TRIANGLE OF SADNESS Starring: Harris Dickinson, Charlbi Dean, Zlatko Buric, Vicki Berlin, Dolly De Leon, Henrik Dorsin, and Woody Harrelson Director: Ruben Östlund QUENTIN Triangle of Sadness is a lot, and it most certainly will not be for everybody. It effectively straddles the line between the biting satire of Armando Iannucci (Veep , The Death of Stalin ) and the scatological humor of The Farrelly Brothers (Dumb & Dumber especially comes to mind). It’s about 40 minutes too long, and maybe a tad too smart for its own good, but there is no denying that it takes down its targets – the obscenely wealthy, influencer culture, and class politics - with marked precision. That said, is it a movie I’ll ever watch again? Probably not. JACOB Triangle of Sadness is likely to go down as one of the funniest movies of 2022, a true crowd movie that should be seen in a packed theater. The rich make their own dooms in Ruben Östlund’s biting, but slightly overlong, satire, which has as much to say about class, power, and privilege as most good movies of this kind. There are scene-stealing supporting players a plenty – including a hilarious Woody Harrelson and Zlatko Buric – but the MVP award is undoubtedly Dolly de Leon’s. Once she takes over the silver screen, all else fades in the shadow of her brilliant performance. NICK This magnifying glass on the entitled upper class is one of the wildest and funniest films I’ve seen this year. The teardown of differing societal viewpoints and the spoils of the rich are something director Ruben Östlund makes a meal of. However, though the jokes don’t dissipate, the film’s length is really felt in the latter acts. Standouts Harris Dickinson, Zlatko Buric, and the late Charlbi Dean do what they can to keep the momentum, but the film is never able to reach the heights of the early goings. Certainly an entertaining watch, but another example of a film with an unnecessarily bloated runtime. PAIGE If Gilligan's Island and The White Lotus were to have a movie baby, it would be Triangle of Sadness . Director Ruben Östlund sets sail into new waters with this bold, black comedy satire about class and privilege. It’s certainly an entertaining voyage, but the film could have been a wee bit shorter to not overstay its welcome. Still, I promise you this: Triangle Of Sadness will make you seasick from laughing so much, from beginning to end, due to its fantastic ensemble cast. ADRIANO I liked Triangle Of Sadness more than I didn’t, but it was still disappointing. It’s one of the funniest movies I’ve seen in a while, and I was hooting and hollering for the majority of the film because its takedown of the super wealthy does make for entertaining satire. Sadly, the film’s length doesn't do it any favors, especially in the third act. You can feel the film’s 2.5 hour runtime. Plus, the plot and structure aren’t entirely clear, which makes it a little jarring. I can’t in good conscience call it a bad movie, but it didn’t live up to my high hopes. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

HOPPERS Starring: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, and Dave Franco Director: Daniel Chong NICK Although Pixar's first original series, Win or Lose , felt like a return to form for the studio, Hoppers confirms it. This is the best Pixar film this decade and writer/director Daniel Chong deserves a ton of credit. Using the comedic sensibilities he showed with We Bare Bears , Chong brought forth one of the funniest Pixar entries in a while. It’s enhanced by a great voice cast, highlighted by Piper Curda, Jon Hamm, and Dave Franco. As well as the studio’s trademark heart and beautiful animation. Hoppers evokes memories of the golden age of Pixar; a clear step up from the likes of Luca and Elio . AMARÚ Hoppers is a wholly unique Pixar experience. It is a non-stop ball of energy from beginning to end, led by its very passionate, annoyingly persistent, and strong protagonist, Mabel (Piper Curda). Moving swiftly through its fairly straightforward narrative at a breakneck pace, it avoids the pitfalls of blandness by quickly and forcefully leaning into the unhinged aspects of its conceit. This allows the sweet and relatable messaging to be more heartfelt than other flatter and less committed Pixar films. Hoppers wholly believes in itself, and that allows the sum of the film to create something better than its routine parts. ADRIANO While it’s nowhere close to the highs of its golden age, Hoppers is Pixar’s best outing since Inside Out . Admittedly, it took a moment to find its footing beyond serviceable children's fare, but when it did, I laughed a whole helluva lot. When Pixar’s working, it’s not only because it’s entertaining, but also because it’s so sincere, and Hoppers struck a nerve with its societal messaging. The feeling of hopelessness against corporations and the environmental love narrative got me good, and if a Pixar movie can make me laugh and get emotional, that's a winner. Want to hear even more of our thoughts? Nick, Adriano, and Shak join Matt to take A Bigger Bite out of Hoppers HERE .

FINAL DESTINATION BLOODLINES Starring: Kaitlyn Santa Juana, Teo Briones, Ryan Kihlstedt, Richard Harmon, Owen Patrick Joyner, Anna Lore, Alex Zahara, April Amber Telek, Tinpo Lee, Gabrielle Rose, Brec Bassinger, Max Lloyd-Jones, and Tony Todd Directors: Zach Lipovsky and Adam Stein NICK I've always been high on the Final Destination franchise, so that should carry weight when I say Bloodlines is its best film yet. It takes everything beloved about the previous films and builds on it. There are call-backs, but they aren't in your face. It's campy, but it’s intentional. Plus, as expected, there are some creative and gory deaths. Bloodlines provides plenty of laughs, scares, and yet another memorable opening sequence. Sprinkle in a touching final appearance from the late Tony Todd, and you have the recipe for my favourite trip to the theatres so far this year. AMARÚ Considering my day job, Bloodlines has a supremely satisfying death in its gruesome opening, and if you can settle into the (hopefully) purposefully pulpy performances, the remaining 90 minutes stack one satisfying sequence after another. The camp would be tough in a different franchise, but directors Zach Lipovsky and Adam Stein understood their sandbox. As the film gains momentum, the cheekiness becomes more natural because the kills are intensely entertaining and thrilling, the lore building is interesting, and the music pairings are awesome. Combine that with a touching sendoff for Tony Todd, and you have a bloody good time. KATIE The sixth instalment in the Final Destination franchise, Bloodlines , is fresh and exciting, especially with the magnificent opening act. Directors Zach Lipovsky and Adam Stein ensure every aspect of that scene contributes to masterfully built tension and suspense, knowingly taking their time to keep the audience on the edge of their seats for as long as possible. The deaths are creative and grisly with slapstick charm, and the time it spends exploring the family drama and character dynamics means I actually cared about what happened to them. Plus, a powerful performance from the late Tony Todd is incredibly moving and impactful. ADRIANO The sicko joy of seeing people getting murdered by anything remotely sharp in the most creative and mean-spirited ways imaginable can't be overstated in the Final Destination franchise, but Bloodlines might be the best one yet. It stays true to the cartoonish nature of its mayhem, but this time, it uses the rules of Death to its advantage… and not in that obnoxious “self-aware” way that films like this typically resort to. I don't even swear by these movies like others do, so if you're a fan of this franchise, it's just what the doctor ordered. ROBERT Fourteen years ago, Final Destination 5 took a storytelling risk, attempting to understand how the beginning informed the end. Now, Bloodlines is here to completely reconfigure what the beginning of the story is. From the opening scene, you are right back in the Rube Goldberg-esque mix of creative deaths and devastation borne from benign actions and insignificant flaws. Then, instead of resting on its laurels, the movie answers questions theorized on many a Reddit thread, even diving deep into how these situations can impact and undermine familial ties. Expect blood, gore, and a righteous sendoff for the man, Tony Todd. BODE It’s been 14 years (too long in my opinion) since the last Final Destination movie, but from the moment its sixth instalment, Bloodlines , kicks into gear, it’ll feel as if little time has passed. With a dose of self-awareness (but thankfully not too much of it), a thematic link to generational trauma, some fascinating manipulation of its digital aesthetic (particularly in its opening), and a touching sendoff for horror icon Tony Todd, new directors Zach Lipovsky and Adam Stein deliver exactly what you expect: people dying in creatively horrifying ways. A sadistically fun time for old and new fans alike.

HIGHEST 2 LOWEST Starring: Denzel Washington, Jeffrey Wright, Ilfenesh Hadera, Aubrey Joseph, Elijah Wright, Michael Potts, Frederick Weller, Dean Winters, LaChanze, John Douglas Thompson, and A$AP Rocky aka Rakim Mayers Director: Spike Lee NICK It’s been a while since I’ve enjoyed a Spike Lee film as much as Highest 2 Lowest ; that’s not a knock on the director’s filmography, but more of a testament to just how good this is. Lee is firing on all cylinders, infusing the film with music, culture, and a strong commentary on power and persona. The performances match as well, with Denzel Washington giving a dynamic lead performance, Jeffrey Wright being as steady as always, and even A$AP Rocky surprising. Lee even made the unconventional orchestral score somehow work. Apple needs to improve its marketing because this is one of the best films of the year so far. AMARÚ Highest 2 Lowest is an operatic New York City love letter headlined by two of our best living actors, Denzel Washington and Jeffrey Wright, who do what they do best. Where my uncertainty takes hold all comes down to director Spike Lee’s style. It’s big, powerful, musical, and Black as hell. But it also plays like a play, with outward performances keeping you at arms length, barring the audience from truly living inside the story. I like the film, and I’m there opening weekend for the next Spike Lee Joint, but I also know I often have to learn to like Spike’s swings. ADRIANO It may come as a shock to you, but there is a new Spike Lee Joint out right now… and in its first hour, Highest 2 Lowest worried me. The score was atrocious, the staging was terrible, and the editing was awkward. But once the plot’s set in motion, it’s very entertaining. Denzel Washington's magnetism (a shoutout is owed to A$AP Rocky), an engaging examination of the exploitation of wealth in the music industry, and Lee's direction, which kept me on my toes, all worked. This needed more time in the editing room, but it’s satisfying nevertheless. Want to hear even more of our thoughts? Nick and Shak join Amarú to take A Bigger Bite out of Highest 2 Lowest HERE .

THE NAKED GUN Starring: Liam Neeson, Pamela Anderson, Danny Huston, Paul Walter Hauser, CCH Pounder, Liza Koshy and Kevin Durand Director: Akiva Schaffer NICK By my account, the original The Naked Gun is one of the greatest comedies of all time, so needless to say, this had big shoes to fill. Well, we ended up with probably the best modern version of this film you could make. The spirit of the original is there, but Liam Neeson (Frank Drebin Jr.) has added a hint of anger to the aloofness Leslie Nielsen brought as Drebin Sr. Although some jokes are overplayed or don’t hit, the ones that work outweigh the ones that don’t, including a few that brought on tears. It’s not perfect, but I’ll gladly take more of Neeson’s Drebin Jr. ADRIANO Going into The Naked Gun , I only wanted to laugh at utter stupidity, which I got in spades. Director/co-writer Akiva Schaffer delivers on the type of satirical humour that would make the spoof comedy legends The Zucker Brothers blush, with all the ridiculous visual gags, bits, and misinterpretations you could ask for. Liam Neeson fills the large shoes of Leslie Nielsen's deadpan delivery flawlessly, complete with hilarious chemistry with an equally funny Pamela Anderson. The entire crew's commitment to this bizarro universe made this a film I regularly cried laughing at. I don't know what else to say: it's perfect. AMARÚ The Naked Gun remake has the right cast for the job. Liam Neeson, Pamela Anderson, and Danny Huston understood the balance of serious and silly to deliver on what director Akiva Schaffer wanted to do. It’s too bad that whatever it is he wanted to do isn’t remotely funny. Even in the tremendously short 85-minute runtime, I was ready to escape the half-hearted pity chuckles heard throughout my theater within 15 minutes. Now, the jokes may land for some, and I’m happy for you if that’s the case, but aside from three references I personally smiled at, this remake beat their comedy to an unfunny death. QUENTIN I’ll be the first to admit that trailers for The Naked Gun have been painfully unfunny. That said, once you’re in it, and you’ve recalibrated your sense of humor to the wavelength at play, it surprisingly works. Gun delivers jokes at breakneck speed, and while they don’t all hit, even a 50 percent success rate provides enough legit giggles to make this rebootquel worth a watch. I admit this is a bold comparison, but Gun could easily be the next Anchorman or Zoolander , where every initially dumb joke gets funnier during every rewatch. This was genuinely a pleasant surprise (pre-show beers helped, to be fair). ROBERT In the realm of internet comedy clips, Liam Neeson’s stint on Life’s Too Short is legendary; he blends absurdity with stoicism as well as anyone. As such, it wasn’t overly shocking to hear him be tapped for the lead in The Naked Gun reboot. When you combine that with the comedy instincts of Akiva Schaffer and Seth MacFarlane, the design was there for a rare success in the laughter department. I was chuckling more than not, especially at sight gags and long-running joke bits, but I was expecting more consistency. Pamela Anderson, at least, was a real shot of caffeine that kept the film energized. BODE Perhaps it’s ironic to root for a reboot of The Naked Gun to revive theatrical comedies, but when the state is so dire, you take what you can get. It certainly helps that this new edition is very funny. Director Akiva Schaffer gets close to the absurdist spirit of the original movies without being overly referential, with plenty of jokes and gags that had me consistently laughing (or chuckling, at least). Liam Neeson fills Leslie Nielsen’s deadpan shoes quite comfortably, and Pamela Anderson, Danny Huston, and Paul Walter Hauser are game scene partners. It’s a genuine delight from start to finish. KATIE I love the kind of humour typified in the original Naked Gun films, and I was worried this new reboot wouldn't do it justice. Like other recent comedies, I was concerned it’d rely too heavily on nostalgia and modern references, but my worries were quickly quelled as I was able to sit back and enjoy one of the funniest films I’ve seen in ages. Director and co-writer Akiva Schaffer clearly understood the absurd, spoofy tone he needed to emulate, providing gags that never let up, whilst Liam Neeson is completely perfect in the leading role, masterfully balancing silliness with deadpan delivery. Want to hear even more of our thoughts? Nick, Amarú, and guest Harrison Martin join Matt to take A Bigger Bite out of The Naked Gun HERE .

THE BAKER Starring: Ron Perlman, Emma Ho, Elias Koteas, Harvey Keitel, and Joel David Moore Director: Jonathan Sobol QUENTIN When it comes to the popular unassuming-but-surly-old-man-with-a-special-set-of-skills-is-reluctantly-forced-out-of-retirement-with-a-child-in-tow-that-will-eventually-teach-him-how-to-love-again genre, you could do worse than The Baker , but you could also do much, much better. If you were a Sons of Anarchy fan, Ron Perlman brings enough Clay Morrow energy to the proceedings to make it watchable, but, at best, this is an airplane movie. Nothing is particularly well done, but nothing is offensively bad either. It exists, like many action thrillers like this do, just to keep the $5.99 DVD bargain bin stocked. AMARÚ Bad CGI usually doesn’t affect my film-watching experience, but with The Baker it’s… it’s not great, and neither is the movie. It isn’t bad, but such miscues don’t help a film that we’ve seen a million times before in other retired-bad-asses-seeking-revenge stories. It’s a shame because the pieces are there: an endearing relationship between the titular baker (Ron Perlman) and his granddaughter Delfi (Emma Ho), a more-than-serviceable supporting cast (Harvey Keitel, Elias Koteas, Joel David Moore), and a gritty tone. But the execution feels stale, with numerous lazy plot points that turn this satisfactory action thriller into something regrettably forgettable.

SINNERS Starring: Michael B. Jordan, Hailee Steinfeld, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, Li Jun Li, Miles Caton, and Delroy Lindo Director: Ryan Coogler AMARÚ I’ve never felt chills during a movie, but thanks to director Ryan Coogler, it happened twice in one sitting. For some, Sinners may be a slow build to what they came to see, but to me, it's extraordinary filmmaking and acting. This is amongst Michael B. Jordan’s greatest roles, exuding charm and gravity while being surrounded by an absolutely substantial ensemble, including its most essential character, music. Every bit of soul, freedom, drama, humor, and intensity is felt through song perfectly matching Coogler’s stunning visuals, making for one of this decade's most entertaining films. 4.5 reels for the film, and that extra 0.5 for the chills. QUENTIN I really wanted to like Sinners , but unfortunately, the marketing department did it dirty by revealing way too much in the trailers, which only adds to the pacing issues, lack of scares, undercooked plotlines, and a Michael B. Jordan who doesn’t have the range to pull off dual roles (or a southern accent). On top of that, for a movie being hailed for its originality, it’s not far from From Dusk Till Dawn meets O Brother, Where Art Thou? with some added racial commentary. That said, it’s not a total misfire; it’s handsomely made and surprisingly funny. But it’s probably my least favorite Ryan Coogler movie. PAIGE Sinners is Ryan Coogler’s most daring and audacious film to date, as he expertly weaves the horrors of history and passion together through Jim Crow-era vampires. This film is just bursting with cinematic brilliance. The entire cast is outstanding, but Michael B. Jordan stands out for his effortlessly cool dual performance, which not only anchors the story, but adds complexity and flair. Newcomer Miles Caton makes a noteworthy debut with his powerful voice, too, while the bluesy score by Ludwig Göransson elevates the movie to a new level, creating an arthouse blockbuster. All things considered, Sinners is 2025’s spiritual awakening. ADRIANO Ryan Coogler proves once again that he's one of our best genre auteurs. After his previous IP successes, it's amazing seeing him take on more original territory with Sinners , and it’s a hell of an adrenaline rush. While the first 40 minutes take their time to establish the characters and setting, the rest of the film's swagger, suspense, gore, and visual wonder make for a masterwork that has interesting themes underneath all the flourish: temptation may be fun, but it ain't living. The last thing I expected was for this vampire flick to be oddly life-affirming, and for that, I'm floored. ROBERT When I think about Sinners , I think about a host of other films I revere, as it makes its fresh and impactful homages without feeling rote or derivative. This is a movie about power and ubiquity, and that is exactly how I would describe it as an experience: powerful and ubiquitous. Its musicality, its set pieces, and a complete euphony of on-camera and behind-camera endeavors come together to deliver something meaningful. The best genre stories reflect society subtextually while being entertaining with what it puts in front of you, and Coogler sets a complete feast out for audiences to devour. BODE When director Ryan Coogler stepped into the world of franchise filmmaking, starting with Creed and later the Black Panther movies, he balanced rich subtext with the conventions of their respective series (Rocky and the MCU) with ease, infusing both with fresh blood. With Sinners , Coogler does so again with a concept entirely his own, and it succeeds as both a portrait of Black creativity and liberation in the Jim Crow era and a pulpy, fun vampire flick, accentuated by great performances (including a breakout turn from Miles Caton), great music, and stunning cinematography. It’s not perfect, but it’s thrilling, nonetheless. NICK Don't get me wrong, I really liked Sinners . I just didn't love it. Some of the negatives were out of the film's control (trailers spoiling too much, hype reaching unattainable levels, and missing out on the theatrical experience), but even with those caveats, I can’t see this as an all-timer. Maybe the use of music, as that is Sinners’ undisputed highlight, but not overall. It's visually impressive, with a first half that’s paced and built better than its second, and features strong showings from the ensemble cast, but no career-best performances. This is a very good film but it doesn’t scream best of year. Want to hear even more of our thoughts? Amarú, Adriano, Paige, and guest Amanda Guarragi join Matt to take A Bigger Bite out of Sinners HERE .

PRESENCE Starring: Callina Liang, Eddy Maday, Lucy Liu, Chris Sullivan, and West Mulholland Director: Steven Soderbergh NICK Presence is one of Steven Soderbergh's most ambitious films in years. Relying on a first-person shooting approach and continuous single shots could have felt gimmicky, but the director deserves credit for making sure it never does. Unfortunately, for a film this style to work best, you need crisp dialogue, and what we get ranges from natural (almost exclusively Chris Sullivan's lines) to inadvertently laughable. It certainly hurts the film, but if you can get past it, there IS an interesting story to be found. I respect what Soderbergh attempted, but it’s not without its challenges. That said, it will stick with me for a while. ADRIANO There is a lot of fun to be had with Presence despite its many obvious shortcomings. I thought the POV gimmick might quickly become annoying, but it wound up being surprisingly effective. That said, the horror is just a weak backdrop to a poorly written family drama with M. Night-level dialogue that only Chris Sullivan is able to make sound believable. As the movie reaches its conclusion, the established rules start to make less and less sense. It genuinely made me wanna scream "WHAT?!" But... I kinda enjoyed that, despite it being utter nonsense. PRESTON Presence is a unique “thriller” from director Steven Soderbergh, but it should have been categorized as strictly a psychological drama (it’s so not a thriller). The compilation of one-shots from the first-person POV is laudable and pretty cool, but the story is lacking and inconsistent with the emotional connection that the conclusion intends. One-note character development and an over-the-top monologue detract from what should have been an impactful and satisfying conclusion. The camerawork is nice to witness on the big screen, but waiting for a streaming release and a re-calibration of your genre expectations should improve your chances of enjoyment. KATIE Presence was one of my most anticipated films this year thanks to the enigmatic teaser that piqued my interest without revealing anything apart from the unique point-of-view camerawork. First, it's not scary, at least not in a traditional horror sense, but that didn’t negate my enjoyment. It focuses on morality and personal responsibility, and the first-person approach is very effective at drip-feeding information about the mysterious motivations of the titular presence. The dialogue is sometimes flat, and I wish it dug deeper into the family drama, but overall, it's a very interesting genre experiment that I’d recommend checking out. QUENTIN Truth be told, I haven’t liked a Steven Soderbergh offering since 2017’s Logan Lucky (eight movies and three series ago), and I was worried the first-person aspect of Presence was going to be too gimmicky. However, I was blown away. To be clear, this isn’t a horror movie at all. It’s a heavy family drama, and I was immediately immersed in the familial dynamics at play on screen (most of the credit goes to Chris Sullivan’s performance). It’s very similar to David Lowery’s A Ghost Story (which also blew me away), and I suspect that, much like Story , Presence won’t leave my mind for some time. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

EVERY HEAVY THING Starring: Josh Fadem, James Urbaniak, Tipper Newton, Vera Drew, John Ennis, Kaylene Snarsky, and Barbara Crampton Director: Mickey Reece This film has been reviewed by Nick and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. BODE I’ll admit that before jumping into director Mickey Reese’s latest film Every Heavy Thing , while I knew of his reputation in the indie circuit, I hadn’t seen any of his previous work. I can honestly say that this made me curious. Reece takes the cat-and-mouse serial killer thriller and turns it on its head, using surrealist imagery and dry humour to explore themes of gendered violence, big tech, shame, and repression. It can get a bit lost (especially in the third act), but its strangeness is so compelling that I can’t help but respect it. Also, support your local alt-weekly! NICK Because Fantasia is a genre festival, there's always some surreal entries with unique and ambitious editing techniques. In the case of director Mickey Reese's Every Heavy Thing , he uses VHS videotape sheen and glitch art to tell the story of a man, Joe (Josh Fadem), confronted by a local serial killer. Although it doesn't get off to a strong start, as Joe becomes increasingly tormented, I became more engaged. It falls off again in its closing, as it stumbles towards an end. That said, the darkness in the visuals and comedy works, I just wish the film was bookended better. QUENTIN Every Heavy Thing is terrible. From the low-budget aesthetics to the abysmal performances, it’s an 89-minute endurance test. Even if one wanted to forgive its indie trappings, which is valid, director Mickey Reece’s insistence on adding weird, Max Headroom-ish fever-dream interludes make for an epileptic fit waiting to happen. Admittedly, there is some Lynchian surrealness, which isn’t my thing, but I can usually recognize the merits of such films even though they aren’t for me. I have nothing positive to say here. Late in the movie, one character says, “…the shit that passes for art in this town.” Preach.

HORIZON: AN AMERICAN SAGA - CHAPTER ONE Starring: Kevin Costner, Sienna Miller, Sam Worthington, Giovanni Ribisi, Michael Rooker, Danny Huston, Jena Malone, Michael Angarano, Abbey Lee, Jamie Campbell Bower, Jon Beavers, Owen Crow Shoe, Tatanka Means, Luke Wilson, Ella Hunt, and Tom Payne Director: Kevin Costner QUENTIN Horizon - Chapter 1 is tough to review because, frankly, it’s not really a movie. Or at least it shouldn’t be. It’s like watching the first three episodes of a miniseries, which means it’s mostly just introducing a sprawling number of so-far-unrelated characters. There is very little development on any front, and nothing remotely resembling a typical multi-act story structure. The best way to describe it is “just western vibes,” so fair judgment probably should be reserved until after seeing Chapter 2 , if not Chapters 3-4 . Still, the acting, cinematography, and production design are very well done, and I’m invested enough to see the sequels through. PRESTON I can force myself to be a patient man when necessary. And I’m willing to invest three hours of my time to develop a complicated intertwining of characters, lay a solid foundation, and build necessary tension. The problem is that Horizon does very little of that in Chapter 1 of this American Saga . With a few obvious exceptions, the acting and script are only so-so, and the plotline is disjointed. There is still a subtle hint that this epic western film series will turn out to be a massive success, but it is too hard to tell from this single outing. ADRIANO I love the existence of Horizon - Chapter 1 much more than the movie itself. A multi-part western theatrical epic co-written, directed, and starring Kevin Costner sounds great, but although I can handle long, slow-burns, I struggled to stay awake for this. It feels like a History Channel movie, and the storytelling is nonexistent as it goes from one unrelated plotline to the next with no reason to care. I'm not as hostile at the prospect of watching Chapter 2 as I was with Rebel Moon , but I have no interest in the future of this saga.

MY BEST FRIEND'S EXORCISM Starring: Elsie Fisher, Amiah Miller, and Christopher Lowell Director: Damon Thomas JOSEPH My Best Friend’s Exorcism is the type of film that lasts. It’s not ridiculously funny or campy, nor is it particularly scary, but there’s just something about it. Maybe it’s the ensemble that works together all too well, maybe it’s the weirdly hilarious finale - who knows? What I can say is that this feels like a sleepover movie. Flawed and hardly scary, but fully enjoyable even if it’s just eye-rolling fun. PAIGE My Best Friend’s Exorcism needs an exorcism of its own to help the film from derailing. The film is ultimately too tame, and it needed more of a scare factor than quippy jokes. As a fan of the book, I truly wonder if the team behind the film even read it or knew what the concept was. Unfortunately, they couldn’t figure out how to balance the horror-comedy scales in the story. But, at the end of the day, the film is somewhat saved by its characters and the actors that portray them.

MOTHER COUCH Starring: Ewan McGregor, Ellen Burstyn, Rhys Ifans, Lara Flynn Boyle, Taylor Russell, and Lake Bell Director: Niclas Larsson NICK I’m not entirely sure what to say about Mother Couch . The story begins with a quirky…family problem… that three siblings are tasked with handling. Ewan McGregor (who continues to play befuddled really well) is the focus of the story, but both Ellen Burstyn and Taylor Russell are the highlights. The story is almost dream-like in its execution, and it certainly isn’t afraid to take risks, even if most don’t pay off. The problem is that once the intentions finally become clear as it reaches its more fantastical finale, it had already lost my interest. ADRIANO I'll always respect a movie for taking swings, but Mother Couch misses the mark. While the entire cast delivers great performances, especially Ewan McGregor, its messaging on parenthood and family dynamics are way too obvious to warrant the surrealist rabbit hole the movie chooses to take us down. It attempts to use imagery and just plain weirdness (I still don't really know what Taylor Russell's character was doing) to trick us into thinking the movie is deeper than it actually is, but in the end, it mostly just left me pretty perplexed as to what I just watched. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.