystery at the heart of Killer is occasionally intriguing, but it isn’t satisfying enough to make up for the lack of laughs.

DEEP WATER Starring: Aaron Eckhart, Ben Kingsley, Molly Belle Wright, Angus Sampson, and Lucy Barrett Director: Renny Harlin NICK Considering Renny Harlin directed one of my favourite shark films, Deep Blue Sea , I gave him the benefit of the doubt. Unfortunately, the word "Deep" is the only commonality between that film and his latest, Deep Water . Filled with comically insatiable sharks, poor CGI, and plenty of underwritten characters, Harlin fails to bring anything new to the genre. In fact, much like Netflix's Thrash , it’s the non-shark aspects which highlight the film as the opening plane crash makes for a thrilling and well-constructed set piece; had the rest of the film kept that energy, this could’ve succeeded. Not a good month for shark films. ROBERT Deep Water was only able to elicit one emotion from me: bewilderment. I am perplexed as to why this movie exists, why the top-billed actors agreed to do it, and how Renny Harlin lost the plot while making this type of film. This needed to be campy, a la Snakes on a Plane , but it took itself WAY too seriously and suffered incredibly for it. Somehow, shark rendering has gotten worse over time, and it showed throughout, which undercut the danger without any amusement. I think the civilized world may be rewarded if this was lost at sea with no chance of rescue.

THE MITCHELLS VS THE MACHINES Starring: Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, and Charlyne Yi Directors: Michael Rianda and Jeff Rowe AMARÚ Mirroring producers Phil Lord and Chris Miller's signature combo of heart and self-aware humor, writer/director duo Michael Rianda and Jeff Rowe's The Mitchells vs. The Machines is a refreshingly laugh-out-loud good time. Scenes range from hysterically absurd to warmly tear-jerking, which helps prevent the repetitive meta-humor and familiar themes of world-ending artificial intelligence and strained parent-child relationships from becoming stale. Add eye-popping animation with a pitch-perfect voice cast (Olivia Colman's pocket sized personal assistant Pal may go down as an all-time animated character), and you get 2021's first contender for the Best Animated Feature Oscar. QUENTIN The Mitchells vs. The Machines is the type of movie that sneaks up on you. It's a little scattershot, pinballing from somewhat heavy-handed heartfelt moments to frenetic action scenes in the blink of an eye, all while sprinkling in some clever social commentary. As you watch, you're enjoying yourself, but you aren't blown away - a chuckle here, a twinge of excitement there - until you reach the end, which is when you realize it has surprisingly and genuinely hit you right in the feels. It becomes out-of-nowhere great, giving Sony and Netflix a film that easily rivals many Pixar movies. JOSEPH I cannot stress enough how beautiful the animation is in The Mitchells vs. The Machines . Thanks to a witty and timely script, as well as some dazzling visuals, the film manages to own a premise that isn't at all unique. It also uses humor to pay homage to internet and meme culture in some great ways. Along with that, the film is incredibly heartfelt, portraying a family that is a little more complicated than you typically see in family films. All in all, check it out! It's fun for all ages. JACOB Though less balanced than Into the Spider-Verse or the first two Lego movies. The Mitchells vs. The Machines puts yet another notch in producers Lord & Miller's victory belt. There are some scenes where dialogue or the characters could have used a polish, plus some minor plot holes, but the beautiful animation and earnest storytelling do plenty of heavy lifting. The trademark Lord & Miller humor isn't quite as sharp as usual, but it gets the job done. Having a queer film nerd protagonist in an animated movie is pretty sweet too. I'd certainly recommend this to anyone who asked.

BLUE MOON Starring: Ethan Hawke, Margaret Qualley, Bobby Cannavale, and Andrew Scott Director: Richard Linklater ADRIANO Typically, with a chamber piece like Blue Moon , you can't help but feel like you're watching a play. But director Richard Linklater embraces that, almost making sure you feel that way. His direction, mixed with the whip-smart script from Robert Kaplow, immerses us in the staginess of this bar setting, with Ethan Hawke's flamboyant character work giving it extra life through his monologues. It's one of my favourite Hawke performances, in fact. I can understand if Blue Moon doesn't work for you, but its energy and pizzazz, despite its limited setting, made for an entertaining and emotional powerhouse. QUENTIN For better or worse, Blue Moon feels very much like a stage play, a chamber piece driven entirely by bantery dialogue and actors acting. There is no real action, and any semblance of conflict is relegated to passive-aggressive remarks and subtle glances. Admittedly, the dialogue has an almost poetic pitter-patter to it that is hypnotic in the early going, made especially so by Ethan Hawke’s terrific performance as an internally depressed man struggling to put on a happy face. But this is the movie equivalent of a nearby stranger loudly complaining about his life to the bartender; eventually, you just want the guy to be quiet. AMARÚ Ethan Hawke is the Sun in Blue Moon , with celestial talents Andrew Scott, Margaret Qualley, and Bobby Cannavale revolving around his inescapable gravity. So inescapable is he, that when we have to share that gravity with one of those revolving stars, it slightly dampens the experience as we wait to have him all to ourselves again. But only slightly, as Hawke and his co-stars’ vigorous sparring is beautifully captured through Richard Linklater’s encompassing direction and Robert Kaplow’s sharp writing. Blue Moon is funny, sentimental, exhilarating, heartbreaking, and as fervently conflicting as all the complicated emotions Hawke effortlessly portrays as lyrical legend Lorenz Hart. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

PLANE Starring: Gerard Butler, Mike Colter, Daniella Pineda, Tony Goldwyn, Yoson An, Remi Adeleke, Paul Ben-Victor, and Evan Dane Taylor Director: Jean-François Richet AMARÚ Even after flying on hundreds of planes in my lifetime, the anxiousness of that cabin never quite disappears. The low-pitched humming, the constant rattling, and the cramped space puts my body in a very particular state. That’s exactly the state director Jean-François Richet put me in from the very beginning of Plane , and the realistic attention to detail kept my heart racing from one disastrous situation to the next. Writers Charles Cumming and J.P. Davis kept the story simple and grounded, allowing everyman leads Gerard Butler and Mike Colter to excel in this damn good, heart-pounding action thriller. JACOB As with most passable-but-disposable action flicks, Plane is pretty solid at the beginning and end, with a whole lot of nothing in the middle. Although it’s not exactly a waste of time, it possesses neither the substance nor the craft to stand out amongst its peers, and the writing doesn’t help as it continues cross-cutting between the main story and scenes that don’t ultimately bear much weight or consequence. Mike Colter is almost entirely wasted apart from a single fight towards the end of the film, and Gerard Butler, who’s given very little to do performance-wise, barely makes an impression.

VENOM: LET THERE BE CARNAGE Starring: Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris, and Reid Scott Director: Andy Serkis AMARÚ Venom: Let There Be Carnage is... not good. In fact, it’s so bad that it gains a designation I give very few movies: stupid. It relegates Oscar-nominated actors to one dimensional caricatures spewing awful puns (someone please save Naomie Harris), while portraying two of Marvel's most vicious villains as neutered parasites in nonsensical love stories (one of which is Eddie (Tom Hardy) and Venom (also Hardy)). Andy Serkis’ direction is a hodgepodge of chaos trying to find cohesion in a story without any. Aside from The Spirit , this may be the worst comic book movie I've ever seen. ADRIANO Though it's not saying much, Venom: Let There Be Carnage is at least better than the first one. It definitely amps up the silliness, making it feel a little more self-aware and, in the process, more enjoyable overall. The main reason is the hilarious back-and-forth between Venom and Eddie Brock (a fully committed Tom Hardy). Still, the movie isn't good. Its terrible script and mismatched tones make the film unjustifiably entertaining, but also very sloppy. To put it simply, the mid-credit scene is better than the movie itself. JACOB Perhaps I’m jaded when it comes to the Venom franchise, but I don't understand why this sequel is getting more love than its predecessor...Or any at all for that matter. Effects-wise, it's nothing special. Direction-wise, it's quite bad. Writing-wise, it often borders on abhorrent. It moves far too quickly with little rhyme or reason, and the good parts are over so quickly and are so inconsequential that it’s as if they were never there. Being self-aware is one thing, but using it in lieu of good storytelling is another thing entirely. Tom Hardy, Woody Harrelson, and Michelle Williams deserve better. QUENTIN Let There Be Carnage is bound to be divisive amongst fans of the comic versions of Venom and Carnage. Just so you know, you should go into this movie expecting a black comedy horror experience by way of the superhero genre because it has more in line with The Frighteners than any Marvel movie. Intentional or not, it’s downright hilarious. I laughed out loud at the Venom-Eddie Brock (Tom Hardy) repartee more than anything else I saw this year, and you will miss out on the bonkers fun to be had if you’re expecting a pseudo-serious take on the characters.

IN A VIOLENT NATURE Starring: Ry Barrett Director: Chris Nash PAIGE In A Violent Nature is a lean, mean, killing-machine slasher that is akin to a dissection of a Friday the 13th film. While most horror flicks employ tension and shock value to create suspense, this slasher eliminates such elements in favor of a more minimalist and gruesome approach. It’s honestly like watching a wild animal hunt for its prey. Despite its simplicity and slow pacing, having the movie told primarily from the killer's point of view allows it to deliver a fresh perspective on the slasher genre. NICK I can see what director Chris Nash was going for with In A Violent Nature ; it just didn’t work for me. This slow moving, minimalist horror puts you into the shoes of the killer in an all too realistic portrayal. There’s no soundtrack, no score, and a lot of walking. All these aspects may have worked if not for the film’s inability to create any tension whatsoever, leaving the proceedings to just, sort of, go through the motions. Even with one of the gnarliest kills I’ve seen on film, Nature still adds up to a relatively boring film. KATIE Director Chris Nash manages to find originality in an incredibly oversaturated horror subgenre whilst honouring the tropes that characterise my favourite slasher films. In A Violent Nature takes a brutally realistic approach, with restrained pacing and a compelling art house touch. Whilst some may find the periods we spend with the protagonist patiently stalking his victims slowly-paced, these were my favourite parts of the film. With no non-diegetic sound, the film utilises ambient noise and natural lighting beautifully to draw all focus to the killer’s instinctual march towards his victims, creating a unique and distinctive viewing experience. PRESTON God-awful. There is little to redeem what now qualifies as the worst film I have seen this year. In A Violent Nature can surely only appeal to the truly, most dedicated, B-horror slasher aficionados and the most forgiving of movie nerds. There is some uniqueness in its approach, especially with a couple long single-shot takes, but most of this means enduring about eight true miles of the back of the killer’s head on his excruciatingly slow walk-about. There is no redeeming score to build any kind of tension, the acting is atrocious, and the dialogue is laughable. No, spank-you!