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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.

IMAGINARY Starring: DeWanda Wise, Taegan Burns, Pyper Braun, Betty Buckley, and Tom Payne Director: Jeff Wadlow NICK Let me get this out of the way: Imaginary is not a good film. It’s filled with all the clichés you find in the horror genre, from archetype characters to gargantuan leaps in logic. But… I’d be lying if I said this thing didn’t keep me entertained throughout. There’s no atrocious acting, the script leans into the ridiculousness of it all, and, conceptually, it’s a fun idea. I fully expect more negative reviews than the one I’m giving here, but for me, I’m far more likely to revisit this than something like 2022's M3GAN . Just turn off your brain and try to enjoy. CALEB Without a hint of hyperbole, I can confidently state that Imaginary is one of the most poorly written horror films I’ve ever seen. Between this, Five Nights at Freddy’s , and Night Swim , I am slowly becoming convinced that second drafts are actually discouraged over at Blumhouse. The pacing is torturously slow, the clichés are endless, and the redundant, pointless exposition is beyond infuriating. The script is the film's biggest flaw, but the hideous cinematography, wooden acting, and mediocre CGI don’t help matters either. I'll give it props for using some practical effects, but beyond that, Imaginary has very little worth praising.

ARGYLLE Starring: Bryce Dallas Howard, Sam Rockwell, Henry Cavill, John Cena, Bryan Cranston, Catherine O’Hara, Dua Lipa, Ariana DeBose, and Samuel L. Jackson Director: Matthew Vaughn AMARÚ Sam Rockwell is brilliant at making the outrageous believable, and he tries his damndest to deliver on what director Matthew Vaughn is shooting for with Argylle : an outrageously fun and over-the-top action comedy. Unfortunately, he’s nowhere near enough to save the film from a script as superfluous as the main character Elly Conway’s (Bryce Dallas Howard) spy novels, some surprisingly weightless action, and staggeringly bad special effects. If you want viewers to invest in outlandishness, you gotta make the easy parts feel real, and Argylle is nothing but silicone. Man, what happened to Matthew Vaughn? Please come back to us. QUENTIN While there are individual aspects I enjoyed about Argylle , such as Sam Rockwell delightfully leaning into charming badass mode and a few creatively conceived (if poorly executed) action sequences, the overall movie is an overlong, ugly-looking action-comedy that is surprisingly devoid of fun. Rockwell aside, the A-list cast mostly sleepwalks through a convoluted story that ultimately feels like director Matthew Vaughn trying to rip-off his own Kingsman franchise. All that said, it’s not unwatchable, almost entirely thanks to Rockwell. It’s just one of those disappointingly bland movies that will be forgotten until you come across it while flipping channels on a Saturday afternoon. ADRIANO As a lover of director Matthew Vaughn's other spy movie, Kingsman , it brings me no joy to say that Argylle is a disaster. While some of Vaughn's signature insanity does sneak in from time to time to elicit some fun, the vast majority of the film is convoluted, messy, and an excuse to set up one predictable plot twist after another. While Sam Rockwell is great, he can't save the film's uninteresting plot or horrendous visuals. Not even the reveal of the REAL Agent Argylle is worth sitting through this slog. NICK Director Matthew Vaughn reinvigorated the spy genre with Kingsman , and while that film’s sequels have been a mixed bag, his style and storytelling has acclimated very well to the world of espionage. With Argylle , the style is present, but it comes with a disconnect. The "Vaughn moments'' work on their own, but they feel out of place within the story. Plus, despite the interesting cast, the performers’ utilization is often fumbled. The biggest difference from Kingsman , however, is that this film just isn't very fun, which is not by design. I didn’t hate Argylle , but it’s certainly below the bar Matthew Vaughn has set. PAIGE Argylle is an absurd, action-packed spy thriller that delivers charismatic leads and dynamic action sequences, but as the movie progresses, it gets more and more outlandish, eventually overstaying its welcome. Additionally, despite the fact that director Matthew Vaughn seemed to have a creative vision for this world of espionage, the movie’s excessive runtime, atrocious CGI, and bogged-down script favor style over substance. That said, this shouldn't deter you from discovering who the real Agent Argylle is because the movie is still ridiculously fun. PRESTON First of all…everybody calm down! Director Matthew Vaughn wanted Argylle to feel like a B-movie action flick (I hope), and his intention was to mimic the over-the-top, unrealistic, and trashy spy novels that occupy Wal-Mart bookshelves, which he succeeds at. Yes, the CGI is atrocious. Yes, it is longer than it needs to be (due to an easily cut-able Blades of Glory style digression from an already loose storyline). No, it won’t win any awards. Still, I imagine one of these days I will want to relax after a long day of taking life too seriously, and Argylle will be the perfect fit for mindless bliss. CALEB Argylle is a bona fide masterclass in stupidity; a tacky, miscast, convoluted disaster. Honestly, I’m almost impressed that a movie with visuals this grotesque managed to cost more than $200 million dollars. Hell, it’s impressive that a script this nonsensical got picked up at all. The third act is so ludicrous that I slowly became convinced that I was actually experiencing a psychotic episode. A full-blown mental breakdown was the only realistic explanation I could think of to explain the fever dream playing out before me. I know the year is just getting started, but 2024 may already have its worst movie. KATIE Although my expectations for Argylle were not particularly high, I did at least expect to have fun. For the first hour, I was mostly enjoying myself, almost entirely due to Sam Rockwell’s charming performance and the frequent appearances of a cat, but anything after this point was an effort to endure. The visuals are outrageously poor and unpolished, to the extent the film looked unfinished, the action set pieces are bland, and the plot is so convoluted it's boring. The fact that this is part one of an intended trilogy is astounding.

KNOX GOES AWAY Starring: Michael Keaton, James Marsden, Marcia Gay Harden, Ray McKinnon, Suzy Nakamura, and Al Pacino Director: Michael Keaton NICK Although Michael Keaton gives a good performance in Knox Goes Away , he tends to get in his own way as the director. It’s not so much the writing of the film that’s the issue, but the odd stylistic choices Keaton makes. The portrayal of dementia feels more like John Knox (Keaton) is on a hallucinogen, while the dark and shadowy colour palette clashes with the tone. Also, for a film about a man running out of time, there is a surprising lack of urgency. Things do pick up in the final act, but it's sadly too late to salvage the film. ADRIANO I love Michael Keaton, but directing is not his thing. Knox Goes Away takes a somewhat interesting concept and goes nowhere with it. Admittedly, the ending is interesting, but to get there, we have to sit through dull storytelling, weak melodrama, and a very warped interpretation of what Alzheimer’s is. Michael Keaton's (for lack of a better term) Michael Keaton-isms don't work here, which just add to the film's noticeably dour tone. Failing as both a thriller and a character drama, Knox Goes Away doesn't have much, if anything, to offer. QUENTIN I’m a Michael Keaton fan, so while I can admit Knox Goes Away is imperfect, featuring a somberly slow pace that is oddly unique, I still dug it. Keaton gives a great performance, and his efforts behind the camera demonstrate a specific style that I would like to see more of. Plus, the idea of a contract killer battling dementia is just an intriguing premise from the jump, and the third act adds just enough of a twist to make it worth the somewhat dry story to get there. If you enjoyed The Killer , I think you’ll enjoy Knox , even if it’s not quite as good. PAIGE Although Knox Goes Away is a clever attempt to offer insight into the deteriorating mind of a hitman trying to make things right before his time runs out, the film becomes increasingly disjointed as it goes on. The narrative stumbles, with an uneven pacing that makes the story lose its tension. Additionally, I believe that by directing and starring in the film, Michael Keaton bit off a little more than he could chew. Overall, despite being a mediocre drama, Keaton's performance makes us care about the character and the movie. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

ASH Starring: Eiza Gonzalez, Aaron Paul, Iko Uwais, Kate Elliott, Flying Lotus, and Beulah Koale Director: Flying Lotus QUENTIN Ash pays enough B-movie homage to personal favorites Alien , The Thing , and Event Horizon (or rips them off, depending on your take) that I can’t be fully mad at it. That said, it’s more of a near-gaming experience than a movie. Watching in the darkest room possible creates something akin to walking through an immersive virtual reality demonstration, for better and for worse. Director Flying Lotus maintains an incredible eye behind the camera, especially with his use of color, while also creating trippy-ass visuals. Of course, his score is beyond reproach, too. Again, though, this is more of a great vibe check than a great movie. AMARÚ I kept waiting for Ash to drop me into a first-person point-of-view with a futuristic weapon so I could play the game this film is clearly inspired by, and honestly, there were times I wished I got that gun. There’s nothing inherently wrong with certain sequences feeling like video game cutscenes, especially with how great those are nowadays, but the pace at which this horror-filled, sci-fi thriller fit its puzzle pieces together necessitated more action to move things along. Flying Lotus’ directorial choices and score sparked just enough interest to keep me watching Eiza Gonzalez's and Aaron Paul’s good enough performances, but “just enough” can get rough sometimes. PAIGE Even though Ash feels similar to a lot of other notable sci-fi horror films, the movie’s sound design and score are outstanding, not to mention the stunning cosmic visuals. Having said that, the atmosphere and tone of the film seem far more important to director Flying Lotus than the movie’s plot. Ash falls into shambles whenever it attempts to play on its psychological tricks due to the weak and predictable script. It’s at its best when it's a chaotic B-movie body horror, but unfortunately, the movie takes too long to appreciate its strengths and deliver us the answers we long for throughout. ROBERT From the start, I felt Ash was like if they mashed Mass Effect and Silent Hill together and then choreographed it to a banger score. I was unfamiliar with Flying Lotus’ work, but clearly, music composition is where he shines… plot development and character arc leave something to be desired. I was concerned Eiza Gonzalez would struggle to carry a film, and I was somewhat justified, but her interactions with Aaron Paul, along with some of the scarier visuals, are where Ash breathes easiest to survive as a cogent experience. This one’s worth a viewing.

EMANCIPATION Starring: Will Smith, Ben Foster, and Charmaine Bingwa Director: Antoine Fuqua QUENTIN Emancipation has a bit of an identity crisis on its hands. What starts as an Oscar Bait slavery drama akin to 12 Years a Slave evolves into an action chase movie similar to Mel Gibson’s Apocalypto before eventually giving way to a Civil War movie in the vein of Glory . The mishmash of those tones, not to mention the inconsistent color palette, makes it hard for the viewer to truly settle in. That said, it’s never boring. Will Smith and Ben Foster do nice work, and it’s beautifully shot. The brutality might turn some people off, but there is enough here to make it worth your time. AMARÚ Emancipation ’s story should always be told. It’s a well-written, well-acted, well-scored and well-directed movie. Director Antoine Fuqua’s action doesn’t miss, and his use of tints and colors is especially poignant. That said, as an American Black man whose upbringing included Glory , Roots , and Amistad , there’s always the lingering question of whether I need to watch another slavery movie. I wanted to watch…that’s why you’re reading this review…but after finishing it, the answer is "no, I did not." By all means, watch the film. But if your station in life mirrors mine, then I’ll let you decide if your want outweighs your need. JACOB Its heart is in the right place, but unfortunately, Emancipation doesn’t quite rise to the level of filmmaking it hopes to achieve. Director Antoine Fuqua’s runaway slave thriller does feature a solid (if tepid) Will Smith performance, but the film has little to say about the brutality of slavery or the difficulties involved in escaping it. The film also looks quite bad, with such a desaturated color grade that one would think it was black & white if not for a few warm hues in some margins (not to mention the far too many drone shots). All in all, it’s serviceable, but skippable. ADRIANO I wish I knew what director Antoine Fuqua was trying to accomplish with Emancipation . One moment, the film is a sickening look at slavery; five minutes later, it's an action thriller. Those ideals never mesh together in a cohesive way, so it left me lost as to what the ultimate goal was. I’m not saying the story is never compelling, it just feels fumbled. Despite the film’s distracting color grading, it is admittedly well constructed, and Will Smith is an effective lead; however, I never felt gripped by the events of the story enough to care.

DINNER TO DIE FOR Starring: Shamilla Miller, Steven John Ward, and Nina Erasmus Director: Diana Mills Smith This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Dinner to Die For just didn't do it for me. It feels like an unnecessarily drawn out short film, has the look of a well made commercial, and doesn't provide a particularly engaging plot. I understand there's budgetary limitations (this was in the Burnt Ends section of Fantastic Fest), but the struggles of this one go beyond that. It’s no excuse for the sluggish pacing and pedestrian performances (which give this the feel of a high quality student film), nor the film's rushed conclusion that was wholly unsatisfying. Nothing to die for here, in fact you’re lucky if you feel anything. QUENTIN Playing as part of Fantastic Fest’s (low-budget) Burnt Ends section, I can’t be too hard on Dinner to Die For because it probably does more with less than most of its competition. However, at only 75 minutes, the film is caught in no man’s land between being too long for a short film and too short to sustain itself as a feature. As a result, the pacing is laggy and the story’s stakes aren’t adequately fleshed out to create the suspense required. Director Diana Mills Smith seems to have a decent eye, but the general cheapness made me wish I had skipped this meal.

CHICKEN RUN: DAWN OF THE NUGGET Starring: Zachary Levi, Thandiwe Newton, Bella Ramsey, Lynn Ferguson, Josie Sedgwick-Davies, Jane Horrocks, Imelda Staunton, Romesh Ranganathan, Daniel Mays, Miranda Richardson, David Bradley, Nick Mohammed, and Peter Serafinowicz Director: Sam Fell KATIE Chicken Run: Dawn of the Nugget is a strong sequel to the 2000 original, bringing everything I’ve come to expect from Aardman Animations: a distinct animation style, quirky comedy, slapstick humour, and endearing characters. There is something that's so wonderfully charming and creative about its unique handmade quality that makes the action set-pieces and visual gags even more entertaining. It even retains some of the darker humour from the original, using it to highlight thought-provoking themes about the realities of factory farming. Overall, this is a fun and crowd-pleasing film, perfect for family viewing. ADRIANO The first Chicken Run was never my favourite movie, but I always admired its quirkiness and innovation. Dawn of the Nugget offers essentially the same as what the first had to offer, and that's kind of the problem. There is some new interesting world-building, but beyond that, the central plot and ideas are more or less the same, just with less laughs and more plot lines that lead to nothing. The Aardman signature stop-motion animation style is as charming as ever, but in terms of a sequel to a classic, it falls too short for comfort.