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THE BEEKEEPER Starring: Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Bobby Naderi, Minnie Driver, Phylicia Rashad, David Witts, and Jeremy Irons Director: David Ayer NICK If you're coming to The Beekeeper looking for innovation, intricate storytelling, and Shakespearean dialogue, then obviously you'll bee highly disappointed. In fact, expectations are going to bee the main thing working against Beekeeper as it probably shouldn't have been a theatrical release. Beekeeper is filled with by-the-numbers action, a plethora of bee references, and Jason Statham doing his best Terminator impression. Something like that could have caught on as a streaming release, but when you're asking people to pay money, it's just not up to snuff. Although it gets credit for beeing self aware, Beekeeper just doesn’t justify a theatrical release… and that stings. AMARÚ In the movie doldrums of January, The Beekeeper is exactly the cathartic revenge fantasy you want to watch: Jason Statham beating the shit out of assholes who need to die. It’s funny enough (intentional and otherwise) to add to the entertainment, and takes itself seriously enough to make you care. And that’s what these movies need - a semblance of care - in order to work. Then, all of the other ridiculousness falls right into its gleeful, violent place. Plus, the ensemble is excellent in picking just the right amount of schlock to elevate this to the best “Jason Statham” movie I’ve seen in years. ADRIANO If you've ever seen a Jason Statham movie, you've seen The Beekeeper . It’s 100 minutes of Statham making one face as he encounters no real danger, which makes all the action tensionless, aside from one fight scene towards the end that has some weight. Also, for an R-rated movie, the violence is mostly bloodless. Mix in the nonsensical plot and really bad supporting performances, the only thing worthwhile about this movie is the comical amount of bee puns. I'm sure some will have more fun with this than I did, but I did not enjoy it at all. CALEB As far as John Wick clones go, The Beekeeper could have been a lot worse. The world-building, character work, and dialogue are all pretty mediocre, but the action is just fun enough to keep the ship afloat. Sure, there’s a few too many jump-cuts, but the choreography is stellar and, as always, Jason Statham gives a great physical performance. It kept me entertained throughout the first half, but it somewhat lost me once it started taking itself too seriously. It won’t change your life, but if you’re looking for a competently made action flick, then The Beekeeper might just be up your alley. PRESTON There are really only three things wrong/unrealistic with David Ayer’s The Beekeeper : first is the terrible blue hat that doesn’t quite look right on Jason Statham’s head; second is the ability to turn off a fire alarm for an entire house with the push of a single button; and finally, the irresponsible wasting of farmer’s market quality honey that hurts one’s soul. Everything else was super realistic *smirk* and, given its intentions, top-notch. Statham’s teep kick continues to be on-point, and Bobby Naderi and Josh Hutcherson put up nice performances in this fun, John Wick -esque B-action film. KATIE If you’re not prepared to enjoy hilariously bad dialogue, non-stop action, Jason Statham doing his best stoic Jason Statham performance, and an abundance of terrible bee puns, this is not the film for you. However, if you’re looking for a paint-by-numbers action flick with plenty of violence, vigilante justice, and a barely legible premise, The Beekeeper is really quite fun! Statham is undeniably engaging, and whilst some of the combat sequences become a little monotonous and the performances are unconvincing, it's a good bit of mindless entertainment. QUENTIN The Beekeeper features Jason Statham Stathaming as hard as he has ever Stathamed, and for me, that’s all I need from movie like this. It’s a delightfully retro action movie that doesn’t make a ton of sense — the kind that would have starred Arnold Schwarzenegger or Sly Stallone in the early 90s — but you aren’t coming to The Beekeeper for mental stimulation and substance. You come to watch a badass mow through faceless goons as he dispenses vigilante justice and spouts one-liners. Is it good? Not technically. Is it enjoyable? You better BEE-lieve it.

SLUMBERLAND Starring: Marlow Barkley, Jason Momoa, Kyle Chandler, Chris O’Dowd, and Weruche Opia Director: Francis Lawrence PAIGE Slumberland will spark your imagination, and it's a cute and charming film that lets Jason Momoa’s goofiness shine. That said, while I give the film props for its scope and creativity, it ultimately falls flat when it comes to executing its main focus of learning to deal with grief. It just wasn’t as emotionally engaging as it should have been. I understand it’s a family film, but, c’mon, pull at my heartstrings just a little. With a better script, this film could have been the kid’s version of Inception . JOSEPH While Slumberland is not the most unique attempt at detailing a fantasy world of dreams, it is quite fun. It reminded me a bit of James and the Giant Peach , though I wouldn’t say it reaches the highs of that film. Plus, Jason Momoa plays goofy surprisingly well, even if at times it veers into overly childish. Overall, I found Slumberland to be a heartwarming and visual treat that adults and children can both enjoy.

AUDREY'S CHILDREN Starring: Natalie Dormer, Clancy Brown, Jimmi Simpson, Evelyn Giovine, and Brandon Micheal Hall Director: Ami Canaan Mann KATIE Audrey’s Children is a heartfelt and moving film about the legacy of Dr. Audrey Evans’ transformative work. Natalie Dormer is fantastic and brings a passionate energy to the role of Audrey, and has great chemistry with co-star Jimmi Simpson (Dr. Dan D’Angio). I just would have liked more exploration of Dr. Audrey Evans's life before working at the Hospital of Philadelphia, and more insight into what drives her to be the incredible woman she clearly was. Overall, Audrey’s Children is beautifully shot and succeeded in engaging me in a true story I knew nothing about previously, whilst highlighting Dr. Audrey Evans’ impact. AMARÚ As with many biopics that cover extraordinary people in extreme circumstances, Audrey’s Children goes as its performances go. Luckily, Natalie Dormer is electric as pediatric oncologist Dr. Audrey Evans, and she is further bolstered by magnificent against-type support from Jimmi Simpson (playing strong/silent instead of weird/silent) and Clancy Brown (playing good-guy mentor instead of bad-guy badass). Even more fortunate is that Ami Canaan Maan’s direction seamlessly blends a propulsive pace that matches the urgency of cancer research with a contemplative one highlighting its severity. Audrey’s Children is an all-around solid watch that is more than worth your time.

YOU PEOPLE Starring: Jonah Hill, Lauren London, Eddie Murphy, Julia Louis-Dreyfus, Sam Jay, Nia Long, and David Duchovny Director: Kenya Barris AMARÚ Lauren London and Jonah Hill are too cute together in You People for their story to be so underdeveloped. Instead of a full-fledged narrative, director Kenya Barris just strung together a loose collection of random rom-com scenes. Don’t get me wrong, I chuckled at Hill’s patented awkwardness and a toned-down Eddie Murphy (more at Eddie than Hill, though), but aside from an ending that’s much better realized than its lead up, this one had me reaching for something more. More cohesion. More Eddie being Eddie. More trust in London and Hill to carry a genuine story. But hey, it was cute, though. NICK The more I think about You People , the less I like it. It packages itself as a more unique story than it actually is while constantly contradicting itself. For example, Ezra (Jonah Hill) has a successful podcast about "The Culture," yet he's often portrayed as the white man who doesn't know black things. It's a joke that was already played out and is relied on far too heavily here. Still, there are some jokes that work and solid performances (Julia Louis-Dreyfus is perfectly cast), but avoiding stereotypes with Hill’s character by focusing on the dysfunction of the parents would have made for a better film. QUENTIN Although You People ends up exactly where you’d expect, it’s not without some laughs along the way. That said, mileage will vary on just how much you laugh because so many of the jokes and references require some level of insider knowledge. For example, if you don’t know much about Louis Farrakhan’s stance on Jewish people (I do), Drake’s discography (I don’t), or the name of a certain Jay-Z/Kanye collab (I do), those jokes fall completely flat. Also, director Kenya Barris’ music video-inspired, snapshots-of-LA scene transitions are overdone. Still, the performances mostly work, and the jokes that do land make for a decently entertaining watch. JOSEPH You People is the smartest, most straightforward rom-com I’ve seen in a long time. Following a Meet the Parents meets Guess Who’s Coming to Dinner premise, You People offers an earnest look at modern-day race relations. That being said, it never feels ridiculously heavy, instead using the comedy to lighten the very real issues the film brings up. The cast is phenomenal, and they had me laughing out loud multiple times, putting a smile on my face while also making me cringe. It’s smart and respectable, but most importantly, it’s entertaining. DARRYL You People survives mainly on the chemistry between Jonah Hill and Lauren London. Their scenes together, along with Hill's scenes with Sam Jay, make for the best romance and comedic elements of the film. Kenya Barris and Hill’s script is impressively balanced between great inside humor catered to the culture and clichéd and hammy dialogue. Plus, what could have made for a fresh update on 1967's Guess Who's Coming to Dinner instead opts for surface-level humor while leaning on Hill’s charm. Barris' direction is sharp and inventive, though, making for a great weeknight movie to watch with a significant other. PAIGE You People never really finds its footing with its narrative while also being staggeringly unfunny and filled with cringe-worthy dialogue to boot. It seems like Jonah Hill and director Kenya Barris, who co-wrote the film together, had good intentions with what they wanted to execute with this interracial rom-com, but it tries way too hard to be relevant. Hill’s self-deprecating charm is the only tolerable thing going for this feature, and overall, the film feels like a sloppy juggling act that ends up abandoning all of its heavy topics to just be a surface-level social satire.

AFTERSUN Starring: Paul Mescal, Frankie Corio, and Celia Rowlson-Hall Director: Charlotte Wells JACOB It’s a softer landing than one might expect from an A24 project, but Charlotte Wells nonetheless impresses with her directorial debut in Aftersun . Featuring a Paul Mescal performance that is equal parts charming and heartbreaking, as well as a stunning supporting turn from Frankie Corio, the movie’s themes of mental illness and its many claws ring quiet but crystal clear. Wells’ script is delicate, able to balance on a needle-width thread without ever needing to veer into emotional manipulation or away from realism. It's a truly moving film that only gets better the more one thinks on its many strengths. ADRIANO Let me start off by saying that this film won’t work for everyone. It is very slow and requires tons of critical thinking. Personally, though? I was engrossed by Aftersun , a film that explores the way we view our parents and addresses depression in a truly unique and accurate way. Paul Mescal is fantastic, and Frankie Corio is an absolute revelation in a film that is made with such nuance and empathy that it shattered my heart by the end. I implore everybody to give this film a chance. PAIGE A24 has flourished this year by producing some amazing gems, and I’m glad to say Aftersun is no different. A stellar directorial debut from Charlotte Wells, the film is anchored by the charming performances of Paul Mescal and its young rising star, Frankie Corio. Overall, it’s a beautifully heartfelt film about the passage of time through the lens of a father/daughter relationship, further diving into the desire to preserve shared memories. For that, this film is so precious in my mind, and it was one of my favorite films coming out of the NYFF. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

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 SUPREMES AT EARL'S ALL YOU CAN EAT Starring: Aunjanue Ellis-Taylor, Uzo Aduba, Sanaa Lathan, Mekhi Phifer, Kyanna Simone, Tati Gabrielle, Renee Harrison, Russell Hornsby, Ryan Paynter, Vondie Curtis-Hall and Julian McMahon Director: Tina Mabry AMARÚ More than three decades of “we shall overcome” black movies have made me numb to those stories, so I was initially hesitant to warm up to The Supremes at Earl’s All-You-Can-Eat ; however, the characters and relationships are too affectingly familiar to not feel at home. I know every one of these people, from the petty to the pious to the pompous, and Earl’s’ uptempo pace, along with believable performances, keep you hilariously entertained even if it storms through the numerous heavy themes. Led by fabulous turns by Aunjanue Ellis-Taylor and Kyanna Simone, Earl’s is a tale of struggle and sisterhood that warmed my soul. PAIGE At its core, The Supremes at Earl's All-You-Can-Eat is a lighthearted and sentimental film about the strength of friendship. While the story only lightly touches on heavy themes of racism, gender inequality, and adultery, there are several humorous moments that allow you to connect to the tribulations and joys that these characters go through in their lives. As a viewer, you’re able to relate to each of these characters because of the strong and authentic performances from Aunjanue Ellis-Taylor, Uzo Aduba, and Sanaa Lathan. All in all, Earl’s is a cute gem that feels like a cozy hug.

ISS Starring: Ariana DeBose, Chris Messina, Pilou Asbæk, John Gallagher Jr., Costa Ronin, and Maria Mashkova Director: Gabriela Cowperthwaite QUENTIN As far as B-movies go, especially those that get quietly dumped in theaters during the doldrums of January, I.S.S. offers enough tense astronaut-related thrills to keep one entertained for 95 minutes. Yeah, it’s predictable, and sure, it will remind you of everything from Gravity to Pandorum to Stowaway to even Alien , but still… Given the context of the release and dearth of expectations surrounding I.S.S. , it does a solid job of building the claustrophobic paranoia necessary to make this simple story work. Add in the fact that the story is plausible, not to mention the moral questions it asks, I’d call it a pleasant surprise. KATIE I.S.S. presents a simple yet compelling concept that makes the most of its unique setting. Exploring the dynamics of a group of astronauts amid mounting paranoia and distrust, it generates a sense of palpable tension that is emphasised by growing external threats. However, despite its strong start and impressive visuals on a limited budget, I found it lost some of its initial sense of dread while also lacking some of the excitement and heightened threat found in other space thrillers. That said, this is a fun watch that sustained my interest, and it’s elevated by engaging performances. PAIGE As opposed to aliens, the major threat in I.S.S. actually is the monster that exists inside of us. This gripping sci-fi thriller presents a clever concept, but unfortunately falls short due to its lack of stakes. Nevertheless, it's still captivating enough to hold viewers' attention. Plus, director Gabriela Cowperthwaite does a fine job of making the most of the claustrophobic tension inside the spaceship while also making sure that I.S.S. remains a character-driven drama despite the main action taking place on Earth. NICK With January being a bit of a down month for film quality, I wouldn’t be surprised to see I.S.S. gain a little traction. The unsettling premise survives on its frighteningly possible real-world implications (which dials the tension up to 11) and solid ensemble, featuring the burgeoning Ariana DeBose alongside a The Newsroom reunion of John Gallagher Jr. and Chris Messina. Although it doesn’t quite reach the heights it aims for, it’s never not engaging as it harkens back to the days of 1990s B-movies. It's not going to light the world on fire, but it’ll make for a more than serviceable movie night.

FAIR PLAY Starring: Phoebe Dynevor, Alden Ehrenreich, and Eddie Marsan Director: Chloe Domont NICK At the start, Fair Play is an erotic thriller that is neither erotic nor thrilling. As it goes through the motions in its early going, I settled in for what I assumed would be a standard workplace-relationship power struggle, akin to a spur-of-the-moment Blockbuster rental. Then, everything changes. The story evolves into something with more teeth, and the highly praised Alden Ehrenreich performance I’d heard about kicks into gear. I wish it had gotten there sooner, but Fair Play pays off with heaps of tension and great lead showings, particularly from the underrated Ehrenreich. ADRIANO I found myself really loving Fair Play , something I did not expect to say before seeing it. It starts as an erotic thriller, which I had mixed feelings about, but the psycho-sensual tension between Alden Ehrenreich and Phoebe Dynevor kept me on my toes. As the film goes on, however, it makes a 180 and begins to really captivate as it viciously examines domestic and gender dynamics in the workplace. And Ehrenreich, in particular, really gets to shine. Fair Play went places I had no idea it was gonna go, and it made the movie for me. QUENTIN Fair Play is a modern-day twist on 90s erotic thrillers like Disclosure and the works of Paul Verhoeven and Adrian Lyne. However, with a woman, Chloe Domont, behind the script and camera, it puts a fresh spin on gender dynamics and workplace relationships. Both Phoebe Dynevor and Alden Ehrenreich are terrific, but Ehrenreich gives a career-best performance as he slowly gives way to his bitterness, jealousy, and inadequacy. Admittedly, the financial jargon threatens to derail the viewer’s interest at times, but it’s generally in service to the story, so it never becomes less than engaging. It’s a great debut for Domont, and a win for Netflix. AMARÚ With Chloe Domont’s intense direction and a pulsating score accentuated by New York’s bustling ambiance, Fair Play is the right amount of unnerving during Alden Ehrenreich and Phoebe Dynevor’s dark and seedy journey through the film. With a heavy focus on both their personal and professional relationship, it runs the risk of disengaging the audience if you can’t connect with the two leads, but both Ehrenreich and Dynevor play their shifting power dynamics to an uncomfortably entertaining tee, creating enough heart-racing moments to make up for the drudge of jargon-heavy, financial sector work scenes that weigh down the script. PAIGE Fair Play is a cut-throat psychological drama that’s captivating from beginning to end. It plays extremely well with power and gender dynamics both in the workplace and in relationships. The battle-of-the-sexes jealousy and rage unravels so flawlessly throughout, creating plenty of juicy and tender moments of tension. I loved how the intensity never stops building between the lead couple (Phoebe Dynevor and Alden Ehrenreich) who, in my opinion, both deliver some of the best performances of the year. This is a must watch on Netflix, and a big win for first time writer/director Chloe Domont! PRESTON Fair Play masterfully wields surprising uneasiness as a tool for building suspense right from the beginning, then never lets off the gas. The film is mercifully original, with its narrative featuring modern-day gender politics, feminism, ambition, family relationship dynamics, and a complicated dichotomous male psyche that dangerously vacillates between chivalry and chauvinism. It is a nuanced approach that sets itself apart from its finger-wagging contemporaries by recognizing the gray space in which the world operates. Phoebe Dynevor, Alden Ehrenreich, and Eddie Marsan aid director Chloe Domont in turning in one of the better Netflix original thrillers I have seen. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

MEMOIR OF A SNAIL Starring: Sarah Snook, Kodi Smit-McPhee, Jacki Weaver, and Eric Bana Director: Adam Elliot ADRIANO While it doesn't reach the highs of his last film, Mary and Max , writer/director Adam Elliot hits another very special note with Memoir of a Snail . With its unique stop-motion animation and pitch-perfect, darkly comedic tone, this film hits you with tragedy after tragedy, but always in an organic and funny way. This ultimately leads to a powerful ending that left me a teary mess. Despite how dour the film can get, the movie is anything but hopeless, choosing to put one foot in front of the other in the face of tragedy. Memoir of a Snail is a profoundly beautiful experience. KATIE Memoir of a Snail is instantly one of my favourite animated films of the year, with its creative and distinctive stop-motion style, crude and often outrageous humour, and life-affirming message. Plus, despite all the sex and swearing, it’s the most wholesome, rewarding film of LFF. It’s also an intelligent film, exploring the darkest moments of the character’s lives whilst advocating for a forward-thinking approach to tragedy and celebrating progress in the face of adversity. The voice cast is also very endearing, especially Sarah Snook as the protagonist Grace and Jacki Weaver as Pinky. QUENTIN I have a tremendous amount of respect for stop-motion animation, and on a technical level, it will always impress me because of the painstaking meticulousness it requires. However, that doesn’t mean all stop-motion movies are good. Memoir of a Snail fails to adhere to the adage of “show, don’t tell,” with its story told almost entirely through narration instead of dialogue, resulting in a vibe more akin to listening to an audiobook than watching a film. In fact, you could ignore the visual aspects and not lose much, which makes for a heartbreakingly heavy and unengaging experience that seems a waste of terrific animator effort. AMARÚ Memoir of a Snail could’ve easily fallen into a trap of sluggishly reading out a life story, but there’s so many weird and quirky turns in the main character Grace’s (Sarah Snook) life, that I excitedly tuned into each progressively shocking and entertaining chapter. The film’s hilariously honest embrace of life’s peculiarities is expertly explored through a forceful resilience that’s both sweet and powerful. With each piling tragedy in Grace’s story, the film constantly follows its own advice of moving “onward, upward, and sidewards”, leaving your heart utterly fulfilled with its cheer-worthy ending. PRESTON The ending of Memoir of a Snail brings this film a long way. I appreciate the final message, but the journey to get there is fraught with misery and melancholy that showers over you like a water-boarding session. If I wasn’t encouraged by pre-viewing reviews, I might not have made it to the mostly satisfying conclusion. There are some moments of dark levity, but the overwhelming insistence on its trauma-forward narrative reinforces a barrier to any emotional connection. My most cynical self sees its impressive and taxing stop-motion format as nothing more than a means to the awards stage. NICK Those who dismiss animated features as "just children's films" often miss great content, and Memoir of a Snail is just the latest example of that. This tragic story is as grown-up as they come as it touches on some incredibly dark themes, including death, abandonment, and loneliness. There's a lot of pain here, and the gloomy aesthetics only enhance that feeling. Even the somewhat off-putting animation fits with the story being told. I can definitely see this film being a little too depressing for some (it can go a little overboard in that sense), but its ultimate message is pure and worth the somber journey.

BOYS GO TO JUPITER Starring: Julian Glander, Janeane Garofalo, Tavi Gevinson, Elsie Fisher, Grace Kuhlenschmidt, Julio Torres, Joe Pera, Miya Folick, Sarah Sherman, Cole Escola, Max Wittert, Chris Fleming, Eva Victor, River L. Ramirez, and Demi Adejuyigbe Director: Julian Glander BODE The one thing undeniable about Boys Go to Jupiter is that you won’t see much like it this year. Julian Glander’s debut feature captures teenage isolation, as well as the monotony of “grindset” culture, with a good amount of idiosyncratic charm and subtle melancholy. It’s made all the more unique with its plasticine-looking 3D animation (created entirely with Blender), unexpected musical numbers, and eccentric voice work from a surprisingly large cast. I do wish it meandered less in the back half and that its ending left more of an impact, but this is overall still worth a watch. ADRIANO Boys Go to Jupiter is a strange experiment that, if I overheard someone saying they hated it, I'd partially understand why. As for me, despite its cookiness, I was bizarrely endeared. The animation is not “good” in the traditional sense, but the colours and personality worked for me. Narratively, it's mostly just a series of bits taped together to form a story, but the appeal of the film is primarily vibes. And in terms of vibes, it delivers with sincerity. Again, this isn't a slam dunk, but I found it enjoyable.

THE BLACKENING Starring: Grace Byers, Jermaine Fowler, Melvin Gregg, X Mayo, Yvonne Orji, Dewayne Perkins, Jay Pharoah, Antoinette Robertson, and Sinqua Walls Director: Tim Story PAIGE Tim Story's The Blackening is quite a pleasant surprise. Its fun stabs at horror movie tropes are fantastic, and they will have you laughing out loud throughout. Even though it is a dumb horror comedy, it manages to balance its campiness very well, and it knows exactly what tone it is going for the entire time. The ending is admittedly weak, but I promise you’ll have fun watching this hangout flick that is essentially Scary Movie mixed with The Cabin in the Woods in all the right ways. NICK After watching the short film on which it is based, it's clear The Blackening was better suited as a short. It's not a bad movie, but the plot has no reason to be stretched out to more than 90 minutes. There is a lot of humour in the opening half hour, but after that, it just feels like a B-movie slasher with characters that wear out their welcome, especially Clifton (Jermaine Fowler). Ultimately, this is a great example of “if it ain’t broke, don’t fix it.” That said, please do yourself a favour by watching the short film. QUENTIN Based on 3-Peat Comedy’s sketch of the same name, The Blackening ’s premise is brilliant. However, the feature film version loses most of the sketch’s witty commentary about Blackness by also forcing a commentary on horror tropes. It still poses humorous questions about racial stereotypes, but never takes them far enough to be hilarious. It’s like it’s pulling its punches. For example, jokes about not knowing how to play Spades being evidence of being “less black” weren’t funny, which makes me wonder: am I too white to find it funny, or too familiar with black culture (I mean, I can play Spades) to find it subversive? This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.