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EMILIA PÉREZ Starring: Zoe Saldaña, Karla Sofia Gascón, Selena Gomez, Adriana Paz, Mark Ivanir, and Édgar Ramirez Director: Jacques Audiard KATIE Emilia Pérez is brash, bold, and energetic, combining melodrama, tension, crime, violence, and dazzling musical numbers. It kept me guessing at every turn and consistently subverted my expectations, with the tone veering from tragic to uplifting to suspenseful. I just allowed it to take me on an insane ride instead of trying to figure out what it was supposed to be. Zoe Saldaña is also enthralling in one of the leading roles — I could not take my eyes off her. Overall, Emilia Pérez is full of spectacle, ambition, and uniqueness. NICK There will deservedly be a lot of awards chatter for the women of Emilia Pérez , particularly Zoe Saldana and Karla Sofía Gascón. The film itself, on the other hand, is kind of flawed. The musical numbers are very traditional (for the most part), and they don't really do anything to greatly enhance the story. In fact, I think you could watch a version of Pérez with all of them cut out and still be able to follow everything. That can only be viewed as a flaw. So, although you get the aforementioned performances and a twisty story, temper your expectations. QUENTIN I genuinely have no idea how Emilia Pérez works as well as it does. Sure, it features terrific performances across the board (especially Karla Sofía Gascón), but it’s just such a bonkers premise and approach that you keep waiting for it to collapse under the weight of its own ambitions. It never does, though. The gritty crime elements are tense, the musical sequences are percussive and propulsive, and the character dynamics feel real and sincere. The fact that it all comes together near flawlessly is a testament to director/screenwriter Jacques Audiard’s ability behind the camera and the self-confidence in his vision on the page. ADRIANO While there are a handful of misfires in Emilia Pérez , I still really admire the ambitions. In the back half, the movie gets really messy as they introduce a little too much and the genre anarchy becomes more of a headache than fun. Overall, though, I was into the insanity that writer/director Jacques Audiard introduced. Not all of the music hits, but I enjoyed the musical numbers themselves, and I thought Karla Sodia Gascón and Zoe Saldaña were amazing. Whenever the movie is centred and focused, I was thoroughly engaged enough to say I really enjoyed Emilia Pérez . AMARÚ There’s something freeing about being allowed to speak in the language you think in, and in Emilia Pérez , watching Selena Gomez and Zoe Saldaña act in (one of) their native languages unlocked a ferocity never seen in either. Their terrific performances, alongside the outstanding Karla Sofia Gascón, uplifts the film’s amateur (in the non-negative literal sense) features, with its flawed and unpolished edges highlighting its portrayals of flawed people. Emilia Pérez is the most interesting film I’ve seen in years, giving soul to the saints, sinners, the lost, and the found, with depth that 100 words cannot cover. This film was reviewed by Quentin, Nick, Adriano, 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.

THE BUBBLE Starring: Karen Gillan, Iris Apatow, Fred Armisen, Maria Bakalova, David Duchovny, Keegan-Michael Key, Leslie Mann, Kate McKinnon, Pedro Pascal, Peter Serafinowicz, and Guz Khan Director: Judd Apatow ADRIANO As an avid admirer of writer/director Judd Apatow, I was disappointed by The Bubble . This film is just such a departure from Apatow's other works. While he excels in relatable and accurate relationship dramedies, this is a failed attempt at meta absurdism comedy with outdated themes and an unfocused plot. It’s not all terrible though, as the cast is fully committed (particularly a hilarious Pedro Pascal) and there are some jokes that had me howling; However, the jokes missed more than they hit. The only thing that truly made this feel like an Apatow film is the overlong runtime. JOSEPH It’s hard to imagine how a Judd Apatow film could be so bad. Maybe it's too timely or maybe it thinks it's more clever than it is, but all in all, The Bubble is just a snooze fest. It’s forgettable, it’s dumb, and while certain parts will make you laugh, it doesn’t make up for the movie as a whole. This feels like a student improv workshop that somehow got turned into a script. I am saddened that I ever wasted time on it. QUENTIN I think director/co-writer Judd Apatow had a decent idea with The Bubble , which is akin to Tropic Thunder: Pandemic ; However, in 2022, I can’t tell if it’s too soon or too late. Either way, it’s a complete misfire. Social distancing, quarantine, and testing jokes feel both too dated and still too much of a sore subject to be funny. On top of that, it feels very inside baseball, like it was made only for people who shot a movie during the pandemic. Admittedly, there are a couple funny one-liners because a cast this talented can’t be held down forever, but, otherwise, oof.

THE DEAD DON’T HURT Starring: Vicky Krieps, Viggo Mortensen, Solly McLeod, Garret Dillahunt, and W. Earl Brown Director: Viggo Mortensen NICK With his sophomore directorial effort, Viggo Mortensen shows a lot of growth in the way he crafts a film, particularly in how he takes full advantage of the landscapes the film inhabits to create a beautiful western. Where the issues start is in telling the story through a non-linear timeline, a decision that makes things unnecessarily confusing without benefiting the film. It’s also a little sleepy, as it’s not very event filled. At times, it feels like you’re in between missions while playing Red Dead Redemption . The Dead Don’t Hurt is certainly an improvement for Mortensen in the director’s chair, but there’s still some ways to go. KATIE The Dead Don’t Hurt draws on classic western themes and archetypes, but is far from your typical action-packed western. The film utilises a non-linear storyline and deliberate, unhurried pacing, focusing on the relationship between the protagonists rather than gunslinging shoot-outs. However, the threat of lawlesness lurks around every corner. Viggo Mortensen gives a compelling performance as Holger, but Vicky Krieps steals every scene as Vivienne, and the film foregrounds her perspective and the hardships she faces. It’s also beautifully shot, making time to indulge in the stunning, sprawling landscapes as well as the intimate moments between the couple. QUENTIN While it’s easy to commend the beautiful cinematography and above-average performances (especially Vicky Krieps), the fact remains that The Dead Don’t Hurt just isn’t all that interesting. For one, it isn’t the violent revenge western advertised in the trailers. Instead, it opts for a slow-burn, dusty romance that is ultimately hindered by non-linear storytelling that is unnecessary, confusing, and convoluted. On top of that, it’s way too sleepy, and it fails to flesh out intriguing character dynamics that are only hinted at. I love a good western, but when this is the best we get nowadays, it’s easy to see why it’s a dying genre. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

HONK FOR JESUS. SAVE YOUR SOUL Starring: Regina Hall and Sterling K. Brown Director: Adamma Ebo AMARÚ Honk For Jesus. Save Your Soul. ’s subject matter is one that epitomizes “if you know, you know.” Directing/producing duo Adamma & Adanne Ebo address the sometimes swept-up transgressions of the Black church in a way that still feels empathetic and loving, but it’s the knockout performances from Sterling K. Brown and Regina Hall that carry the authenticity with a powerful balance of satire, subtlety, and intensity. The movie as a whole leaves you wanting more closure in the storytelling and more levity in it’s dark comedy leanings, but watching two enthralling performances for 100 minutes will keep you entertained. QUENTIN I’m sure some people will find Honk for Jesus. Save Your Soul. to be a hilarious takedown of religion and megachurches, but for me, someone who watches The Righteous Gemstones and has seen other similar satires, its jabs are more than just a little tired and never quite as sharp as the writers think they are. On the plus side, Sterling K. Brown is magnetic as disgraced pastor Lee-Curtis Childs, but if the only things I’ll truly remember are that Childs’ suit game is on point and that Brown is surprisingly shredded like a superhero, that doesn’t say much for the movie as a whole. JACOB Satires are difficult to nail down, which is why Honk for Jesus. Save Your Soul. probably deserves a little more credit than I’m likely to give it as one of 2022’s hidden gems. While the sendup of megachurch culture does boast dynamic performances from Sterling K. Brown and Regina Hall, it fumbles when reaching for something more sincere underneath the comedic tone. Balancing satire between blistering and tragic often leaves a film struggling to commit to either, this being no exception. It still mostly works, but feels somewhat emotionally hollow, rendering its more pensive second half difficult to fully embrace.

THE KILLER (2023) Starring: Michael Fassbender, Charles Parnell, Tilda Swinton, Sala Baker, and Arliss Howard Director: David Fincher QUENTIN With only his second movie since 2014’s Gone Girl , director David Fincher returns to his dark thriller roots with the noirish The Killer , a lean assassin flick that pairs the slick planning sequences usually seen in heist movies with the deliberate tone and methodical pacing of Mindhunter . A tightly written revenge story, it features a dryly funny Michael Fassbender as he delivers Dexter -style voiceovers about how to be a successful assassin. Even if it is relatively straightforward, especially by Fincher standards, it’s no less compelling than some of Fincher’s best works, landing in the top tier of Netflix Originals. NICK The Killer may not be director David Fincher's top feature, but it's certainly in the upper half of his filmography. The director has crafted a tense and surprisingly humourous sensory experience that feel less like a film and more like a tense situation you've become immersed in. Michael Fassbender provides the nameless assassin with the exact cold and calculated persona the film requires, including an insightful inner monologue (think Dexter ), and though it may not be the most action-packed film you see this year, it boasts one of the most hard-hitting fight sequences you're bound to come across. Overall, another winner for Fincher. ADRIANO When it comes to the story, The Killer is not without its flaws, but it's a badass David Fincher flick, nonetheless. The majority of its runtime is a meticulous procedural process that the film insists we go on, and while that may sound grating, it's endlessly fascinating and surprisingly funny. Fincher's modernized style takes us through the invigorating stoic eyes of Michael Fassbender, and every detail that gets picked up on is a blast. The editing and score help make this film a joy ride too, even if the ending is a bit rushed. All in all, The Killer is a well-planned and executed thriller. AMARÚ There is a line in The Killer that basically amounts to “if you can’t deal with boredom, this life isn’t for you.” Well, that same idea proves that this movie isn’t for me. While director David Fincher and star Michael Fassbender (the titular killer) take an interestingly introspective look at this kind of work, it feels too much like a stakeout, with a lot of waiting around for something interesting to happen. When something does happen, you take notice (fight of the year candidate included), but ultimately, this look at the mundane life of an assassin is not what I was hoping for. CALEB The Killer is one of director David Fincher’s most challenging projects to date. You can appreciate the movie as a meditation on labour, career, and perfectionism, but it’s certainly not the white-knuckle thriller some were expecting. The film is as cold, calculated, and patient as its protagonist, and this restrained approach might alienate a lot of Fincher’s die-hard fans. The Killer is a thought-provoking experience that certainly held my attention, but rarely had me on the edge of my seat. It’s definitely worth a watch, but it’s a shame that its story wasn’t as compelling as its thematic undertakings. KATIE The Killer is a cold, calculated, yet forgettable assassin thriller. It's undoubtedly stylish, modern, well-crafted, and meticulously shot, but it's also mundane and slightly tedious, with a lot of waiting around for something to happen, accompanied by an exhaustive voice-over. My issue is not that the film lacked sentiment, but that it has an emotional detachment that goes beyond the sociopathy of the protagonist and borders on uninteresting. However, Michael Fassbender gives a fantastic performance as the remorseless hitman, while Tilda Swinton lights up her brief screen time with wit and charm. PRESTON The Killer is a mashup of two great movies, John Wick and Drive , but is so much less successful than either or their sum. I don’t like criticizing the director (David Fincher) of some of my favorite works, but my own inner narrative compels me to do so. Character development is lacking, lighting is particularly terrible, and stylistics trump storytelling. I love the calculated-killer-capitalist whose emotion flickers in the light of personal tragedy, but the innovative approach to the assassin’s more mundane tasks is not enough to distract from the film’s failings. I didn’t hate it, but I probably won’t re-watch. PAIGE While extremely stylish, The Killer is a cold and simplistic revenge story. This gritty crime thriller allows director David Fincher to prove once again that he is an attentive craftsman; however, I must admit that this time around, I felt that he was more reserved behind the camera and played it safe with the story. I was intrigued by the introspective narrative approach of our lead, played by the underrated Michael Fassbender, but the film lacked heart. It seemed as if Fincher cared more about the technical aspects of the movie than the actual story. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

I KNOW WHAT YOU DID LAST SUMMER Starring: Madelyn Cline, Chase Sui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Gabbriette Bechtel, Austin Nichols, Freddie Prinze Jr., and Jennifer Love Hewitt Director: Jennifer Kaytin Robinson BODE It’s well known that the original I Know What You Did Last Summer was rushed into production in an attempt to capitalize on the success of Scream . So, it’s fitting that after the latter franchise got a 2020s revival, Sony would try and see if the same could happen for the former. After seeing the new “requel,” I’d say it wasn’t worth the effort. There isn’t much in the way of tension or memorable kills, and because it’s so workmanlike in execution, its attempts at metatextual commentary (not present back in 1997) fall flat. All in all, this is a pretty unsuccessful legacy sequel. AMARÚ As much as I like Chase Sui Wonders (who deserved a Studio Emmy nomination as much as anyone), the exposition-heavy script for this “requel” did no favors for her, the new crew, or the returning legacy characters. This is a shame because there was fun to be had throughout but every time a nuanced story element gave balance to the nostalgia, horrible editing and dumb character decisions would kill any momentum that the fresh takes would build. There was potential in the self-aware nature that director Jennifer Kaytin Robinson tried to portray, but she wasn’t aware enough to leave the 90s slasher stupidity in the past. ROBERT No matter how you showcased the “requel” template, the expectations were low for I Know What You Did Last Summer . Even so, the only kernels of joy gleaned from my viewing were nods to the 1997 original and its direct sequel. Unlike something like Scream (2022), I didn’t care about the new group of teenagers despite my preconceived opinions on the actors. There were some messages in the violence about the role of trauma in changing who a person becomes and the negative effects of gentrification on a community, but they didn’t prove meaningful. Like the movie in general, it all ended up feeling half-baked. KATIE I enjoyed I Know What You Did Last Summer far more than I expected. It’s slick, stylish, and campy whilst taking itself just seriously enough, and although it's heavy on the nostalgia, I think that’s fitting for a film that only exists because of another’s success. I actually liked this a lot more than the latest installments in the Scream franchise and thought the cast was much better. The script isn't always great, but Chase Sui Wonders and Madelyn Cline in particular elevate everything through their performances and they are what make it so enjoyable.

BULL RUN Starring: Chris Diamantopoulos, Tom Blyth, Ashwin Gore, Helena Mattsson, Alyshia Ochse, Troy Garity, Zach Villa, and Jordyn Denning Director: Alfredo Barrios Jr. KATIE Bull Run is an unbearably obnoxious film. The protagonist speaks directly to the camera in a manner that is clearly trying to replicate The Wolf of Wall Street, but it's as jarring as the rest of the editing. It constantly cuts to sequences of random stock footage-looking images and clips to emphasise particular points, doing so recklessly and seemingly without significance. Scenes are randomly intercut with cross-fades and repeated shots, annoying sound effects, and a distracting, bassy kind of soundtrack. I didn’t care about any of the characters or the story, and at only 100 minutes, I felt bored quickly. AMARÚ While Bull Run could have been nothing more than a cheap knockoff of The Wolf of Wall Street , director Alfredo Barrios Jr., star Tom Blyth, and a game ensemble use breakneck pacing, an infectious score, and the playfully jargon-filled screenplay to make something all its own. Smashing their foot on the pedal allows the cast to speed-talk through charming dialogues and monologues, have fun with not-too-vulgar schemes, and keep audiences engaged even if we can’t keep up with every interweaving plotline. Ultimately feeling more like Office Space than The Wolf of Wall Street , Bull Run is a surprisingly fun little film.

SPLITSVILLE Starring: Dakota Johnson, Adria Arjona, Kyle Marvin, Michael Angelo Covino, Nicholas Braun, David Castañeda, O-T Fagbenle, Charlie Gillespie, and Simon Webster Director: Michael Angelo Covino ADRIANO Between The Climb and now Splitsville , co-writers Michael Angelo Covino and Kyle Marvin continue to prove they are confident humanistic comedy filmmakers. With Splitsville , while Covino's direction is chaotic in every frame, he fills the film with impressive and intricate long takes where everything that comes together feels precise and hilarious. The performances from Covino, Marvin, Dakota Johnson, and Adria Arjona are amazing, but I don't know if the emotional punch down on the hypocrisy of open relationships hit how it was intended. Still, I think Splitsville is simultaneously grounded and absurd, which leads to a lot of big laughs. QUENTIN Splitsville is not without moments of humor, but it’s more chuckle comedy than laugh-out-loud comedy, which is odd because it’s such an absurdist farce. Each progressive plot point and escalating development is more and more unrealistic, to the point that I started rolling my eyes at the predictable situations more than chuckling at them. That doesn’t make it a bad movie, as Splitsville would be a good, lighthearted date movie given its charming performances and interesting ideas on modern relationships; however, for better or worse, it’s all a bit too silly and rooted in an unbelievable reality that will leave you thinking “people don’t behave this way.”

DEADPOOL & WOLVERINE Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen, Morena Baccarin, Rob Delaney, and Leslie Uggams Director: Shawn Levy NICK My biggest fear going to Deadpool & Wolverine was that it would tarnish the legacy of Logan , a film I consider the greatest superhero film of all time. Thankfully, it doesn't. It respects what came before it while also trying to build something new, and it does so in a way that only Deadpool (Ryan Reynolds) can: with gratuitous violence, foul language, and a cavalcade of cameos. There are some jokes that miss, and the fourth wall gets a little schticky, but Reynolds and Hugh Jackman make up for all of that. Jackman, in particular, is fantastic, reminding us just how synonymous he is with Wolverine. ADRIANO Deadpool & Wolverine is the cinematic equivalent of a baby’s mobile. There's fun to be had, and I did laugh more than I expected, but a lot of this film is just an ugly-looking waste whose only purpose is to force No Way Home -style applause out of audiences. Any attempt at effective character writing is poor (they got close with Hugh Jackman's Wolverine, in fairness), the film's action is weightless, the humour is repetitive, and the story is nonsense. For many, this'll be exactly what the doctor ordered, but for me, my fun peaked at the opening sequence. QUENTIN For Marvel fans, Deadpool & Wolverine has just about everything they could ask for: violent action, killer cameos, laugh-out-loud jokes, on-point character portrayals, and deep-cut Easter Eggs, all while paying a surprisingly loving tribute to the 20th Century Fox era of superhero movies. It’s probably the best and most rewatchable Marvel movie since Endgame . If I take my Marvel-bias hat off for a second, though…it’s a bit too long, mostly due to the abundance of exposition necessary to make the crossover work (such as it does), and Ryan Reynolds’ schtick can wear just a tad thin. Only you know if you’re a hat-on or hat-off person. AMARÚ Deadpool & Wolverine is a hilarious love letter to 25+ years of Marvel fandom that takes itself as seriously as Wade Wilson (Ryan Reynolds) takes moments of silence. The expositional setup is clunky, and I don’t need Shawn Levy to direct any more big MCU fight scenes, but from its absolutely pitch-perfect opening credits to every (rightfully) gratuitous cameo, this film is the blockbuster hit that a couple of this year’s legacy sequels wanted to be. Naturally, though, it’s Reynolds and Hugh Jackman’s chemistry that shines the brightest, proving that the title is spot on about what you came here to see. KATIE Deadpool & Wolverine delivers everything the fans want and more, from gratuitous violence and trashy humour to plenty of cameos and winking at the camera. Yes, the CGI effects and visuals are inconsistent, and the inconsequential plot is secondary to the fourth-wall breaking, F-bombs, and Deadpool (Ryan Reynolds) and Wolverine’s (Hugh Jackman) budding relationship; however, I laughed a lot more than I predicted, and any issues I had were quickly pacified by a self-conscious joke and Ryan Reynolds and Hugh Jackman’s undeniable chemistry. The film is essentially two hours of fan service, but I still had a great time. PRESTON For lovers of Marvel's cinematic universe, superhero comics, cartoons, television series and all other things of the ilk, Deadpool & Wolverine can be safely regarded as straight-up nerd porn. I, being a fan, found entertainment there, but will always place a higher value on the crushing sarcasm and dark humor that Ryan Reynolds, once again, delivers with expert precision. Although, even for me, some of the jokes eventually stale from overuse as the film goes too far for too long. No matter the length, I recommend staying all the way through the credits for one very satisfying final scene. SHADAN Once my most anticipated movies of every year, MCU films have become a pop culture chore lately. Perhaps the key to enjoying their offerings now is low expectations, but I can’t deny I had an absolute blast with Deadpool & Wolverine . Yes, it’s pure fan service, and it relies too heavily on cameos; I’m also willing to overlook the thin plot because I gave myself over to the silliness for two hours and received plenty of laughs and fun surprises in return. I found the 2000s-era, 20th Century Fox nostalgia sweet and surprisingly effective, making this my favorite of the Deadpool trilogy.

AMERICAN FICTION Starring: Jeffrey Wright, Sterling K. Brown, Erika Alexander, John Ortiz, Issa Rae, Myra Lucretia Taylor, Leslie Uggams, and Tracee Ellis Ross Director: Cord Jefferson NICK Talk about making your debut with an exclamation point! American Fiction is a brilliantly written satire about the way the Black experience is viewed and desired in mainstream (read: white) media. Writer/director Cord Jefferson has crafted a smart and hilarious film around Jeffrey Wright, who instantly makes you question why he doesn’t lead more projects. Jefferson said one of his goals with this film was to amplify underused actors, and he takes full advantage of the likes of Sterling K. Brown, Erika Alexander, and the rest of this talented supporting cast. I can’t wait for others to get to see this one. ADRIANO American Fiction juggles comedy, family drama, and social-racial politics amazingly considering this is writer/director Cord Jefferson’s first feature. The film is hilarious throughout, with a healthy blend of absurdism and slice-of-life humour. While the family drama plot can seem familiar (not in the way I imagine was intended), the way it blends with the commentary on how black people are depicted in the media and in culture was nothing short of brilliant. I foresee the ending dividing people, but I thought it was incredible. American Fiction is, at worst, a familiar comedy; at best, an ingenious satire. AMARÚ For as much satire that’s in American Fiction , it’s some of the realest shit I’ve ever watched. Within writer/director Cord Jefferson’s innumerably layered script, what resonates most is its focus on black people’s use of humor to deal with grief. Not to mask or deny it, but to recognize that sorrow, while existent, is not an absolute in life. That fraudulence of absolutes is the meticulously utilized throughline that ties together such a profoundly multifaceted story. And I haven’t even mentioned the performances, the music, the heart, the ending… (I could go on and on). This movie is fucking brilliant. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

HIM Starring: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, and Jim Jefferies Director: Justin Tipping NICK I think if Him was content with just being a story about the lengths one will go for greatness, it could have worked better. Instead, it’s a film that feels compelled to touch on things like race and religion without the depth to handle either. It’s too bad, too, because Marlon Wayans is actually quite entertaining, and there are some solid visuals throughout the film. It just all feels so hollow. It’s undone by striving to be more than it is, which is often the downfall of many pro athletes. Unfortunately, that parallel was unintentional. ADRIANO Much like the protagonist in the film (played well by Tyriq Withers, admittedly), Him has sincere hidden greatness. Maybe this is my anticipation talking, but I saw the potential even in the worst moments of the empty style that only distracted from the empty messaging. Too much of Him baffles more than frightens, but even at the lowest points of extreme confusion and disappointment, I was optimistic that it would redeem itself. And then the third act came, eradicating any potential it had to come back around and truly proving that Him has nothing to say. AMARÚ Him has everything necessary for a harrowing tale about athlete commoditization and the dangerous sacrifices of obsession. Director Justin Tipping’s visuals are hauntingly captivating, and Marlon Wayans’ mad-eyed intensity is perfect as the wayward mentor to Tyriq Withers’ doe-eyed naivety. You can see greatness in individual scenes, but the screenplay lacks absolutely any amount of tension. Instead of the ebbs and flows of a full-fledged story with rising actions climaxing to an anxiety alleviating resolution, it’s an outline of spectacle put on film. Montages, music, and motivational phrases aren’t enough to capture audiences’ attention. They’re only enough to waste the potential of this film’s talent.

STRANGE WAY OF LIFE Starring: Ethan Hawke and Pedro Pascal Director: Pedro Almodóvar NICK At only 31 minutes, Strange Way of Life feels like the prologue to a longer story. Both Ethan Hawke and Pedro Pascal provide instantly interesting characters, but they’re never given the chance at deep exploration. Their passion is often relegated to longing looks and helpless pleas that feel like they’re bubbling towards the climax of a full-length feature film that never comes. Although the story may fall short, Pedro Almodóvar’s direction suits the Western genre wonderfully, and he handles this queer love story with care. Considering the cast and scope, I understand why this was made as a short film, but it’s an incomplete tale. AMARÚ Having never seen a Pedro Almodóvar film, I’m not sure if Strange Way of Life is an accurate representation of his work, but if his full-length features are anything like the 31-minute short, I’m going to start making a better effort at viewing his work because this short is tense and well-acted, with vigorous performances from Ethan Hawke and Pedro Pascal. Almodóvar is able to speak volumes about what one will do for love within the limited runtime, and with such an abrupt end, I’m very intrigued in seeing if he fills out the rest of this well-told tale. PAIGE Strange Way of Life is a melodramatic queer western that feels like a cologne commercial that’s trying to rip off Ang Lee’s Brokeback Mountain . While the performances from Ethan Hawke and Pedro Pascal are very nuanced and engaging, the true issue with this short film is that it tries to say too much in such a short amount of time. It would have benefited greatly if it was a feature, and to be honest, one of the few things that saved it from being a total miss was Pedro Pascal's bare ass. This film was reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.