Previous Next December 20, 2025 It didn’t take as long to return back to Pandora this time around, as James Cameron somehow ups the visual brilliance with the third entry in the Avatar franchise, Avatar: Fire and Ash . Did the characters live up to the spectacle this time? Does the three hour runtime feel like a breeze or a more of a slog? Join Amarú, Matt, and Nick as they’re joined by returning guest Harrison Martin for their spoiler thoughts on this latest Avatar entry. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next May 7, 2025 WRITTEN BY: KATIE I generally don’t like action films. It’s not an aversion to pure spectacle or violence, either. I am, after all, a massive horror fan, so those elements often work in a film’s favour for me. What often bothers me about action films is the lack of personality and creative flair, not to mention the pacing, uninteresting performances, and onslaught of action that doesn’t allow room for anything else to breathe. Among the car chases, explosions, punches, and shoot-outs, I find myself struggling to feel emotionally involved in the story, to include caring about the characters, which is vital to maintaining engagement. When I think of an action film, I pessimistically conjure poorly lit images of guys shooting each other or throwing endless punches, featuring frenetic editing and so many cuts that I can barely make out what’s happening. I find recent action films are particularly guilty of this, with a good example being most of the MCU’s offerings over the past few years. The actors don’t seem to really care about character development, and the fights have become so overwhelmingly long, so rapidly edited, and so destructive yet inconsequential that I completely tune out. There’s no buildup, no suspense, no tension, no clarity, and no sense of stakes. This speaks to what film critic Matthias Stork has diagnosed as “chaos cinema”: films characterised by excess, exaggeration, and overindulgence. They disregard spatial awareness, emotional engagement, and character development in favour of adrenaline-fueled mayhem. They use quick cuts and shaky camera shots to create the impression of action, circumventing the need for strong direction and good choreography. These aren't inherently bad things, but all together and over the course of nearly two hours, they become incredibly monotonous. This isn't to say that I don’t like a few films like this. I love the Fast franchise, which is guilty of all the above, showing that even I, someone who may think themselves immune to the appeal of chaos cinema, can be seduced by cool cars and ridiculous action set pieces. However, especially in the most recent instalments, the Fast films acknowledge their ridiculousness in a self-conscious way that assures me they’ll at least do it right. David Bordwell has noted that most Western-made films since 1960 — not just action flicks — can be characterised as utilising “intensified continuity,” meaning generally shorter shots and faster-paced editing. He compares modern remakes to their pre-1960 originals, finding that, even though classic Hollywood films are often viewed as overwrought, modern films are less subtle in terms of music, performance, editing, and just about everything else. I think this trend has persisted, with even modern remakes of pre-2000 films being comparably less subtle in the same ways. In this sense, modern audiences could simply be more accustomed to faster pacing and, therefore, be better equipped to keep track of the action. So, is chaos cinema lazy and designed to overload the senses of passive audiences? Or could it be viewed as a challenge to or progression from the dominant artistic style established by classic Hollywood cinema? Either way, all of this is to position action as a widely varying genre, and in the words of Bordwell, show that action movies shouldn’t always be “considered a mindless splatter of violent spectacle and CGI. [They] can have a cogent architecture,” and this architecture is what makes them so entertaining. Bordwell’s article “Anatomy of the Action Picture” highlights the intricacy of action films and the impressive feat of advancing stories through physical action, which can be just as effective as dialogue. Yes, audiences want impressive action, but it needs to be tied together with plot and emotion in order to be effective. When action films are done well, they’re artful, immersive, and most importantly, entertaining. Like Bordwell says, “we like stars, but in stories; and stories that move us.” Now, I want to go through some action films that I love, as someone who doesn’t love action, and uplift what are, in my opinion, some of the very best the genre has to offer. FACE/OFF (1997) As a Nicolas Cage fan, I’m ashamed of how recently I saw Face/Off for the first time. Nevertheless, it is a delightfully unhinged, over-the-top, perfectly calculated action film. Cage and John Travolta are simply magnificent in their dual roles, and I was genuinely impressed with the calibre of their performances. Lesser actors would not try this hard in a film this insane, but their utter devotion and lack (or even awareness of) restraint convince the audience to accept the ridiculous premise and enjoy the ride. Whilst there are plenty of shoot-outs, fights, and explosions, director John Woo makes liberal use of slow motion to ensure we can appreciate every flame and gunshot. He’s not hiding behind spectacle, just doing it incredibly well. What’s more, it’s quite a gorgeous film, with time spent establishing the deep red interiors of the church, the gold accents, and the glow of the candles. Not only is the action immersive, but it’s a well-crafted film in many other aspects. X-MEN: FIRST CLASS (2011) Truth be told, I’m not a big superhero gal these days, but I adore the X-Men films. I think it’s because all the characters care about each other and so much time is spent exploring their dynamics, making the action more enhanced and engaging. Specifically in First Class , the performances are strong all around, but James McAvoy and Michael Fassbender are so, so good; their relationship drives the story. But on top of their core arc, there are so many emotional plots throughout First Class, and they’re all very well developed: Mystique’s (Jennifer Lawrence) struggle with self-acceptance, Magneto (Fassbender) being haunted by his deeply traumatic past, Professor X’s (McAvoy) earnest dedication to non-violent resolution, and the newly recruited mutants honing their unique abilities. The creative use of their powers makes all the action more satisfying and compelling. Take, for instance, the bar scene in Argentina, which is a simple setup, accentuated by Magneto’s powers in a creative way, that is still understated and impactful. MAD MAX: FURY ROAD (2015) Fury Road is my favourite action film, one of the best ever. I’ve even argued before that it constitutes a perfect film (read about it HERE ). Despite the high-octane, relentless action, it never becomes monotonous, fully gripping your attention. Each and every moment is meticulously crafted. Unlike some action films that use cacophonous action to conceal flaws or lack of direction, Fury Road uses it to highlight the intention and artistry in every shot. Look at any corner of the frame at any time, and you’ll be impressed by what you see. Fury Road propels its plot forward through breathtaking action set pieces that render dialogue useless, and I think Bordwell’s opinion that action doesn’t deny the audience narrative, but immerses them in it, is very fitting for Fury Road. REVENGE (2017) Admittedly, Revenge can be considered a horror film from the rape-revenge subgenre, which is the context in which I’ve written about it before, but it has all the hallmarks of a straight-up action film. Most of the film follows the gun-wielding protagonist, Jen (Matilda Lutz), as she prowls the desert, her appearance evocative of Lara Croft. She stalks the men who attacked her, taking them out one by one to exact her revenge. Similar to some of the best action films, there is very little dialogue, and the violent action moves the plot along. It’s pure, bloody, overindulgent, and gorgeously shot carnage. The final scene, in particular, is incredible. The suspense is maddening as Jen and her attacker chase each other around his beautiful apartment, which becomes increasingly blood-soaked as time goes on. It’s a fight to the death, a cat-and-mouse chase quite literally stripped down to one perfectly tense, intensely violent action sequence. MISSION: IMPOSSIBLE – FALLOUT (2018) My opinion of this changes from time to time, but Fallout is the best Mission: Impossible movie. After re-watching it recently, I was struck by how its stylish precision, fantastic performances, tremendous fight choreography, palpable tension, and rhythmic pacing make the runtime fly by. Fallout proves that action set pieces that, in a lesser film, would consist of close-up shots and quick cutting to create the impression of exciting action — like car chases or fights or just simply running — can be dynamic, elegantly constructed, and shot with clarity. I also love how it focuses on character development, exploring Ethan Hunt’s (Tom Cruise) vulnerability and sense of morality, adding an emotionally engaging dimension to the action.

GANGS OF LONDON: SEASON TWO Starring: Sope Dirisu, Lucian Msamati, Michelle Fairley, Brian Vernel, Valene Kane, Paapa Essiedu, Pippa Bennett-Warner, Asif Raza Mir, Orli Shuka, Narges Rashidi, Waleed Zuaiter, Jahz Armando, Fady Elsayed, Salem Kali, and Aymen Hamdouchi Creators: Gareth Evans and Matt Flannery QUENTIN Be it the almost three-year hiatus or that show creator Gareth Evans took a step back this season, Gangs of London ’s second offering isn’t quite as strong as its first. The great acting and extremely violent action scenes are still present, but the story is kind of a bore. I often found myself just waiting for the next bloody fight scene or exhilarating shootout. Thankfully, there are plenty of those sequences, so I was never waiting long, but biding time between moments of explosiveness isn’t as fun as becoming engrossed in the story at hand. I’ll be back for Season Three, albeit with a short leash.

Previous Next April 2, 2025 WRITTEN BY: QUENTIN It has long been said that Hollywood mostly just repeats itself, which isn’t an unfair accusation, to be honest. For the most part, though, it doesn’t bother me. I’ll watch superhero movies all day if they are well made. Give me Tom Cruise doing a series of increasingly bonkers stunts through 37 Mission: Impossible movies, all good with me. I don’t need 100 percent originality to be entertained, enthralled, or moved. That said, there are some things that Hollywood refuses to give up on that could use a break, if not be outright done away with, because the cracks are showing. It’s not even about original ideas, necessarily. It’s more about studios working with blinders on, not realizing that something that maybe used to work clearly doesn’t anymore (if it ever did). With that in mind, I’d like to paraphrase Regina George (Rachel McAdams) in Mean Girls : Hollywood, stop trying to make … happen. LAUGH TRACKS I really don’t know why television studios still insist on using laugh tracks on sitcoms. They are the absolute worst and nothing more than a crutch for lazy writing. Guys, if you need to tell the viewer when to laugh, your joke isn’t that funny, plain and simple. Plus, the forced pauses for canned laughter kill story momentum and timing. For example, did you know that the producers of Seinfeld would tell the audience not to clap when Kramer (Michael Richards) entered a scene because it threw everything and everyone off? Hell, I’ll go one further… have you ever seen clips of Friends with the laugh track removed? They’re painful to watch. Actually, on second thought, perhaps we should just get rid of multi-camera sitcoms altogether since they are the only television medium still using laugh tracks. Frankly, single-camera sitcoms are categorically so much better — Brooklyn Nine-Nine , Ted Lasso , 30 Rock , The Office , The Good Place , Atlanta , Schitt’s Creek , and the list goes on. In fact, do you know the last multi-camera sitcom to be nominated for Outstanding Comedy Series at the Emmys? The Big Bang Theory in 2014 (gross), and even series creator and showrunner Chuck Lorre knew to lose the laugh track when creating that series’ spinoff Young Sheldon . GAL GADOT In all fairness, this isn’t exclusively about Gal Gadot. I’m sure she is a very lovely person. This is about all the actors and actresses that Hollywood seems determined to force upon us despite audiences and critics alike saying, “no thanks.” Whether accurate or not, these performers’ perceived lack of talent or star-power just isn’t cutting it for most moviegoers, as evidenced by poor box office hauls and middling (at best) audience and critics scores. It’s just that between the recent Snow White drama, the much-maligned “Imagine” video during COVID, and the fact that she was recently awarded a star on the Hollywood Walk of Fame when bonafide stars and Oscar winners like Angelina Jolie, Leonardo DiCaprio, Julia Roberts, George Clooney, and Robert De Niro don’t have one, Gadot feels like the current face of this Hollywood trend. I mean, look, I get it to some degree; Gadot is stunningly beautiful, which, sadly, is probably all it takes for some of the crusty old white-guy film producers to keep greenlighting her projects. She is not a good actress, though. She doesn’t make bad-but-fun action throwbacks like Jason Statham, or charming-but-forgettable romance movies like Dakota Johnson. She hasn’t proven to be particularly funny, either. Perhaps this is a sexist take, but beauty is all she brings to the table. Outside of 2017’s Wonder Woman , which I personally find to be extremely overrated, what else has she done? Several other poorly received Wonder Woman appearances, two unremarkable Netflix Originals ( Red Notice and Heart of Stone ), and the by-all-accounts not good Snow White ( Death on the Nile is fine, but not because of anything Gadot does). Quit forcing her on us, Hollywood. But, like I said above, this isn’t just about Gadot. It’s also about the Josh Gads, Tiffany Haddishes, Michael Ceras, Rebel Wilsons, Fortune Feimsters, and maybe even Chris Pratts of the world. Sorry not sorry, but not everyone is a star because they did a thing once. MUSICAL BIOPICS Truth be told, as formulaic as they can be, I really enjoy biopics, especially when they are about an artist I already love. Walk the Line , Ray , Straight Outta Compton , Elvis , and Get on Up are just a few that I could watch on repeat. Even Bohemian Rhapsody , an extremely mid movie, is rewatchable as a sing-along for fans like me. Simply put, I really enjoy learning the backstory behind the hits I’ve been hearing my whole life. As a youngster, I even discovered some musical legends through biopics, like Great Balls of Fire , La Bamba , and The Doors (don’t hate, I was barely 10 years old). That said, after a string of Best Picture-nominated biopics that were also box office hits, a lot of studios have tried to cash in on the trend by making movies about any singer for which they can secure the rights. In fact, there has been a musical biopic nominated for Best Picture each of the past three years ( A Complete Unknown , Maestro , and Elvis ); however, for every good one, there are at least two that never get much traction. It could be because the artist doesn’t “deserve” a biopic yet, or that the story just isn’t that interesting to begin with. It could even be that the studio just went cheap on the whole thing, so it's a bad movie hoping that the faux-prestige hallmarks and built-in fandom will be enough to carry it to box office success. In 2024 alone, there were biopics for at least Bob Dylan, Robbie Williams, Kneecap, Pharrell Williams, Bob Marley, Amy Winehouse, Maria Callas, and Milli Vanilli. I don’t know about you, but I feel like we were scraping the bottom of the barrel on some of those. No disrespect to the prolific producer, but was anyone asking for a Pharrell Williams biopic now ? My man is nearly 52 years old, presumably with a lot of great work still left in him. Or maybe even a scandal, who knows? It seems way too early for him to have a biopic. How about Amy Winehouse? Maybe it’s because I’m an American so I have less connection to her, but she had one record-setting album. Not to sound callous, but is one hit record and an overdose five years later all it takes to get a biopic nowadays? “Gangnam Style” set records too; are we giving Psy a biopic? You’ve overplayed your hand, Hollywood. But you don’t have to stop musical biopics altogether — in fact, I’m quite looking forward to Michael (about Michael Jackson) and Deliver Me from Nowhere (about Bruce Springsteen) in 2025 — how about we push pause on those about artists that haven’t reached legend status yet, just to thin out the herd a bit? Otherwise, we’ll be watching biopics for Dave Matthews and Shaboozey in 2031. GENDER AND RACIAL CAST SWAPPING Okay, take a breath, and before you start calling me an anti-woke MAGA head, just hear me out because there is some nuance here. I am not against ALL gender and racial cast swapping. I’m only against it when it feels like blatant pandering. For example, I had no issue with Michael B. Jordan as Johnny Storm in Josh Trank’s Fantastic Four , and I’ve long been a champion for Idris Elba as James Bond. For those two characters, it feels like a “best actor for the job” situation. I also really love the idea of a black Superman because it presents so many interesting avenues in which to explore the idea of “truth, justice, and the American way” that could never be done with a white Superman, especially given current events and how the country has evolved since Superman was first published in 1938. What Men Want , the gender and racially swapped remake of 2000’s What Women Want, is a great example of how these kinds of changes can be used to tell similar stories from new and diverse perspectives. The thing I would like for Hollywood to stop doing is anything that can simply be described as “Original IP but X”: Ocean’s Eleven but women, Can’t Buy Me Love but black, and so on. Changes done in this vein do little to make for a more clever or fresh take on an original story, and it smacks of a soulless and condescending money grab that is only interested in hitting smaller demographic quadrants. I’d even argue that it comes across as performative wokeness, as in old white producers doing whatever they can to make themselves look like allies. Often, it feels like the idea of gender or race swapping is the starting point on which the movie is even greenlit — “we’ve made too many movies for white men. We need to make one for them now. I don’t care what it is, just dust something profitable off and make it for blacks or women.” For example, did you know after the success of The Expendables , The ExpendaBelles was rushed into development without a script or cast? All the studio had was a pandering idea — The Expendables but women. Studios didn’t make 2016’s Ghostbusters because “studies have shown that women didn’t connect with 1984’s Ghostbusters , and we have an interesting take on the female experience that we think will appeal to female audiences.” They just thought, “ Ghostbusters but women. Women will see that, right?” If you’ve seen that movie, then you know the gender swap adds absolutely zero to the movie. It doesn’t add thematic weight or relevant commentary, nor does it add anything meaningful to the basic plot. There was absolutely no reason for Sony to bend over backwards to replace the male characters with female characters (and vice versa, we can’t forget Chris Hemsworth stepping in to the Annie Potts role) other than to pander to different quadrants. A better idea would have been to make the movie about a group of three male Ghostbusters hiring the first woman to join the team. That’s a worthy swap that provides some thematic gold to be explored about boys’ clubs, sexism in the workplace, glass ceilings, the idea of a “man’s job” v. “women’s work,” and more. Yes, I know… it’s a Ghostbusters movie, it’s not that deep; however, you can make a popcorn movie that is smart, funny, and still has something to say. For the most part, though, it seems like Hollywood already stopped trying to make that happen. It’s so not fetch.

Previous March 9, 2026 Next A BITESIZE CHAT WITH EMMA HIGGINS & KATE HALLETT Director Emma Higgins and star Kate Hallett have a new film called Sweetness , and Nick was able to chat with them about fandom, the film's messaging, and the Canadian music scene. Make sure to check out Sweetness now in theatres. Interview conducted on February 27th, 2026 by Nick van Dinther.

Previous Next August 2, 2023 WRITTEN BY: ADRIANO The 2023 Toronto International Film Festival is fast approaching, and I’m very grateful to be representing Bitesize Breakdown as official press again this year. But more importantly, as a movie lover, I’ll be attending for the seventh year in a row. I’ve gone every year since I was 15 years old, and between the films and overall fun of the community that’s always present at the festival, it’s my favourite part of every year. As of right now, TIFF has only announced its Gala, Docs, and Special Presentations slate. Honestly, I expected some pushes and delays due to the SAG-AFTRA strike, but according to TIFF CEO Cameron Bailey, the festival program remains just as it was always planned. While I am sad that movies I am highly anticipating, like Sofia Coppola’s Priscilla and Martin Scorsese’s Killers of the Flower Moon , won’t be at TIFF, the lineup this year still gives me hope that, despite not being as stacked as recent years, the festival will be full of excitement, variety, and quality. With that said, of the films announced, here are the ten that I’m most excited to see in Toronto this year: WOMAN OF THE HOUR This year’s lineup sees a lot of actor-turned-directors, including Viggo Mortensen, Ethan Hawke, and Michael Keaton. However, the film that caught my attention the most was Anna Kendrick’s Woman of the Hour. Based on the true story of serial killer Rodney Alcala’s appearance on The Dating Game, Woman of the Hour could be all sorts of things. Is it a dark drama? A psychological thriller? That ambiguity, coupled with the subject matter, makes me interested to see what Kendrick does in the director’s seat. Starring: Anna Kendrick, Daniel Zovatto, Nicolette Robinson, Kathryn Gallagher, Kelley Jakle, Autumn Best, and Tony Hale Director: Anna Kendrick THE MOVIE EMPEROR I love a good satire about the film industry, which is why The Movie Emperor immediately caught my attention. I’m pretty unfamiliar with director Ning Hao’s filmography, so I can’t say for certain how funny or engaging this film will be. But the thing that got my enthusiasm up is the fact that Hao will direct and star alongside Hong Kong action icon, Andy Lau. This seems like a change of pace for him, and that gets me excited. Starring: Ning Hao and Andy Lau Director: Ning Hao AMERICAN FICTION Speaking of satires, not much is known about American Fiction , but a quick Google search about its source material made it shoot up my list of most anticipated titles. It’s based on a novel called Erasure , which is described as a “skillful, extended parody of ghetto novels such as Sapphire’s Push .” It aims to criticize the very criticism of African American literature. If that doesn’t pique your interest enough, Jeffrey Wright leads an ensemble cast that also features Tracee Ellis Ross, Sterling K. Brown, Issa Rae, and Adam Brody, to name a few. Starring: Jeffrey Wright, Tracee Ellis Ross, Erika Alexander, Leslie Uggams, Sterling K. Brown, Myra Lucretia Taylor, John Ortiz, Issa Rae, and Adam Brody Director: Cord Jefferson MONSTER It feels like Hirokazu Kore-eda can’t help but screen his films at TIFF, and Monster is thankfully not an exception. The film premiered earlier this year at the Cannes Film Festival to critical acclaim, most notably for its ability to shift perspectives to tell a quietly devastating story. Plus, Monster won the Queer Palm and Best Screenplay at Cannes. With Kore-eda being one of my favourite filmmakers, I’m excited to see his latest at the festival. Starring: Sakura Andô, Eita Nagayama, Soya Kurokawa, Hinata Hiiragi, and Yûko Tanaka Director: Hirokazu Koreeda THE HOLDOVERS Fun fact about this movie: it secretly screened at last year's TIFF. It was shown to studios and industry leaders, leading to a bidding war that Focus Features won for $30 million. One of the rare entries on this list to have a trailer, The Holdovers looks like classic Alexander Payne: a funny and light comedy above the surface with something much more poignant underneath. This might be one of the TIFF movies that will make me well up. Starring: Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa Director: Alexander Payne NEXT GOAL WINS Next Goal Wins has been one of my most anticipated films for literal years. Initially, it was supposed to come out in 2020, but it has been pushed several times for varying reasons (COVID, Armie Hammer, etc.) Right now, the film is at risk of being pushed again due to the ongoing SAG-AFTRA strike (a delay that could easily be avoided if studios would just pay their actors a fair wage), but I’m hoping I’m able to watch this at the festival before it gets a wide release. I’m a big Taika Waititi fan, and this film looks like a lighthearted, funny, and crowd-pleasing soccer romp. Starring: Michael Fassbender, Elisabeth Moss, Oscar Kightley, Uli Latukefu, Rachel House, Kaimana, David Fane, Beulah Koale, Chris Alosio, Taika Waititi, Will Arnett, and Rhys Darby Director: Taika Waititi THE ZONE OF INTEREST Another film that premiered at Cannes, The Zone of Interest was one of the most buzzed-about films at that festival. It’s described as a meditative and haunting portrayal of a German family whose patriarch is a commandant at Auschwitz, exploring their home life as they live right next to a concentration camp. Directed by Jonathan Glazer (who also directed of one of my favourite movies, Under the Skin ), the film is critically acclaimed, holding a 96% on Rotten Tomatoes, with particular praise given for its portrayal of evil in a common setting. It may not be the most fun movie at the festival, but it’s one that might impact me the hardest. Starring: Sandra Hüller, Christian Friedel, Medusa Knopf, Daniel Holzberg, Sascha Maaz, and Max Beck Director: Jonathan Glazer ANATOMY OF A FALL Not only did Anatomy of a Fall also premiere at Cannes earlier this year, it managed to win the top prize, the coveted Palme d’Or. To say Justine Triet’s court thriller is critically acclaimed seems to be an understatement, and Sandra Hüller’s performance alone has received maybe the highest praise for any performance this year. It’s been one of my most anticipated films since its premiere, so suffice to say, I will be first in line to the North American premiere. Starring: Sandra Hüller, Swann Arlaud, Milo Machado Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Saadia Bantaïeb, Camille Rutherford, Anne Rotger, and Sophie Fillières Director: Justine Triet THE BOY AND THE HERON There is no filmmaker, possibly in history, that has done more for Japanese animation than Hayao Miyazaki. The man’s filmography has many iconic masterpieces, such as My Neighbor Totoro, The Wind Rises , and, of course, Spirited Away . So, when I found out that Miyazaki’s first film in 10 years, The Boy and the Heron , would be the opening night film, I could not contain my excitement. The Boy and the Heron came out in Japan last month with little-to-no marketing, but it’s already being heralded as a masterpiece. As if my excitement for this film wasn’t already sky high… Starring: Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Shôhei Hino, Kou Shibasaki, and Takuya Kimura Director: Hayao Miyazaki HIT MAN I was probably the most shocked by this addition to TIFF’s program. I had heard of this project by Richard Linklater, but I assumed it was going to come out next year. So, it’s a very delightful surprise to see that it will be having its North American premiere at the festival. Starring and co-written by Glen Powell, TIFF described Hit Man as a “sorta-true crime comedy thriller about role play, romance, and the precarious pursuit of self-knowledge,” which sounds like a movie that appeals to what I love most in film. Combine that with the fact that it’s directed by a prolific filmmaker that I admire, and I truly can’t wait to see what Linklater and Powell have cooked up. Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, and Molly Bernard Director: Richard Linklater Photo Credits: TIFF

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