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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.

ANOTHER SIMPLE FAVOR Starring: Blake Lively, Anna Kendrick, Alex Newell, Michele Morrone, Henry Golding, Ian Ho, Allison Janney, Elizabeth Perkins, Elena Sofia Ricci, Andrew Rannells, Lorenzo de Moor, Taylor Ortega, and Bashir Salahuddin Director: Paul Feig NICK I watched A Simple Favor for the first time a few days ago, so it was fresh in my mind leading into the sequel. Although this is certainly a step down, there's still some fun to be had, mainly thanks to the chemistry of Blake Lively and Anna Kendrick. Beyond them, the new cast members don’t add much (including Elizabeth Perkins, who replaces the sorely missed Jean Smart) and the campy story is needlessly convoluted. It’s the same thing we’ve been seeing lately: another streaming film that you can waste some time with, but is, at the end of the day, another unnecessary sequel. ROBERT You never want to believe a follow-up to a movie you loved could even hint at being bad, no matter the number of red flags staring you in the face. So, there was no caution with my optimism for Another Simple Favor , but oh boy, there should’ve been! After seven years, the story conceived was lame and like that of a daytime soap opera, so my interest waned quickly. The characters, namely Stephanie (Anna Kendrick) and Emily (Blake Lively), didn’t seem true to who they had been in the first film. It felt lazy, sloppy, and made only so they could have a production in Capri. AMARÚ I watched A Simple Favor some years ago, and while I remember the watch being impactful, it wasn’t enough to remember anything about it going into Another Simple Favor . What carries over the most is Anna Kendrick and Blake Lively’s chemistry, which holds enough weight to push through what amounts to a bad TNT television show. While I love Leverage and The Librarians , maybe that’s not what you want for a major motion picture sequel, and even those shows didn’t stoop to the campy trash in the last hour. The Kendrick and Lively sparring match was fun, but everything else around it was just dumb.

BABYGIRL Starring: Nicole Kidman, Harris Dickinson, Antonio Banderas, and Sophie Wilde Director: Halina Reijn ADRIANO There is something interesting about Babygirl that I really love. It's a horny movie, for sure, but it's also very non-sensational. The eroticism is more in service of what writer/director Halina Reijn wants to say about untapped desire and power balance. Even in the movie's hottest moments, Babygirl is bound by a smart script that offers laughs and shock. With a great ensemble to back it up, I found myself glued to the screen, watching the mind games and dominance go down. If you come for the hot stuff, you'll get it…and a whole lot more. NICK No doubt a very sexually driven film, there's something missing from Babygirl . Both Nicole Kidman and Harris Dickinson bring great performances to the screen – as does the glue of the film, Antonio Banderas – so it's not the cast. So the problem must be in the direction. Whether it's the cheesy, too-on-the-nose musical montages or the hints of unintentional camp, there are flaws that really took me out of the film. I will give credit where it's due, though: director Halina Reijn handles the sexuality with a maturity few would, and she deserves to be commended for that. QUENTIN Perhaps this is more an issue of expectation management, but based on the trailers, I expected Babygirl to be…I don’t know…hot? Sure, nominally, it’s an erotic thriller, but it’s blandly clinical, lacking in overall sexiness and horny delights (many of which are reduced to montage form). That said, the performances are great, especially Nicole Kidman, who seemingly thrives playing the rich white woman with the imperfect perfect life, and writer-director Halina Reijn confidently explores sexual desires, repression, liberation, and power dynamics. It’s certainly not a bad movie, but it’s being marketed as titillating and lurid eroticism; since that’s not what Babygirl is, I walked away wanting. PAIGE Babygirl is an unapologetically arousing, yet poignant, film anchored by an edgy and unrestrained performance from Nicole Kidman. Although the plot may seem a little underwhelming at first glance, writer/director Halina Reijn draws viewers in with an innovative and artistic storytelling approach that explores a woman's struggles to define her own needs and sexual desires while also experimenting with power dynamics. This drama tackles its complex themes with nuance, empathy, and style, all of which bring the erotic subgenre back to life. Halina Reijn, you are the true babygirl here. AMARÚ Babygirl sets itself up to feel like real life - chaotic in the repetitiveness of work, life, family, and finding pleasure amongst it all. So when its erotic nature starts to unfold, it is naturally uncomfortable and alluring, pulling you into Harris Dickinson and Nicole Kidman’s intriguing affair with their seductive performances. Yet, when it explores the psychological consequences afterwards and throughout, the plot becomes more contrived and artificial, entering into a whiplash of disjointed melodrama. While Babygirl is an interesting look into humanity’s relationship with power and pleasure, it lacks the depth to really explore some of its dangerous repercussions. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

NOSFERATU Starring: Lily-Rose Depp, Bill Skarsgård, Nicholas Hoult, Willem Dafoe, Ralph Ineson, Aaron Taylor-Johnson, and Emma Corrin Director: Robert Eggers ADRIANO In his latest masterwork, director Robert Eggers proves once again that he is unmatched when it comes to building atmosphere and period authenticity. In Nosferatu , from the get-go, the film's vibe is one of an unrelenting nightmare due to the overall tone, spectacular imagery, and the utterly insane transformation of Bill Skarsgard into Count Orlok. And thanks, in part, to Lily Rose-Depp's mortifying physical performance, we get a genuinely scary yet seductive film that dives headfirst into the classic Dracula themes of desire and pleasure, which makes way for unfathomable horrors. Eggers just can't seem to miss. NICK One thing that is undeniable when it comes to a Robert Eggers film is that you’re going to get a visually stunning piece of art. Nosferatu is no different. The gothic atmosphere becomes a character in itself, which pairs perfectly with a title character mostly in the shadows. And when he finally steps out, it’s another exceptional horror icon portrayal from Bill Skarsgård, as he keeps the audience in a trance (much like Lily-Rose Depp, who is also great here). I’ve still yet to be completely enamoured by Eggers’ work, but Nosferatu has certainly gotten me the closest. PAIGE Nosferatu is a descent into madness! Lily-Rose Depp delivers a spellbinding performance that she pours her soul into, while Bill Skarsgård’s terrifying portrayal of Count Orlok is so hypnotizing that even when he isn’t on screen, you can feel his menacing presence. Writer/director Robert Eggers has crafted his best and most daunting film to date. From the film’s gorgeous production design to its dreadfully tense atmosphere and macabre cinematography, this film is a truly chilling reimagining of the iconic vampire story. I must say, I have officially succumbed to Robert Eggers’ darkness. AMARÚ Nosferatu is undoubtedly an epic Robert Eggers film. It’s creepy, unsettling, well-acted, meticulously filmed, and eerily scored with magnificent production and sound design. But its grandiosity often lacks any form of subtlety. I wouldn’t have been surprised to hear “I AM DRACULA AND I WANT TO SUCK YOUR BLOOD” followed by Sesame Street ’s The Count laughing slowly. But honestly, it fits the vibe. Any distaste on my part comes from my personal indifference to this story, and not to an absence of quality. Everything about Nosferatu is as it should be, and Eggers directed a monumental take on the vampire’s tale. QUENTIN For better or worse, Nosferatu is just another Robert Eggers movie. Now, that may leave you asking, “what exactly does that mean, Q?” Well, let me tell you… For me, it means a film that is well-acted (Bill Skarsgård is particularly excellent), thick with moody atmosphere, and loaded with some incredibly beautiful imagery; however, that also means it features a story so deliberately and methodically told that it becomes an unengagingly draggy bore, especially given the candle-lit period setting. Through four hit-and-miss films, I think I’ve come to understand that I like Eggers as a uniquely skilled director, but not so much as a writer. PRESTON Most reviews of Nosferatu will be hard-pressed not to bring up director Robert Eggers because this film is so, well… Robert Eggers. His films always seem to leave me in this middle-ground of deep respect mixed with simultaneous disappointment. I can’t express strongly enough how beautifully crafted the film is AND brilliant the performances are, but its substantive content lacks bite. It is long and dull despite being so visually stunning, and Count Orlok’s (Bill Skarsgård) porn stache and tortuously slow and affectatious speech make the creature seem laughable at times. Alas, I find myself in the familiar middle-ground, once more. KATIE Robert Eggers’ reverence for Nosferatu: A Symphony of Horror is evident in every frame of his modern remake. From the breathtaking first scene, Eggers plunges the viewer into a meticulously crafted, richly realised world inflected with a building sense of suffocating dread, captured in seductively beautiful monochromatic colour. Eggers draws inspiration from the original text without simply replicating its visuals, with Murnau-inspired use of shadows and expressionist influences, but he adds a unique complexity to the story by centralising Ellen’s agency, played by a dedicated Lily-Rose Depp with impressively unsettling physicality. Nosferatu is a truly stunning and encapsulating film.

DARK MATCH Starring: Steven Ogg, Ayisha Issa, Jonathan Cherry, Sarah Canning, Mo Adan, Michael Eklund, and Chris Jericho Director: Lowell Dean This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK It's no secret I grew up watching pro wrestling or that I have a soft spot in my heart for it, so any time it's featured on screen, I'm happy. With Dark Match , it's the key component of the film, and in that sense, it works quite well. In fact, as far as lower budget indie horrors go, it does it's job admirably. Where its challenges lie is in the muted characters. Wrestlers (especially throwback ones) often have larger than life personas, but everyone in Dark Match 's gimmicks are fairly tame and reserved. This limits the film's ability to fully utilize its cast, Steven Ogg and Chris Jericho especially. QUENTIN Given its presumably small budget and indie vibe, it’s hard to be too critical of Dark Match , which has a lot in common with Green Room . Sure, the performances won’t blow anyone away, the story is extremely underwritten, and it requires some inside knowledge of professional wrestling as it casually drops terms like “kayfabe.” That said, there is enough brutal and bloody carnage to keep genre fans entertained for 90 minutes, especially if those fans also love pro wrestling. All in all, not a bad way to start Fantasia 2024.

IF I HAD LEGS I'D KICK YOU Starring: Rose Byrne, A$AP Rocky, Conan O’Brien, Mary Bronstein, Danielle Macdonald, and Christian Slater Director: Mary Bronstein ADRIANO If I Had Legs I'd Kick You is likely to be a very alienating film for many people, but I can't stress enough how worth it this experience is, if not just for the tour-de-force performance from Rose Byrne. She guides this stressful, at times excruciating (by design) exercise in maternal frustration, as we follow Byrne's character through some of the most aggravating series of events, told with expert tension and visual splendour by director/writer Mary Bronstein. I have mixed feelings about how it wraps up, but the way Byrne guides this difficult experience is a sight to behold. NICK Even as a childless man, I found If I Had Legs I'd Kick You quite emotionally exhausting; I can only imagine how this film would make a mother feel. Director Mary Bronstein has created an immersive character study that suffocates you as you watch it. Her direction is deliberate, creative, and unafraid to take risks. If that wasn't good enough, it's all anchored by a tremendous performance from Rose Byrne. She has never been better as the overwhelmed, beaten down, and frankly, defeated Linda. It may be heavy, and not always the easiest watch, but Bronstein just jumped onto the scene in a big way. BODE If, like me, you watched Nightbitch and thought it neutered its portrayal of the difficulties of motherhood, you might get a kick out of If I Had Legs I’d Kick You . Writer-director Mary Bronstein fearlessly comes at the same themes with disorienting cinematography, overwhelming sound design, and jarring editing – all of which accentuate its nightmarish surrealism and dark humour. And Rose Byrne immerses herself in the exhaustion of the film’s protagonist, delivering a career-defining performance in the process. It’s definitely not for the faint of heart, but if you’re willing, you’ll witness something major. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival .