F1: THE MOVIE Starring: Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, and Javier Bardem Director: Joseph Kosinski QUENTIN Just so you know, I saw F1 on the world's largest IMAX screen, and I have no doubt that bumped my rating by at least a half reel. Watching the incredibly done racing sequences on a 127-foot by 69-foot screen with 12-channel digital surround sound created a fantastically immersive experience. However, outside of that and Brad Pitt's natural charisma, everything else left me wanting. Simply put, the story is generic, and it doesn’t do enough to make one invested between the in-car action. It’s certainly a lot of fun on the big screen, but I don’t think that will translate to the small one. AMARÚ F1 writers Ehren Kruger and Joseph Kosinski (who also directed) knew the film didn’t need to do anything special with its story because sticking to the sports movie magic formula generates blockbuster entertainment all on its own. So, they tapped cinematographer Claudio Miranda’s spectacular in-car camera work to create genuine thrills during its recognizable, yet still heart-pounding races, Brad Pitt and Damson Idris’ respectively established and up-and-coming star-power to connect you to somewhat thin characters, and Kerry Condon and Javier Bardem as the lovable cherries on top. F1 doesn’t break any molds; but really, did it ever have to? ADRIANO F1 will give you the highs you expect out of blockbuster sports dramas. Director Joseph Kosinski does an incredible job of making the racing sequences feel vibrant and pulse-pounding. There's an inherently easy-to-root-for plot, which for most people, is exactly what you’d want. The story is conventional, which isn't instantly bad, but because the entertaining characters are forgettable, the entire experience feels a lot like a sugar high: in the moment, a ton of fun, but once that moment is over, it's just over. It feels fleeting, but that doesn't erase the successful thrills F1 produced. BODE It’s no surprise that director Joseph Kosinski would continue to follow in Tony Scott’s footsteps after Top Gun: Maverick , as in re-teaming with much of Maverick ’s creative team, he crafts his own Days of Thunder with F1 . This time though, the heights are inconsistent. The racing sequences are truly exhilarating, and its cast is certainly likeable (put Kerry Condon in everything, please). But there isn’t enough shading to its narrative foundation or characterization, making it hard to fully invest in the drama - especially at nearly three hours. It’s fine enough as a piece of escapism, but it could’ve been more.

MY POLICEMAN Starring: Harry Styles, Emma Corrin, Gina McKee, Linus Roache, David Dawson and Rupert Everett Director: Michael Grandage JACOB Although My Policeman plays at being an important film, it doesn’t really have the heart to believe in its own narrative or the writing to keep it afloat. An overlong and supremely jumbled structure costs it emotional cohesion, forcing the viewer to half-care about three separate stories, only one of which occurs uninterrupted, and none of which produce characters we want to follow. Even the older counterparts don’t ultimately get much to do. Emma Corrin and David Dawson turn in decent performances, but it’s clear that Harry Styles isn’t where he needs to be to carry films such as this. ADRIANO My Policeman is a dud. From the start to the very end, I was just bored. Nothing interesting happens, and its script is just flat-out bad. That said, most of the performances are quite good, especially Emma Corrin. As for Harry Styles, he tries his best, but he should probably stick to music. Although he is fine in the smaller moments, he’s laughably bad in the bigger ones. I had to keep stopping myself from dozing off through the runtime because of how dull everything is (and I didn’t always succeed in staying awake). Overall, just a really terrible movie. PAIGE Let’s just say that My Policeman isn’t nearly as close to the level of prestige LBGTQ+ storytelling that Call Me By Your Name is. I will admit that it has something , but the pacing of the film tends to pull you in and out of two completely different movies, which left me wanting one over the other. It’s a dull and dry movie that should’ve made its primary focus on the injustice and freedom of what love presents us instead of just settling for a tragic romance story. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE IDEA OF YOU Starring: Anne Hathaway and Nicholas Galitzine Director: Michael Showalter ADRIANO The Idea of You has greatly grown on me. It certainly has its pitfalls, as it follows familiar beats and director Michael Showalter seemingly has no directorial vision for any of his movies, including this one. However, while the rom-com stuff is endearing and Anne Hathaway and Nicholas Galitzine are great together, the movie is very mature in its handling of the subject, doing a great job in its sincere approach to age-gap relationships and tabloid culture. Dare I say it, I got pretty emotional towards the end, making this a successful rom-com. KATIE The Idea of You is a fun and appropriately unrealistic fan-fiction-inspired rom-com that is elevated by Anne Hathaway’s undeniable star power. Playing 40-year-old mother Solène, there is a searing chemistry with 24-year-old Hayes Campbell, played by Nicholas Galitzine, although her glamour and beauty make it hard to believe anyone would question his attraction to her. Nonetheless, I was pleasantly surprised that the film touched on some interesting points about age-gap relationships and the unique type of misogyny that affects women in the public eye, but it would have been more satisfying if it interrogated these issues further. CALEB I’m not above a schmaltzy, feel-good romance, but there’s no fun to be had with The Idea of You . There’s no romantic chemistry or sexual tension between Anne Hathaway or Nicholas Galitzine, and the whole narrative feels overwhelmingly sad (but not in the right way). The sincere attempt to explore aging is occasionally effective, but it is hard to take it seriously amidst all the boy-band melodrama. The cinematography reminded me of a bad Hallmark movie too, and it's surprising Hathaway would attach herself to something so cheap. I know she’s rom-com royalty, but The Idea of You is well below her usual standards. PAIGE The Idea of You turned out to be a more thoughtful and sophisticated romantic movie than I had anticipated. While the story is predictable and feels like fan-fiction at times, it strikes a decent balance between its light and heavy moments fairly well. Plus, the chemistry between Anne Hathaway and Nicholas Galitzine keeps this film ticking along. You can't take your eyes off of them as they radiate through the screen, producing an intense passion. Overall, despite being cheesy and cliché, this movie is easy to swoon over because of its warmth and lightheartedness.

KNOCK AT THE CABIN Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Abby Quinn, Rupert Grint, and Kristen Cui Director: M. Night Shyamalan DARRYL Knock at the Cabin shows that director M. Night Shyamalan still has gas left in the tank because this wonderfully directed and excellently paced movie fires on all cylinders. It’s an apocalyptic thriller that keeps the audience questioning who to believe, which creates an experience that will leave moviegoers thinking after the credits roll. Dave Bautista, Jonathan Groff, and Ben Aldridge are a fine leading trio, while the supporting cast conveys a desperation that makes the tension palpable. Overall, it highlights Shyamalan’s best traits, and it will go a long way to reminding viewers why they fell in love with his movies in the first place. NICK Knock at the Cabin opts for foreboding dread over the typical twists and turns you'd expect from an M. Night Shyamalan film, which makes it all the better. The film still features many of the director’s hallmarks, but he uses them in more subtle ways. This both builds suspense throughout and allows the performance of Dave Bautista, in particular, to really shine through. This is easily Bautista’s most emotionally driven showing yet, as he continues to show his range as an actor. The dialogue can be clunky, and I’m not sure I loved the ending's direction, but Shyamalan has continued his current streak of quality films. AMARÚ Director M. Night Shyamalan immediately sets an eerie tone in Knock at the Cabin . The film’s candidness is informed early on by introducing the movie with increasingly skewed close-ups during a conversation between standouts Dave Bautista (Leonard) and Kristen Cui (Wen). We’re diving headfirst into an unbelievable tale with full conviction. Interspersing the backstory of Wen’s family with the main plot allows us to trust both the doomsayers’ belief in their hellish task and the incredulousness of Wen’s family towards them. The honest cast, intense pacing, and bleak story create one of the more solid thrillers in M. Night’s filmography. ADRIANO However low the bar may be, Knock at the Cabin is not M. Night Shyamalan’s worst movie. He does a good job of building tension via the story’s thin concept, and he offers up a good moral question to boot. Also, it’s well acted across the board (namely Dave Bautista and Ben Aldridge). However, a lot of Shyamalan’s signature faults are here, such as awkward dialogue and bizarre cinematography choices, and all the tension is leading up to an inevitable ending that catches nobody by surprise. I was entertained for the most part, but still a whiff. JACOB Knock at the Cabin may be a complicated movie for M. Night Shyamalan fans to digest. Despite the director’s reputation, this might be his most straightforward movie ever, as well as one of his most bleak. Dave Bautista continues his streak of bringing unexpected humanity to otherwise dark characters, and Ben Aldridge gets a real chance to shine; however, the movie is pretty choppy in its editing, and the constant cutting to flashbacks releases a lot of tension in key moments where it’s needed. Overall, it’s not near M. Night’s top skills, but it’s far from his bottom. PAIGE Knock at the Cabin is a nail-biting home invasion thriller that keeps the tension boiling from start to finish. While it may not be director M. Night Shyamalan’s boldest film, it’s certainly his most grounded. It tackles themes of faith and sacrifice while making you wonder if you could make the decision at hand. Plus, its tight pacing allows the cast to deliver standout performances, especially from Dave Bautista. All that said, it’s definitely the type of film that is more tell than show. Overall, it just felt too straight forward to be an M. Night flick.

THE LIFE OF CHUCK Starring: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mark Hamill, Mia Sara, Benjamin Pajak, Carl Lumbly, Matthew Lillard, Annalise Basso, Samantha Sloyan, Jacob Tremblay, and Nick Offerman Director: Mike Flanagan NICK When you hear the names Mike Flanagan and Stephen King, you’re likely expecting a horror film, but you’d be mistaken with The Life of Chuck . Among Flanagan’s best works, I’m not sure I’ve seen a film look at death and mortality through as beautiful a lens as this film does. I could break down the technical specs (no complaints) and the performances (once again, no complaints), but it’s really about the purity of the film. There are multiple dance numbers, dark comedy, and apocalyptic dread, but Flanagan never loses sight of the hopeful message he wants to send. I wish all films were this sincere. ADRIANO The Life of Chuck will make you want to dance and fall in love with life. Writer/director Mike Flanagan ditches his horror comfort zone in favour of a movie that boasts a great ensemble, a fascinating structure that allows one to piece the film together as it goes, and not an ounce of cynicism in sight. Just a movie about allowing your love to guide the things you do, and enjoying the rewards that come with it. If I had to criticize, the movie looks a bit too polished, but I nonetheless loved The Life of Chuck . BODE Mike Flanagan has built a reputation as a humanist of horror, prioritizing empathy and emotionality over cheap thrills, which only make the scarier moments hit harder. It’s what makes him the perfect filmmaker to tackle Stephen King; and while I wouldn’t say his latest adaptation, The Life of Chuck , is his best (it’s a little less than the sum of its parts), I still enjoyed seeing his trademarks (non-chronological editing, monologues, etc) applied to one of King’s non-horror works, where even the most sentimental moments of this meditation of memory and mortality feel haunted in a sense. Solid! AMARÚ The Life Of Chuck is the most interesting movie about nothing in particular that I’ve seen in some time. That’s because making it about nothing specifically made it about absolutely everything. Director Mike Flanagan utilizes his amazing horror sensibilities to highlight the tragic beauty of life, which sets up the movie’s unique storytelling style and singular universe in ways that prove that even the smallest of details contain multitudes of meaning. Tom Hiddleston and company are brilliant in this extraordinary look at one solitary life, and demonstrate how exquisite it is to live yours to the fullest. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HOW TO BLOW UP A PIPELINE Starring: Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson, Marcus Scribner, Jake Weary, and Irene Bedard Director: Daniel Goldhaber NICK Every year, there is an underrated title that makes a name for itself during TIFF that was on relatively no one's radar beforehand. In 2022, that film had to be How to Blow Up a Pipeline . This is a heist film with a personalized feel, not just because of the motives, but the formatting and the way it follows each individual's story. Its grittiness makes it feel like a documentary, and it does an excellent job of building tension. This may have been an under-the-radar film entering the festival, but I think a lot more people are going to know of this film now. ADRIANO How to Blow Up a Pipeline was one of the best hidden gems I saw at TIFF last year, and it captivated me from the get-go with its engaging premise and tense tone. The characters are very well-written, with each actor playing their part perfectly. They work off each other excellently, which makes it hard for me to pick a standout. But what’s most striking is the film’s daring message: is civil disobedience okay when it comes to the pursuit of environmental justice? It’s something that has stuck with me long after the film’s credits rolled. QUENTIN I’ve seen a lot of descriptions for How to Blow Up a Pipeline include the word “heist.” While I guess I can see the similarities (ragtag group of people planning an operation), this is decidedly not a heist movie. Whether you believe in the characters’ cause or not, you’re essentially watching a terrorist attack come to fruition. For me, that made it hard to relate to or root for these characters, especially since it takes a very one-sided approach. I appreciate the gritty, almost documentary feel, but overall, this movie just didn’t resonate with me because I don’t support the general message. JACOB There isn’t likely to be a film released this spring that sparks more essential discussion amongst audiences than How to Blow Up a Pipeline . An incendiary thriller from its outset, the film immediately throws the viewer into the thick of a solid ensemble cast as it barrels full speed ahead, daring to posit that civil action does not yield true justice. The structure occasionally works against the film, and I wish the discussions of the central task’s potentially unintended consequences cropped up more, but beyond that and some further understanding of certain characters, there’s little else that doesn’t fully work. PAIGE How to Blow Up a Pipeline ’s screenplay is riveting, and it explodes with intriguing thoughts on taking matters of justice into your own hands; in this case, as it pertains to the surreal climate crisis we are actually facing. The film is beautifully shot in grainy 16mm, and it has a compelling ensemble cast that makes you feel fully invested in their cause, whether it’s right or wrong. The film’s subject matter is complex and messy, yet it still manages to feel poetic. It’s a lean and gripping indie film that shouldn’t fly under your radar. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

STRANGE HARVEST Starring: Peter Zizzo, Terri Apple, and Jessee J. Clarkson Director: Stuart Ortiz NICK If you love true crime stories then Strange Harvest was made for you. The term mockumentary feels disrespectful here, as this is an impressive recreation of a documentary from the performances to the overall layout to the attention to detail. At times, I forgot I was even watching a film. I’m not a fan of the found-footage format, but here it’s used sparingly and in interesting ways (such as police body cam footage) to tell the story of the case. By the end of the film, you’ll be checking Google to make sure Mr. Shiny (Jessee J. Clarkson) is in fact just a fictional serial killer. ROBERT I live in a house that has documentary crime shows on rotation, so when the format of Strange Harvest began staging, I wondered if I was still watching a fictional movie. There was dialogue and cut-ins used throughout that sounded and looked cheesy, but that spoke to its authenticity. It had some elements of Searching with the different types of shots featured, including those from streaming webcams, while the nature of the murders and the creepiness in the found-footage reminded me of V/H/S . Needless to say, it doesn’t reinvent the wheel, but it draws from the best pieces of innovative films.

BIRD Starring: Nykiya Adams, Franz Rogowski, Barry Keoghan, and James Nelson-Joyce Director: Andrea Arnold NICK The circumstances and events surrounding Bailey's (Nykiya Adams) upbringing is far from your typical coming-of-age story. In spite of that, something about Bird feels typical, and my investment levels were diminished because of the story’s focus on too many threads. Also, not that there are any issues with the cast, per se, but the film takes a big upturn whenever Barry Keoghan is on screen. He brings a magnetism unlike anyone else in the film, and more of his character (and the father/daughter story) would have been welcome. Still a worthwhile watch, but with a more deliberate focus, things could have been much improved. QUENTIN Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and sensitive realism than delivering an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances, but predict that others, particularly women, are likely to be more moved by this picture than I was. KATIE Andrea Arnold’s Bird feels typical of the director, but it also explores an ambitious visual style and injects a glimmer of magical realism into the otherwise gritty tale. Like Fishtank , Arnold casts a first-time actor in the leading role while following a young, working-class girl from difficult circumstances. Nykiya Adams is amazing as Bailey, and her heartbreaking innocence shines through her tough exterior. The innovative use of iPhone footage deepens our connection to her, and furthers Arnold’s unique ability to make the characters in her films feel so real. The fairytale quality feels true to Bailey’s journey, which finishes on a mercifully uplifting note. PAIGE Although writer/director Andrea Arnold succeeds in getting her actors to provide genuine and authentic performances, the overall plot of Bird is a little muddled, particularly at its most crucial points. It's a simplistic story of a young girl trying to pick up the pieces of her broken home and maturing too quickly, but it tries to balance too many themes at once. By the end, most of them are lost in the shuffle because of the film's meandering pacing. Despite the fact that Bird didn’t quite work for me, it is at least an honest and raw fable. This film was reviewed by Quentin, Nick, and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival, 2024 Toronto International Film Festival, and 2024 BFI London Film Festival respectively.

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.

SUNBURNT UNICORN Starring: Diana Kaarina, Kathleen Barr, Brian Drummond, and Laara Sadiq Director: Nick Johnson This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK Sunburnt Unicorn is a tricky film to navigate. By all accounts, it’s a children’s movie featuring themes and characters made for kids. However, there are times when it’s nearly only masquerading as a children’s film due to the inclusion of some startling imagery and story threads. This is arguably its biggest flaw because I’m not sure who exactly this is made for, ideally. If you can get past that, though, it’s an interesting story with some colourful visuals and a solid message about the relationship between fathers and sons. I just wish the animation was a little more mature to match its themes. PAIGE Sunburnt Unicorn is a coming-of-age desert fable that is less of an adventure and more of a fever dream. It tries to have a unique and vibrant animation style, but it comes off feeling unpolished. Furthermore, even though I found the various creatures that our lead character, Frankie (voiced by Diana Kaarina), encounters throughout his journey to be intriguing, I found Frankie to be quite obnoxious. In the end, I am not quite sure who this metaphoric story about a father and son’s relationship is intended for; its themes are too mature and explicit for kids, but its underdeveloped dialogue is too childish for adults.

MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE Starring: Tom Cruise, Hayley Atwell, Rebecca Ferguson, Simon Pegg, Ving Rhames, Pom Klementieff, Vanessa Kirby, Shea Whigham, Esai Morales, and Henry Czerny Director: Christopher McQuarrie AMARÚ Every time I rewatch a Mission: Impossible movie, I forget about the well-placed humor that imparts a believable humanity amidst the extravagant stunts. Dead Reckoning Part One has that same humor, but somehow lacks the same humanity. There’s an artificiality that replaces the previous entries’ groundedness with action-movie platitudes. Don’t get me wrong, it’s still a damn good film. The action is incredible, the cat-and-mouse games are riveting, and every actor is eating, with Hayley Atwell and Pom Klementieff being especially brilliant additions. So, while it might be a lower-level franchise entry, it’s still better than most 21st century action films. NICK The Mission: Impossible franchise is not secretive about what it provides: action-packed team-ups led by Tom Cruise doing increasingly insane stunts. In that sense, this is one of the best films in the franchise. Beyond that, it's a little perplexing. This entry is light-hearted and almost campy until a big tonal shift finds it settling into the feel of the more recent offerings, and it's jarring to go from jovial to terrifying realism. But, are the set pieces enough to mask that? Between the car chase and the train sequence, I’d say yes. Plus, unlike the recent Fast X , this actually has an ending. ADRIANO Dead Reckoning Part One is more proof that this is one of the finest ongoing action franchises. It’s not perfect, mind you. It’s a tad too long and feels overstuffed sometimes, and while not everybody gets the attention they require, the entire cast is great, especially Hayley Atwell, a very welcome addition. Yes, Tom Cruise driving a motorcycle off a cliff is wild, but the intense, action-packed, and well-thought-out plot is what kept me engaged throughout. Plus, despite ending on a cliffhanger, it feels complete. This is a mission you should choose to accept. QUENTIN If nothing else, Dead Reckoning Part One proves just how good the Mission: Impossible franchise has been because it is simultaneously among the year’s best action movies and the third worst entry of the series. On the plus side, the action set pieces are tremendous, there is a surprising amount of humor, and Hayley Atwell (and even Pom Klementieff) makes the case that she should be a bigger star. On the downside, there is A LOT of often confusing exposition, and the villains – both The Entity and its personification in Esai Morales – are, frankly, played out and dull. Still, it’s a great time at the theater. JACOB Although it doesn’t quite reach the heights of Fallout , and it does encounter the issue of not entirely feeling like a complete story, Dead Reckoning Part One nevertheless re-establishes Mission: Impossible as the most reliably good action franchise in movies today, not to mention that Tom Cruise might be our most valuable producer. A prime summer blockbuster with a pulse for excitement, the film takes a somewhat more deliberate approach to building its stakes while still making time for fantastic action sequences and more spy intrigue. Hayley Atwell and Pom Klementieff are welcome additions to the franchise too. Bring on Part Two ! PAIGE Tom Cruise is back with another adrenaline-fueled Mission: Impossible film, a series that seems to get more and more ballsy with its insane stunts. Dead Reckoning Part One is filled with spectacular set pieces, and for a movie that is almost three hours long, it flies by because of all the entertaining action sequences. However, while the film is nonstop fun, it does suffer a wee bit from “part one” syndrome, setting up groundwork for what is to come next. It also has one of the weakest villains in the whole franchise. Still, I can’t wait to see what Part Two has in store for us!

MAY DECEMBER Starring: Natalie Portman, Julianne Moore, Charles Melton, and Cory Michael Smith Director: Todd Haynes PAIGE May December is an uncomfortable and pulpy melodrama that embraces its absurdity in a very unique manner, which in doing so, somehow makes the film work flawlessly. Todd Haynes continues to prove that he’s a hell of a director, garnering stellar performances from Natalie Portman, Julianne Moore, and Charles Melton (who, surprisingly, is the true stand out of the film). While I do wish we dove even deeper into these characters' psyche to get a better understanding of the overall picture we’re presented with, I must admit… These interpretations are memorable as is. ADRIANO It'll be a while before I finish processing the brilliance of May December . I didn't love the moments that veered into TV-movie campiness, but I understood the attempt to show how we tend to infantilize tabloid events. What makes the film so fascinating is Samy Burch's screenplay, which analyzes how ego and trauma can follow us into our lives in ugly ways. Natalie Portman’s and Julianne Moore’s performances are obviously fantastic, but Charles Melton's devastating turn is my personal standout. May December is a stomach-turning knockout that I'm so happy exists. AMARÚ There is a pretty awesome balance in May December where director Todd Haynes and composer Marcelo Zarvos go hard on the soap-operatic intensity without any of the actors going down that melodramatic rabbit hole. It creates the tension needed for the film’s awkward subject matter, and an avenue to allow such a wickedly devilish performance from Natalie Portman. Haynes’ ability to slyly hitch her cunning to Charles Melton’s and Julianne Moore’s polarized performances while combining that dynamic with a taut script and Zarvos’ over-the-top score makes May December a grippingly unique thriller. KATIE May December is an unsettling, challenging, yet irresistibly engaging film. Director Todd Haynes masterfully channels the overwrought emotion and artifice of 1950s melodrama, exploring common themes of women grappling with notions of taboo desire and social expectations. The film keeps the audience constantly off-balance with its sudden tonal shifts and dramatic orchestral score, resulting in a darkly comedic and perfectly absurd effect. The central performances by Natalie Portman and Julianne Moore are deeply layered and disconcerting, forcing the audience to constantly question their intentions and moral character. This film will stick with you for a while. QUENTIN While I admire the performances of all three leads on an artistic level, they simply aren’t good enough to make May December something worth recommending. For the most part, this is just a boring movie, plain and simple, coupled with the campiness and melodrama that make Lifetime Movies a punchline. It might have worked better had it picked a lane - either being a full-on homage or satire of made-for-tv movies, OR a deep dive into the aftermath of the Mary Kay Letourneau case (on which the movie is loosely based); however, in trying to come at it from both angles, it undermines both approaches. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.