CIVIL WAR Starring: Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson, and Nick Offerman Director: Alex Garland ADRIANO With a number of people calling Civil War a masterpiece while others call it an utter disaster, I was expecting something much more challenging. That said, I'm a little confused by the divisiveness because I found Civil War a little too safe, at least politically. However, as an action-thriller, I was enthralled. Writer/director Alex Garland's epic on how desensitized to war we've become is thrilling as we follow our protagonist across this baron, smartly developed hellscape. What surprised me most, though, was the amount of emotional depth found within the characters. Watch this on an IMAX screen, it's worth it. NICK Alex Garland was showcasing “event director” potential until the mixed and divisive Men . Well, consider that film a blip because he's back in full force with Civil War . I'm not typically a fan of war films, but this thing is pretty impressive. It's beautifully shot, featuring some flat-out breathtaking moments and unorthodox yet perfectly placed music, but its real triumph is just how immersive it feels. Be it fear, tension, or adrenaline…if the characters feel it, so does the viewer; that’s due to Garland's approach. It’s a spectacular feat by the director, and one that has me once again anticipating his next project. AMARÚ Even before frame one, Civil War is extravagantly disorienting, using stunning imagery and outstanding performances (especially the always brilliant Stephen McKinley Henderson) to immerse you in every aspect of war. From nerve-wracking silence before the harrowing atrocities of battle, to the calm of humanitarian work and complacency of ignorance, director Alex Garland masterfully puts you in the passenger seat to witness unbiased truth through a journalistic lens. But it’s his use of humor and sound, contrasting an upbeat soundtrack and authentic levity with a haunting score and shocking sound design, that truly uplifts this to the best film of 2024. QUENTIN Civil War is the first movie of 2024 that you’ll likely see on my “Best Of…” list come year’s end. It’s incredibly immersive, from the way it’s shot to the sound design, featuring a palpable undercurrent of tension running throughout. It genuinely captures what a modern-day American civil war might look and feel like, which is maybe the highest compliment I can deliver — it’s so frighteningly plausible, possible, and realistic. I have a few minor quibbles…Cailee Spaeny looks too young for her role, and the ambiguity and lack of context in the world-building is ever-so-slightly frustrating at times…but the movie remains a winner. PAIGE Civil War is a nerve-wracking experience with a distinctive and potent quality derived from its unclear storyline. The thing I most valued is that it's not overbearing in the slightest. It's about experiencing the civil war through the lens of photojournalists, not about the reasons behind it or which side you should support. Director Alex Garland manages to fully submerge you in this tense environment despite the film's absence of an overarching motivation, and this is made possible by the film's stunning cinematography, great sound design, and exceptional performances, especially from Kirsten Dunst and Cailee Spaeny. KATIE Civil War is not as politically charged as I expected, avoiding contemporary political tensions or taking sides while instead focusing on the extraordinary role journalists play in our world today. The result is incredible. Every moment is permeated by a menacing tone and unbearable sense of tension, and the intense scenes of senseless violence paired with the unconventional soundtrack are equally as terrifying as they are exhilarating. The performances are gripping, particularly Kirsten Dunst as the stony-faced photojournalist, and the emotional bonds between the characters are the beating heart of a film set in a world where brutality and death become commonplace. PRESTON Just so you know, Civil War happened to be one of my most anticipated films of the first half of 2024. I must admit that my enthusiasm was initially tempered as I was expecting a full-on dystopian war epic that foretells the impending fall of western civilization, something closer to Red Dawn than a movie about war correspondents. In the end, though, it matters little as the haunting cinematography, next-level acting, and pulse-quickening sound tell a story that is well worth reflecting on. If you know what you are in for, this may qualify as one of the best offerings of the year so far. CALEB Civil War is a visceral, terrifying exploration of societal collapse. Director Alex Garland paints a bleak portrait of an America that’s well past the point of political discourse — left and right, good and evil. This film isn’t trying to lecture you, pat you on the back, or shove an ideology down your throat. Instead, Civil War makes the case that no matter what side of the political spectrum you’re on, we’re all headed in the wrong direction. It’s an extremely effective cautionary tale with stellar visual effects, breathtaking cinematography, and outstanding sound design. This may just be Garland’s magnum opus.

PIG Starring: Nicolas Cage and Alex Wolff Director: Michael Sarnoski QUENTIN Look... I get it. When you see a mad-lib synopsis like "Nic Cage searches for his stolen truffle pig," you assume it's another bargain bin Cage movie. But let me tell you - it's unironically excellent. In what could be described as a more meditative and emotional John Wick , an uncharacteristically restrained Cage gives his best performance in years, reminding us why he has a Best Actor Oscar (twice nominated!). Meanwhile, writer-director Michael Sarnoski’s quietly beautiful direction is perfect for the themes of loss and loneliness. It is, hands down, one of the most surprising and captivating movies of the year. JACOB Less revenge thriller and more meditative rumination on passions lost and sought, Pig is an unexpectedly beautiful journey featuring an incredibly understated performance from Nicolas Cage. I'm not quite sure if the film around him has enough scope to work as well as he does, but it doesn't have to. Cage is better than he's been in decades, assisted by a script more interested in what it means to love something than what it means to lose it. It's a phenomenal debut for director Michael Sarnoski and the camerawork by Patrick Scola is one of the film's many additional highlights.

STILL: A MICHAEL J. FOX MOVIE Starring: Michael J. Fox Director: Davis Guggenheim NICK Michael J. Fox has long been my favourite actor, so Still was among my most anticipated films of the year. Thankfully, it does not disappoint, and the credit goes to director Davis Guggenheim and the editors as much as Fox himself. The way they’ve cut the film is impressive, as they use archival footage to compliment Fox's narration of events. As for Fox, he gives a raw look into his life with Parkinson’s in a way I hadn’t seen before. It’s emotional to witness, yet he still displays his patented optimism. So, let me provide some optimism of my own: this film is sensational, just like Mike. QUENTIN As with most documentaries, one’s enjoyment of Still likely will depend on the viewer’s already-present level of interest in the central subject - in this case, Michael J. Fox. For me, a mid-level Fox fan, I didn’t really learn anything new since most of this stuff has been covered before, so my interest started waning around the halfway point. I mean, it’s endearingly raw, but it’s not educational, which is the main thing I want from a documentary. On the plus side, director Davis Guggenheim’s approach of stitching together clips from Fox’s films to function as the dramatic re-enactments of Fox’s life is absolutely brilliant.

IRISH WISH Starring: Ed Speleers, Lindsay Lohan, Alexander Vlahos, Ayesha Curry, Jane Seymour, Elizabeth Tan, and Matty McCabe Director: Janeen Damian KATIE Irish Wish is the latest addition to a specific subgenre of romantic comedies that involve American women heading to Ireland to find love and experience a number of Irish stereotypes. That is not to say I didn’t enjoy Irish Wish to an extent, in a “so-bad-it's-good” kind of way, but it is not a particularly worthy film. Between the terrible script that is full of clichés, stiff acting, and lack of chemistry between the romantic leads, there are not many redeemable features. That said, Lindsay Lohan is quite charming, and I did enjoy seeing her back on the screen. CALEB Irish Wish is a generic, clichéd romantic comedy… but at least it knows it. The leading lady (Lindsay Lohan) is an underappreciated writer, and the story features a steamy love triangle, quirky misunderstandings, and a big dramatic wedding. It’s a by-the-books rom-com. If that’s your thing, then you might enjoy it; however, I was personally hoping for something a little less Hallmark-y. The writing is bad, the acting is mediocre, and despite being filmed in the gorgeous Irish countryside, the visuals are strikingly bland. Irish Wish is rather unimpressive, but if you’re in the mood for cheesy romance, then it could make for decent comfort food.

THE ROSES Starring: Benedict Cumberbatch, Olivia Colman, Andy Samberg, Kate McKinnon, Allison Janney, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, and Zoë Chao Director: Jay Roach ADRIANO The Roses presents itself as a wild domestic comedy, but it only really delivers on that towards the back half. Don't get me wrong, Benedict Cumberbatch and Olivia Colman are excellent, and even when the movie doesn't quite deliver the hilarity, it does present a seemingly accurate portrayal of a diminishing marriage. Still, Jay Roach's flat direction makes it feel mostly dull, and is only really elevated by Tony McNamara's whip-smart dialogue. The movie started making me laugh consistently again when it devolved further and further into chaos, but perhaps it was a little too late to make The Roses fully worthwhile. NICK By all accounts, The Roses should have worked better. You have Benedict Cumberbatch, a more than serviceable leading man, and Olivia Colman, one of the unsung comedy actors working today… yet, it doesn't. There are moments that work, and the leads keep things engaging, but the film is either too afraid to be as cruel as it needs to or too hesitant to be as wacky as it could be. Even the Mr. & Mrs. Smith of it all is relegated to a single scene. The relationship drama aspects work, it’s just the “war” of these Roses that leaves a lot to be desired. KATIE The Roses is a delightfully entertaining rom-com driven by the absorbing lead performances. Olivia Colman, as always, is an absolute pleasure to watch, and Benedict Cumberbatch seems to have a lot of fun with the chance to be funny and romantic. I found that the American comedy sometimes clashed with Cumberbatch and Colman’s very English humour, which was slightly jarring, but I loved the unexpected ending. However, it made me wish the film had achieved the tone of the second half sooner, as it’s so much funnier and more engaging when it isn't afraid to be a little darker.

CHAMPIONS Starring: Woody Harrelson, Kaitlin Olson, Kevin Iannucci, Ashton Gunning, Bradley Edens, Alex Hintz, James Day Keith, Casey Metcalfe, Matthew Von Der Ahe, Madison Tevlin, Joshua Felder, Ernie Hudson, Matt Cook, and Cheech Marin Director: Bobby Farrelly NICK Champions is one of those movies I could write a complete synopsis on after its opening 15 minutes. It telegraphs every move as it attempts to balance between a cookie-cutter basketball movie and a cookie-cutter underdog story while succeeding at neither. It also greatly underuses its intellectually disabled characters (Madison Tevlin as Cosentino, especially) in favour of focusing on Woody Harrelson's Coach Marcus. Even his character, who gets the most screen time, has limited room for growth, which in turn, makes for a stale character arc. I admittedly wasn’t expecting much from Champions , yet it still managed to let me down. ADRIANO Champions sees director Bobby Farrelly trying to replicate his brother's recent success, but he ultimately fails. I wasn’t expecting much, and in some ways, it lived up to what I expected. It’s vaguely offensive by using its cast of disabled characters as punchlines, it has a plot I predicted from the trailer, and it’s simply not funny. But I’m a sucker for a good feel-good story, and I was at least hoping I could get that, but nope. This movie is not only way too long for what it’s trying to be, it’s just a big misstep across the board. JACOB While there are moments in Champions that made me chuckle, I’m not sure the film entirely succeeds at what it sets out to do…assuming it has any goals at all apart from exploiting its supporting ensemble for “awws” while rarely developing their characters. The whole movie plays every scene so safely that sitting through it is more boring than inspiring, and with a runtime that’s about 20-30 minutes too long, a lot of those scenes meander. These problems are compounded by a weak script with little in the way of character development and filled with jokes that almost never land.

LAND OF BAD Starring: Liam Hemsworth, Russell Crowe, Milo Ventimiglia, Ricky Whittle, Luke Hemsworth, and Chika Ikogwe Director: William Eubank PRESTON I felt like I visited my own grammatically inept Land of Bad during my viewing of this Aussie-led, American war story. Shit gets blown up…so that’s cool. But, otherwise, you are in for a soulless action flick that is chock full of plot holes. Those with any military Special Operations knowledge should beware because you will have some difficulty dealing with the avoidable inconsistencies and the ridiculousness that is Russell Crowe as active duty Captain Eddie “Reaper” Grimm. I will say that I appreciated a story from a JTAC- unique perspective, but this should have been a straight-to-streaming release. NICK I don’t know how studios decide which films should hit the big screen and which to send to streaming, but the decision to release Land of Bad theatrically was a misfire. This is exactly the kind of film destined to bomb at the theatre only to find a second life when it hits Amazon Prime or Netflix, because it’s not bad! Liam Hemsworth is serviceable, yet unspectacular in the lead role, Russell Crowe chews on each minute of his screen time, and there’s a healthy dose of explosions. Is it particularly memorable? No. But it’s bound to satisfy your action flick appetite.

SYMPATHY FOR THE DEVIL Starring: Nicolas Cage and Joel Kinnaman Director: Yuval Adler This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Objectively speaking, I admit that Sympathy for the Devil isn’t the greatest movie. It’s a tad derivative, reminding me of Collateral and another movie I can’t mention lest we get into spoiler territory, and the motivations of Nic Cage’s character are a little convoluted at times. That said, for Cage fans, it’s a must-watch because it lets Cage channel his inner Castor Troy (from Face/Off , youngins). The tense cat-and-mouse shenanigans between Cage and Joel Kinnaman make for an engaging 90 minutes, and I’m pleased to report that it does not play out like either of the predictions I made based on the trailers. PAIGE Sympathy for the Devil allows Nic Cage the opportunity to, yet again, play another electric and wacky maniac who manages to dominate the screen in every scene he’s in, while Joel Kinnanan balances the tense ride with a more grounded performance. Ultimately, this duo transcends the bizarre but entertaining-as-hell game of cat-and-mouse. Overall, the film is enhanced by its stylish cinematography, but is held back by its off-the-rails script. Let’s be honest, though: we’re all here for Cage’s unhinged performance and not-so-wicked Boston accent. NICK Joel Kinnaman (who I've considered underrated since his turn on House of Cards ) and Nic Cage (the ultimate wild card) come together in this Collateral -esque film that is entertaining if not overly unique. A character-driven story, both leads do enough to keep your focus while playing off each other well. Kinnaman as the straight man with Cage going, well...full Nicolas Cage…is fun. However, for Cage, what hurts his performance is the ROUGH Boston accent he wavers in and out of. It becomes a distraction. That said, despite its flaws, it’s still worth checking out; just maybe once it inevitably comes to streaming.

NUTCRACKERS Starring: Ben Stiller, Homer Janson, Ulysses Janson, Arlo Janson, Atlas Janson, Linda Cardellini, and Toby Huss Director: David Gordon Green NICK You've seen this story before: the reluctant father figure who comes into guardianship only to re-evaluate his life. In fact, story aside, Nutcrackers feels like a film from a bygone era, the mid ‘90s to early 2000s boom of family films. What gives it a slight edge are the child performers (all real-life siblings). They are quite good, bringing an authenticity that helps the film land emotionally. It's incredibly predictable and fairly unoriginal, but at the very least, it's a feel-good film that'll bring a smile to your face. You could do worse. KATIE Nutcrackers is disappointingly devoid of Christmas joy. The cliché and predictable plot follows character archetypes that everyone will recognise, but I actually didn’t have an issue with that. In fact, I love a reliably comforting family comedy. The problem is it's hollow, and although the child cast is quite endearing, they are all underwritten. Meanwhile, Ben Stiller’s character, Mike, doesn’t form enough of a bond with them for the emotional impact to hit. It looks nice, with pretty shots of the small town and nostalgia-tinged scenes of the brothers playing outside, but that's about it. PAIGE Nutcrackers may be one of the most cliché and run-of-the-mill Christmas dramedies I’ve seen in a while. Unfortunately for its director, David Gordon Green, he’s had more misses than hits lately, and this falls in the miss category. Instead of trying to get you emotionally attached to the characters, the film asks its audience to fill in the emotional beats, which doesn't help the already shoddy narrative. Despite there being some endearing moments in this family holiday film, it won't make you laugh or pull at your heartstrings. Nutcrackers is simply forgettable, and I don’t foresee it being on my holiday rewatch list. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

BLUE BEETLE Starring: Xolo Maridueña, Bruna Marquezine, Adriana Barraza, Damián Alcázar, Raoul Max Trujillo, Susan Sarandon, and George Lopez Director: Ángel Manuel Soto AMARÚ Blue Beetle has a mustache-twirling, corporate evildoer problem, but not so much so that it sabotages the heart that director Ángel Manuel Soto infuses into the rest of the film. Combining dynamic action with vibrant humor, Soto keeps Latino culture and strong familial values at the story’s core to make Jamie Reyes (Xolo Maridueña) and his family indispensable components of the DCU’s future. Maridueña is a star, but it’s his endearing relationship with La Familia Reyes (VAMOS NANA!!!) that holds the movie’s appeal. That, plus a seamless integration of the superhero’s comic history, allows Blue Beetle to overcome the failings of the villain aspect. ADRIANO My expectations for Blue Beetle were low because the trailers didn’t excite me and I haven’t been impressed with DC recently. So, I suppose it’s a win that I found this movie to be, at worst, watchable. As a superhero movie, I’ve seen it before. It’s predictable to the point that it feels like there was no effort given to make it otherwise. However, the family aspect is where the film’s strengths lie. Between its genuine heart and a great lead performance from Xolo Maridueña, you have the best DC movie to come out this year… but only by default. JACOB While Blue Beetle isn’t likely to revive the superhero genre or DC’s bottom line, it’s still one of their more successful projects from a character perspective. Xolo Maridueña shines as the titular protagonist, and when the film is focusing on him, his family dynamic, and their Latino heritage, it’s really singing (Belissa Escobedo also is a standout). Where the film falls short is with its villain. Simply put, Victoria Kord (Susan Sarandon) is essentially a racist caricature with a mostly cartoon henchman. That said, these problems are largely overcome by surprising emotion and solid action. PRESTON I had high hopes for Blue Beetle to be a champion for the Latinx community in the superhero arena, but DC dropped the ball again. The acting feels stiff and unpracticed, with Xolo Maridueña as the exception, and everything from the set design to the editing feels careless, haphazard, and often unrealistic. But I am mostly disappointed by the missed opportunity to shine as something unique in an otherwise overdone genre. The loving family dynamic is heartfelt, but it suffers in the backdrop of the film’s overarching missteps. I hope the sequel can take advantage of a recipe that is primed for something special. PAIGE While Blue Beetle isn’t perfect by any means, it shimmers by having lots of heart. There also is plenty of fun to be had throughout this popcorn flick, especially with the Reyes family. With that said, those are the only aspects of the film that truly excel. Susan Sarandon’s mustache-twirling villainess takes you out of the film completely, and just does not work at all. Overall, this latest DC entry is your run-of-the-mill origin story, with no new attributes to make it stand out from the other superhero movies we have gotten over the years. PHILL Blue Beetle is another entry in the increasingly tiresome genre of superhero cinema. Though the stakes are refreshingly smaller than many recent superhero films, it unfortunately suffers mundane action sequences featuring atypical CGI characters crashing into each other. However, it’s the family dynamic that is the heart of this latest DC entry led by Xolo Maridueña, who is genuinely excellent and clearly having an absolute blast. Whilst the question of which DC cinematic universe this takes place in might be a little hazy, Blue Beetle is self-contained and grounded enough that it doesn’t overly matter at this point. NICK Yes, Blue Beetle feels like other 90s superhero movies as it's formulaic and familiar. Having said that, the charisma of Xolo Maridueña as Jaime Reyes is undeniable, which elevates the material. It's evident how much fun he is having with the character. Beyond him, the presence of his family adds a nice touch, though George Lopez as Rudy Reyes can be a little overbearing. The importance of the Latinx representation cannot be overstated, but I wish it came with a more unique formula. I didn't love Blue Beetle (nor hate it), but thanks to Xolo Maridueña, I'm looking forward to seeing the character again.

SPIDER-MAN: NO WAY HOME Starring: Tom Holland, Benedict Cumberbatch, Zendaya, Jacob Batalon, Jon Favreau, Alfred Molina, Willem Dafoe, Jamie Foxx, Benedict Wong, Tony Revolori, Marisa Tomei, Angourie Rice Director: Jon Watts QUENTIN It’s damn near perfect. That’s it. That’s the review. NICK Marvel had a tough task ahead of it with this film. Anticipation was through the roof due to casting rumours, and it had to contend with what’s been a lackluster start to Phase 4. All of that considered, this is a difficult film to critique. Fan service and nostalgia aside, it’s an authentic Spider-Man story, blending the right recipe of electric action sequences and grounded humour that the franchise is known for. It’s also a great chapter in the arc of Peter (Tom Holland) and MJ (Zendaya), which is easily the MCU’s best love story. Kudos all around. JACOB No Way Home finds the MCU back in fine form after suffering a misstep with Eternals . But while the film succeeds in its execution, it lacks some of the other Spidey films’ storytelling efficiency. In trying to do so much all at once, the story stretches itself a little thin, filling the space with either jokes or fan service – both of which work – but mostly at a surface level. That said, this is certainly more cohesive and fun than Far From Home , the heart on its sleeve is palpable, and it’s far more emotional than I was expecting. ADRIANO No Way Home is a Spider-Man movie that delivers in every way it possibly could have. While the narrative struggles a bit in the first act, it somehow is able to walk the line between coming-of-age story and superhero epic, resulting in a movie that is both badass and sweet. It has a surprising amount of heart to it too, with some moments being truly emotional, and while there is a lot of fan service, it never once felt like it was there for its own sake. All said and done, it’s an incredible movie. PAIGE Dude… No Way Home swings headfirst into the multiverse as possibly one of the greatest entries in the MCU! The film has some predictable moments and could have been a bit more suspenseful, but it’s full of heart and emotion. It’s also epic to see Willem Dafoe, Alfred Molina, and Jamie Foxx back as the OG villains, forcing MCU Peter (Tom Holland) to confront a past that’s not his. Oh, and let’s not forget that director Jon Watts makes his strongest entry yet behind the camera! Whichever universe you are from, never forget that with great power comes great responsibility. AMARÚ Given the hype and expectations, you enter No Way Home anticipating the weightiness of Endgame , but are quickly reminded that everyone involved has a strong handle on this Spiderverse’s identity. The coming-of-age approach that carried the series’ first two films is refined to produce the grandest, yet most personal, MCU-Spidey story, not to mention Tom Holland’s best performance as Peter Parker. Yes, there is plenty of fan service, but every bit is earned with paralleled emotional weight. This is easily a Top 5 MCU film and arguably the coolest Marvel movie ever made. JOSEPH There’s little more I can say about Marvel’s newest Spider-Man film other than it’s pretty great! It’s hard to go into detail as to why it’s one of the MCU’s best without delving into spoiler territory, but while it may be grandiose and epic, there are also plenty of personal and grounded stakes as well. The humor and in-jokes can be a little tacked on at times, but it’s never too distracting. Thanks to some daring and bold choices, Tom Holland and Marvel have Spider-Man fully realized in this film, further showing their ability to blend spectacle with meaningful stories.

THE PLATFORM 2 Starring: Milena Smit, Hovik Keuchkerian, Natalia Tena, Óscar Jaenada, and Ivan Massagué Director: Galder Gaztelu-Urrutia PRESTON I pride myself on being able to tease out a movie’s allegorical message or meaning. Even so, I don’t know what the point of The Platform 2 is, or what it’s attempting to convey. As a sequel to the fantastic original, it is bolstered by a supremely unique and interest-commanding plot. The story is continued, rather successfully I might I add, until the absolutely nonsensical end. If that type of thing is something you can’t deal with, then maybe it’s best to avoid this one and just rewatch the original. Otherwise, it’s entertaining, intense, and a great way to brush up on your Spanish. QUENTIN In 2020, when Netflix dropped The Platform as the world shut down, it was an incredibly original and, more importantly, timely horror movie. It was near-perfect lightning in a bottle, and honestly, it didn’t need a sequel. However, nearly five years and a “healed” world later, here we are with a prequel that doesn’t hit the same. It doesn’t help that it’s basically a retread, except replacing economic themes with religious ones. It fails to give background on the premise of the setting or justify its own existence. I’d still highly recommend the first one, but lightning certainly didn’t strike twice (especially without the pandemic backdrop). PAIGE While its predecessor served us some delicious concepts to chew on, The Platform 2 was not as appetizing as I’d hoped. It felt like a rehash of the first film, but with an undercooked story. I couldn’t connect with these new characters as the plot didn’t dive deeper into the intriguing themes presented in the original, and the ideas it tries to tackle this time around felt hollow, which leads to some unresolved questions being left on the table. I have to say that, despite highlighting certain positive aspects of the first film, The Platform 2 didn’t have the same impact and felt wholly unnecessary.