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MATERIALISTS Starring: Dakota Johnson, Chris Evans, Pedro Pascal, and Zoë Winters Director: Celine Song ADRIANO If you're a Past Lives fan like me, you'll love what writer/director Celine Song offers in her sophomore film, even with its tonal differences. In Materialists , she gives the same honest approach to human relationships that we saw in Past Lives . Through the lens of a near-parody-like rom-com structure, she skewers the genre's superficial approach with incredible emotional weight, even in moments where we're being told the message. The headlining trio does incredible work here, as does Zoë Winters, to make this hit home. There aren't many ways to discuss Materialists without sounding corny, but this movie is what love is. NICK On occasion, I leave a screening knowing good and well my opinion is in the minority, and I struggle to understand the disconnect. That’s Materialists for me. There’s nothing inherently wrong with the film. I just didn’t enjoy it. The chemistry didn’t jump off the page (sometimes intentionally, as director Celine Song shows her cards early in the film), and the characters’ decision-making often felt disingenuous. I’m not some cold-hearted man who can’t enjoy a love story, I just push back on the idea that this is a good one. Perhaps you’ll feel different, but if not, know you’re not alone. AMARÚ In Materialists’ first 20 minutes, matchmaker Lucy (Dakota Johnson) describes a client as the epitome of average: okay salary, okay looks, okay personality, just okay. That’s also a pretty apt description for this movie. It’s an experience much like that of an okay first date, a lot of dead air filled with single lines of dialogue struggling to keep the conversation going. Sometimes it works (Pedro Pascal’s effortless charm makes the transactional screenplay interesting) and sometimes it doesn’t (Chris Evans was given nothing to do until the end). Luckily for director Celine Song’s second feature, it was okay enough to want a third date. BODE When Materialists opens with a quiet pre-civilization prologue, it’s clear that writer/director Celine Song won’t go about the rom-com conventionally. Its ambitions are loftier, in ways that are intellectually alluring in its first half, but emotionally excluding in its second, lacking much of the warmth and passion needed for it to pack a punch. It certainly has moments of depth (script-wise) and beauty (from its three leads, of course, to the great Shabier Kirchner’s photography), making this not bad as is. Compared to Past Lives however, I can’t help but feel that this is a fairly significant step-down.

THE PIANO LESSON Starring: Samuel L. Jackson, John David Washington, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith, Danielle Deadwyler, and Corey Hawkins Director: Malcolm Washington NICK What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers , Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue! ADRIANO The Piano Lesson sports an incredible ensemble of actors giving it their all, especially Danielle Deadwyler, who carries the movie every time she's on screen. Sadly, that ensemble is the film's brightest spot because, overall, I found the film to be pretty messy. It isn't awful, and unlike previous August Wilson adaptations (Fences and Ma Rainey's Black Bottom ), director Malcolm Washington gives this more liveliness than a stagey feel. However, its themes of legacy and family are so lost in the film's many subplots that once the film reached its resolution, I didn't feel anything. AMARÚ The Piano Lesson is an actor’s showcase that puts director Malcolm Washington’s visual eye on full display in his feature debut. His intimate use of lighting and framing takes another August Wilson play that slightly suffers from being acts put to screen instead of a cinematic screenplay, and keeps your eyes fully focused on the talent relaying those lines. Its strong themes of legacy, history, and family are carried by a forceful ensemble and a chilling score, and even though I watched a play inside a television set, I also saw great actors do what they do. That alone was worth the watch. KATIE I was not surprised to learn that The Piano Lesson is an adaptation of a play since it’s very stagey without feeling cinematic. I was painfully aware that it takes place in a singular setting, which was exacerbated by the uneven pacing, misplaced score, and many lengthy monologues. I find that John David Washington usually lacks emotional range, but here he is almost too animated, especially compared to the other, more grounded yet impactful performances. Together with the many competing subplots, The Piano Lesson succeeds in showcasing some great actors, but it failed to grip me in any meaningful way. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

BONE LAKE Starring: Maddie Hasson, Marco Pigossi, Alex Roe, and Andra Nechita Director: Mercedes Bryce Morgan QUENTIN Bone Lake generally lives up to the expectations set by the posters and the fact that it’s a sex-driven horror thriller with a puntastic title, delivering suspense, thrills, and laughs throughout its brisk runtime. The tension, sexual and otherwise, is palpable, and while there certainly is a feeling of erotic-thriller hotness, director Mercedes Bryce Morgan manages to create that atmosphere without being gratuitous (opening scene aside). Personally, I wouldn’t have minded if it went a little harder and got a little steamier, but I can’t complain with what I was ultimately given. Bone Lake is a wickedly fun ride. NICK Bone Lake is one of those films that I found myself enjoying more and more as it went along. Although it has a tendency to play things a little safe (especially in terms of the erotic nature its promotional material suggests), it makes up for that in a couple of ways. For one, it looks at the dynamics within a relationship faced with challenges like temptation, manipulation, and compatibility; not to mention how two differing relationships co-exist under one roof. Its twists and turns make it hard to dive into things further, but it all comes together in a violent and satisfying finale. BODE If you know me, you’ll know that I’m never above watching hot people engage in some good old-fashioned psychological warfare. The more lurid it gets, the more enjoyable it is. That’s why I can’t help but feel a little underwhelmed by Bone Lake . Don’t get me wrong: there’s fun to be had, and it certainly doesn’t overstay its welcome. But its horny, gory thrills are held back by some respectability, of which it should really have very little. You gotta go balls to the wall with it. For what it sets out to do, it’s fine. It just could’ve been more. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

GOOD MADAM Starring: Chumisa Cosa, Nosipho Mtebe, and Kamvalethu Jonas Raziya Director: Jenna Cato Bass JOSEPH Good Madam feels very similar in tone to Get Out . It’s a criticism of race relations in South Africa, showing how the sins of the past, namely apartheid, live through and affect the present. Despite strong performances and atmosphere, some of the horror elements just did not resonate with me, but the film still managed to deliver a compelling story and mystery. The ending itself is strange, a Twilight Zone -style sequence that blends plenty of nuance with some abject horror. It’s a film that could have done more, but what is there is still pretty good. PAIGE Good Madam may not be the kind of thing that you’d expect to see on Shudder, but different is always good, so it’s definitely worth the watch. It’s an atmospheric, slow burn, horror film that is also a social commentary, much like Jordan Peele’s Get Out. The story itself doesn’t fully come together as well as you’d hope, needing more meat on the bones, but that doesn’t take away from the fact that you’ll fall under its spell due to the film’s great performances.

TO CATCH A KILLER Starring: Shailene Woodley, Ben Mendelsohn, Jovan Adepo, and Ralph Ineson Director: Damián Szifron QUENTIN Just because a movie is nothing more than a genre formula doesn’t mean it can’t be watchable, and To Catch a Killer is content to live by that ideal. Yeah, it’s generic and feels like a movie Ashley Judd would have starred in 25 years ago, but it hits all the buttons for people who enjoy movies like Kiss the Girls . The acting is serviceable, and the direction offers a few standout shots, but otherwise, this is like watching Law & Order reruns: a disposable manhunt story that will come and go with little fanfare, but still be enough to distract on a lazy afternoon. PAIGE To Catch a Killer is an above average psychological thriller that will keep its audience alert while they learn the true nature of what it might be like to catch a murderer. The film becomes so much more than its overall premise, even though it admittedly goes a little off the rails in the third act. Still, while it may not break any new ground in the genre, it manages to hold its own. Overall, it’s a simple yet compelling story, built on high tension and underrated performances from Shailene Woodley and Ben Mendelsohn. JACOB Ben Mendelsohn brings what he can to the table, but the simple fact is To Catch a Killer ’s script is far too underbaked to rise to his or Shailene Woodley’s level. The film has intrigue, but doesn’t seem especially interested in getting to know its characters beyond their basic story functions. Frankly, Woodley’s performance may be one of her most underrated, as she manages to keep viewers watching even when she really has nothing to bite into in terms of depth. All told, this film isn’t boring, per se, but it does ultimately feel pretty empty by its conclusion.

THE LEGEND OF OCHI Starring: Helena Zengel, Willem Dafoe, Finn Wolfhard, and Emily Watson Director: Isaiah Saxon NICK You’re going to hear this phrase in plenty of The Legend of Ochi reviews, but there’s no other way to describe it: this is A24's take on an 80s Amblin film. It even uses animatronics and puppetry to enhance its nostalgia. Having said that, it can be a bit messy due to some of the narrative shortcuts it takes, and although that won’t be as noticeable to the children who watch, this is a family film, so you want everyone to enjoy and follow. It’s fine for what it is, but some refining would have made it better. The little Ochi is adorable, though. ADRIANO There's a clear goal in mind in The Legend of Ochi to recapture the magic of 80s fantasy-family films, and in that regard, there is success. It resides in a bizarre alt-reality setting that the movie has a lot of fun with, down to the gorgeous cinematography and score. The movie soars highest when focusing on Helena Zengel and the adorable Ochi creature and less on the family drama stuff. That part gets a little messy, but the "accepting your weirdness" aspect of the core plot was endearing and cute enough to hold my attention throughout.

TURNING RED Starring: Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, and Tristan Allerick Chen Director: Domee Shi AMARÚ I haven’t decided what I like more about Turning Red : the little hints of horror to reveal Mei’s (Rosalie Chiang) Panda, the late-90s coming-of-age vibe, or Ludwig Goransson’s B2K/N’Sync-tinted score that encapsulates my childhood in one movie. I may not be a 13-year-old girl going through changes in her identity, but the strong themes of self-discovery, friendship, and familial ties are universal to all of us who have had to come into our own. Turning Red continues the Pixar tradition of writers telling their unique stories to create something beautiful and touching. JACOB Turning Red , like Luca before it, is unlikely to land near the top of anyone’s “Best of Pixar” list, but it could prove a nice time for kids and fans of the studio. That said, this Disney+ release doesn’t seem to explore its ambitions as thoroughly as it wants to. There is a fair amount of depth to cover, but the film only seems interested in it about half the time. Regardless, what it chooses to engage with, it addresses in fun ways. It’s also nice to see animation tackle female pre-pubescence specifically in such a carefully-nuanced fashion. NICK As someone who grew up on Pixar films, it was special seeing my hometown of Toronto represented on screen in this medium for the first time. In a nutshell, that’s what Turning Red is about: representation. Whether it’s looking into Asian culture and its values or giving early teen girls a (mostly) relatable film about the fears of puberty, Turning Red follows the Inside Out -approach of delving into the way we feel. Unfortunately, it lacks the emotional punch of the latter, while sadly spotlighting Disney’s reluctance to showcase LGBT characters. So, a marked improvement, but still room to grow in the representation field. QUENTIN Be it my complete inability to relate to the central themes, the obnoxiously irritating characters, or the fact that it’s a blatant Teen Wolf ripoff, Turning Red is easily one of Pixar’s “worst” movies. That said, Pixar doesn’t really make “bad” movies, so it’s still fairly decent; However, it very much feels like a straight-to-streaming effort on their part, lacking the emotional weight of some of the studio’s other offerings. It’s possible that women and teen girls (especially those of Chinese descent) will get more out of this film than I did, but it’s getting tossed on the forgettable pile alongside Onward for me. ADRIANO Although it might not be Pixar’s best, Turning Red is definitely their most mature film. Director/co-writer Domee Shi’s film is painfully awkward and relatable in its depiction of puberty and self-identity, going places I never expected to see in a Pixar movie. The animation is extremely unique and a ton of fun too. It’s genuinely very funny but, in traditional Pixar fashion, the emotions run high in the third act. It didn’t make me cry, but I was close. Another stellar Pixar outing.

THE UNBEARABLE WEIGHT OF MASSIVE TALENT Starring: Nicolas Cage, Pedro Pascal, Tiffany Haddish, Sharon Horgan, Lily Mo Sheen, Ike Barinholtz, Alessandra Mastronardi, Paco León, and Neil Patrick Harris Director: Tom Gormican QUENTIN The Unbearable Weight of Massive Talent is surprisingly successful as a commentary on ego v. family, a buddy comedy, a pseudo-spy actioner, and most importantly, a celebration of Hollywood icon Nic Cage. The This is the End meets Tropic Thunder meta take on “The Legend of Cage” works so well because Cage allows himself to be the butt of the joke, which brings some humanity to a man mostly referenced for his eccentricities. That said, I’m slightly disappointed that it didn’t go deeper with the Cage homages, but that has more to do with my own expectations than anything else. It’s still a fun ride. NICK Don’t let The Unbearable Weight of Massive Talent fool you. What seems to be a film made solely for Nic Cage fans is actually a hilarious meta take on a narcissistic actor, which Cage plays perfectly thanks to his ability to poke fun at himself. He’s joined by Pedro Pascal (with yet another great comedic performance), and the chemistry between the two is undeniable. This film is a ton of fun. Even if you aren’t a Cage fan, you’ll still be able to enjoy this. And if you are one? You know exactly what you’re going to get: NIC FUCKINNNNNNNNN’ CAGE. PAIGE The Unbearable Weight Of Massive Talent is a heartfelt and hilarious love letter to the man, the meme, the legend himself, Nicolas Cage. Who would have guessed Cage playing himself would become my favorite of his roles? He and Pedro Pascal are a brilliant comedic duo that will have you chuckling nonstop throughout the film because their chemistry is through the roof. Yes, the film is very meta, outrageous, and absurd, but this bromance comedy is destined to become a cult classic! ADRIANO The Unbearable Weight Of Massive Talent is a love letter not just to the man, the myth, the legend Nicolas Cage, but also a love letter to film fans. The movie didn’t elicit as many laughs as I would’ve hoped for, but there are still enough to make it a complete blast. Cage goes full parody mode in glorious Cage fashion, playing into the mythology around him perfectly. He and Pedro Pascal have pretty awesome chemistry together too, making the buddy aspect of this film both funny and really sweet. It’s an undeniably fun time at the movies. JACOB A proper class in meta-comic filmmaking, The Unbearable Weight of Massive Talent is one of the year’s greatest joys in moviegoing, especially for fans of Nicolas Cage. Cage owns every second of screen time in this pseudo-buddy comedy about family, career, movie-loving, and fandom. The script is chock full of references to Cage films, but other beloved works of Hollywood as well (a Paddington 2 joke stands out as one of its great moments). Cage’s career renaissance is well underway, and if this reverent film is any indication, one of Hollywood’s greatest actors is truly back – not that he went anywhere. AMARÚ The legend of Nic Cage is mythical, and The Unbearable Weight of Massive Talent understands that legend. It’s as particular and unique as the actor himself, with its self-awareness being the deciding factor in whether you enjoy the Cageness of it all. Pedro Pascal and Cage’s chemistry is palpable, and their sweet buddy-cop storyline helps to acclimate you into the self-referential ridiculousness. Massive Talent won’t be for everyone, but this meta take on the undeniable singularity of one Nic Cage is a fun time if you just ride the wave.

IT'S WHAT'S INSIDE Starring: Alycia Debnam-Carey, Brittany O’Grady, James Morosini, David Thompson, Gavin Leatherwood, Reina Hardesty, Devon Terrell, Nina Bloomgarden, and Madison Davenport Director: Greg Jardin PAIGE It’s What’s Inside is a creative and electric pseudo-whodunnit, and while it clearly takes inspiration from films like Coherence and Bodies Bodies Bodies , it still manages to feel fresh. The film's inventive twist is enhanced by its clever screenplay, deft editing, and stunning neon cinematography. It also boasts a highly entertaining ensemble. Though I admit, at times, it can be hard to follow, so in order to avoid getting lost, I suggest trying to memorize all of the characters' names as quickly as possible. All things considered, it's a fun flick with some great social commentary that I recommend watching with a group of friends. QUENTIN There is a lot to like about It’s What’s Inside , including a relatively original concept, a unique and neon-soaked visual flair, and excellent needle drops. However, it takes about an hour to get going, and I did not enjoy spending that first hour with these annoying Zoomers (the second hour is better). On top of that, the layering of how things play out can get super confusing as you’re trying to track which underdeveloped character is in which body (tip: remember character names). It’s aggressively reminiscent of Bodies Bodies Bodies , which I didn’t love because of its in-your-face Gen-Z-ness, so maybe let that be your guide. KATIE It’s What’s Inside is an entertaining horror-ish comedy in the vein of Bodies Bodies Bodies and Talk To Me, providing similarly satirical takes on Gen Z with a unique concept at its core. The setup is incredibly engaging, once you get the hang of it, and provides ample opportunities for the cast to have fun with their performances and shifting dynamics. It also has neon-lit, glowing visuals and a fun style of editing with flashbacks that set it aside from the films it clearly takes inspiration from. Overall, It’s What’s Inside is an undeniably fun, witty, and compelling feature debut for writer-director Greg Jardin. PRESTON It's What’s Inside is an absolute surprise Netflix mystery-thriller by writer/director Greg Jardin. Full disclosure: I try to watch films that have a high probability of being good with my wife. As I started watching this one solo, the couple-guilt began to creep in as I realized how good it actually was. That said, aside from a general distaste for the way the characters are written, which takes stereotypical Gen-Z behaviors beyond the point of comical effect deep into the realm of annoyance, the plot is twisted like scoliosis. It keeps you engaged by teetering on the edge of confusion and explanation.

WATCHMEN: CHAPTER 1 Starring: Matthew Rhys, Katee Sackhoff, Titus Welliver, Michael Cerveris, Troy Baker, Phil LaMarr, and Rick D. Wasserman Director: Brandon Vietti QUENTIN Watchmen: Chapter I is a well-done and faithful adaptation of the seminal graphic novel that is built on vibrant animation and a decent voice cast. However, it never justifies its existence for those familiar with the material. If you’re too busy to read the classic comic, or are so anti Zack Snyder’s Snyderness that the live-action version doesn’t appeal to you, this is a worthy entryway to the story. However, by splitting it into two chapters, Chapter I is literally half of a movie, so it might be best to wait for Chapter II so you can watch the dark tale in a single sitting. PRESTON Watchmen: Chapter I seems to be dedicated to the true fans of the original graphic novel. My familiarity with the story is limited to a single viewing of the Zack Snyder adaptation, not to mention an appreciably better experience with HBO's miniseries, so the muddled storyline presented did a lot to hurt my rating. As this is really just a stodgier animated retelling of merely half of the mediocre 2009 film, I would have preferred to avoid purchasing the film for an overpriced $19.99, as it’s, strangely, the only current (legal) viewing option.

SPIDERHEAD Starring: Chris Hemsworth, Miles Teller, Jurnee Smollett, and Mark Paguio Director: Joseph Kosinski JOSEPH Spiderhead is a nice surprise. Chris Hemsworth steals every scene he’s in, bringing a maniacal glee to the role. It also is a testament to just how good of a performer Hemsworth is. From a story perspective, Spiderhead has its hits and misses. Sometimes it feels like its moving a little too slowly, and while the finale is exciting, the overall resolution leaves something to be desired. Still, I think the high concept and solid performances are enough to make Spiderhead a worthwhile watch. NICK Story wise, Spiderhead conjures up memories of The Island and Ex Machina , and although it’s more predictable than those films, the performance of Chris Hemsworth makes it work. Hemsworth has a blast every minute he’s on screen, and when he’s absent, the film takes a noticeable hit. That’s not to say anything of the performances from Miles Teller and especially Jurnee Smollett, but this is The Chris Hemsworth Show. Spiderhead also makes for another solid outing from director Joseph Kosinski following the success of Top Gun: Maverick . It may not reach the heights of that film, but Spiderhead is still a fun ride. JACOB Joseph Kosinski’s Spiderhead isn’t a total bore, but it feels as if the story being told was meant to be in a miniseries format at first, then squeezed down to about two hours. Almost none of the characters actually receive the development they need to carry this narrative, and the idea of the location itself never really gets any traction beyond it simply being the setting. The film does attempt to grapple with some interesting concepts, but never actually explores them; without Chris Hemsworth and Miles Teller to keep its poorly-structured weight afloat, it likely would have sunk entirely. QUENTIN With its strong Ex Machina vibes, a charismatic performance from Chris Hemsworth, and a terrific yacht rock soundtrack, Spiderhead is a fun little slice of thrilling intrigue, even if it’s never quite as good as the sum of its parts. Truthfully, my only real complaint is that a lot of the movie, both characters and plotlines, is underdeveloped. Revelations are made without much build up, so they don’t quite resonate the way director Joseph Kosinski probably wants them to. That said, this lone flaw never makes the movie less than engrossing, but it does drop Spiderhead from potentially great to merely pretty good. PAIGE Spiderhead has an intriguing premise and a great cast, but overall, it is not a winning bingo card. This sci-fi thriller is a bland pill to swallow, honestly. Despite the success director Joseph Kosinski just had with Top Gun: Maverick , this film unfortunately comes with side effects of nausea, headaches, and disappointment. The concept needed more meat to its bones, and it left me feeling like it was missing a whole other layer. Still though, it’s enjoyable enough due to the performances of Chris Hemsworth and Miles Teller.

THE KILLER (2024) Starring: Nathalie Emmanuel, Omar Sy, Sam Worthington, and Diana Silvers Director: John Woo AMARÚ Omar Sy and Nathalie Emmanuel can do (almost) no wrong. They’re two actors I thoroughly enjoy watching, no matter what they’re in, and are the predominant reasons I found entertainment in director John Woo’s remake of his own movie, The Killer . Individually, Sy is endearing and Emmanuel is intriguing. Together, their chemistry is delightfully playful, and it covers up the shoddy special effects and campy script that made me wonder whether Woo didn’t get a big enough budget, is losing his touch, or was always too damn dramatic for the U.S. With The Killer following Silent Night , I’m slightly worried about the answer. QUENTIN I have no idea why director John Woo decided to remake his own hard-boiled classic The Killer , and I especially don’t know why he traded in its gritty noir vibes for the kind of cheap-looking, ultra-glossy aesthetic you find almost exclusively on straight-to-streaming releases. But he did, and here we are, with a plethora of soullessly recreated Woo-isms. You want doves, cathedrals, and gunfights? They’re all here, but they’re done in the sort of superficial “style” that recalls drinking Purple Drink out of Tiffany crystal and calling it “classy.” Woo’s heyday is something to remember, but he clearly doesn’t have it anymore. This is barely serviceable.