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.

SALEM'S LOT Starring: Lewis Pullman, Jordan Preston Carter, Bill Camp, Alfre Woodard, Makenzie Leigh, Pilou Asbæk, and Alexander Ward Director: Gary Dauberman PAIGE There's no denying that this Salem's Lot remake has a spooky atmosphere and an old-school, Stephen King vibe, but you can definitely tell that a significant amount of character development and substance were left on the cutting room floor. The main plot’s lack of a strong build-up ultimately results in a flimsy mystery. Lewis Pullman tries his best with what he is given as Ben Mears in this mediocre King adaptation, and the story at least allows Jordan Preston Carter to shine as the little badass Mark Petrie. However, while there may be some cool moments throughout the film, I much prefer Tobe Hooper's 1979 version. QUENTIN Since I had already seen two versions of Salem’s Lot (1979 and 2004), I didn’t need another adaptation. Plus, considering the glut of recent mediocre remakes and prequels to horror classics, especially of the straight-to-streaming variety, expectations were low. That said, I actually quite enjoyed this new version. It’s not amazing, of course, but it’s a sturdy, old-fashioned, 80s-style vampire movie. There is no hidden meaning, forced subtext, or unnecessarily gritty darkness; just a ragtag group of people fighting vampires with backpacks full of stakes and crosses. For those who grew up on The Lost Boys and Fright Night , this is a surprisingly nice throwback.

WE LIVE IN TIME Starring: Andrew Garfield and Florence Pugh Director: John Crowley ADRIANO It's entirely possible that timing with personal things that happened in my life recently played a part, but I fell for We Live in Time . I recognize its shortcomings, namely that it's predictable and the film's non-linear storytelling doesn't add anything. That said, director John Crowley and writer Nick Payne seem to have had sincere intentions in making this, as the movie isn't overly sappy. It’s never trying to get tears, and is much funnier than you'd think. Plus, Andrew Garfield and Florence Pugh's chemistry and charm add a lot, making this a lovely film, warts and all. PAIGE We Live in Time is a sweet and charming romantic flick that will pull at your heartstrings. The movie has a somewhat basic plot, but it does a wonderful job of exploring its theme of choosing to live life to the fullest for however long we have through the use of a nonlinear format, which is quite beautiful. Florence Pugh and Andrew Garfield also have such fiery chemistry together that it makes their characters feel incredibly authentic and endearing. Even though We Live in Time is a somewhat generic movie, it is a beautiful love story that you will fall head over heels for. AMARÚ Many recent films have been utilizing nonlinear narratives, with most faltering when their not-so-airtight scripts tell singular stories. Luckily, We Live in Time is more about life as a whole than a particular journey, highlighting that when you focus on the present time, the journey (and movie) you end up with turns out to be quite lovely. Florence Pugh and Andrew Garfield have natural chemistry, enhancing a truly heartfelt screenplay that makes you laugh, cry, and delightfully melt. Their endearing nature and John Crowley’s honest direction makes for a sorrowfully earnest romantic comedy that, rather than feeling emotionally manipulative, genuinely earns your tears. KATIE We Live in Time played me like a fiddle. Andrew Garfield and Florence Pugh’s genuine chemistry imbues their romance with authenticity, and the inevitable conclusion established by the non-linear storytelling enhances the message of living life to the fullest and truly being present to make the most of the limited time we have with our loved ones. It's both deeply moving and surprisingly full of humour, featuring one of the best birth scenes I’ve ever seen, and presents an uplifting way of coping with grief. Plus, it's hard for me not to love a film featuring both of my favourite biscuits. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HOLLAND Starring: Nicole Kidman, Matthew Macfadyen, Jude Hill, Rachel Sennott, and Gael García Bernal Director: Mimi Cave BODE It’s admirable that Nicole Kidman is still taking risks decades into her career, both as an actor and a producer. Sometimes, they pay off. Other times, they don’t. Unfortunately, Holland slots right into the latter. While director Mimi Cave certainly has style to spare (helped in part by Pawel Pogorzelski’s lensing), it’s all in service of a slapdash script that fails to establish stakes, tension or actual characters, so much so that Kidman and co-stars Matthew Macfadyen and Gael García Bernal seem lost throughout. Even with a bloody finale, Holland still ends up feeling like a waste of time. KATIE Holland feels like familiar ground for Nicole Kidman, but even her pitch-perfect performance isn't enough to inject the excitement needed for the film to work. It immediately establishes themes of artifice and the suffocating life of the perfect wife and mother, but it never goes far enough in terms of thrills or exploring the unnervingly conformist town. Gael García Bernal’s character Dave raises concerns about the tensions that exist in a mostly white community that co-opts colonial European values, but this idea is unfortunately never fully realised. Although the cast and cinematography are fantastic, Holland isn't subversive enough to succeed. ROBERT How many more “underlying darkness in seemingly perfect Middle America town-type” stories can be told? Apparently, at least one more, as Holland now graces Amazon Prime. Very early on, without advanced knowledge, I was expecting death and blood to wash over the central idea of the film before it was even hinted, so fortunately, they didn’t disappoint there. However, even with Nicole Kidman playing the part of over-her-head housewife trying to unravel the mystery of her husband’s doings, and Matthew Macfadyen dusting off his Tom Wambsgans’ overcoat for another go, the movie couldn’t plug the dyke to prevent my boredom from overflowing. BRYAN Nicole Kidman is one of those actors that is impossible to hate, even when she’s a part of something as horrifically putrid as Holland . Mimi Cave's sophomore outing is a massive downgrade from her excellent debut, showcasing a thriller without any thrill, and an incredibly meandering approach. This wants to be a Coen Brothers joint so badly, yet it plays out like a parody while treating everything with the utmost seriousness. If one wants to talk about promising projects that completely fumbled the bag, this is easily one of them. Thankfully, it was dumped straight to streaming and no one will watch.

MOVING ON Starring: Jane Fonda, Lily Tomlin, Malcolm McDowell, Richard Roundtree, Sarah Burns, Marcel Nahapetian Director: Paul Weitz NICK Although I haven’t seen Grace and Frankie , I knew of the chemistry between Jane Fonda and Lily Tomlin going into Moving On . As delightful as they are together, it’s the stories within the stories where the film really thrives. There are tales of revenge, tales of love, and tales of loss; sometimes they even intersect. It tackles some sensitive subject matter at times, but always makes a point to handle it in a delicate manner. Moving On is one part Grumpy Old Men and one part 9 to 5 , and while it may not be revolutionary, they hired the right women for the job. JACOB Moving On is what you get when you have several themes in a script but try to put them all together without prioritizing what story you’re telling. That phrasing may sound harsher than I ultimately am on the film, but it is by far its biggest problem. Luckily, that problem doesn’t totally sink this surprisingly decent time, even if Jane Fonda’s character is far less engaging than Lily Tomlin’s, who is the real star here. It’s her scenes that keep the film afloat with ace comic timing and one thoroughly underexplored subplot. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

FIVE NIGHTS AT FREDDY'S 2 Starring: Josh Hutcherson, Piper Rubio, Elizabeth Lail, Matthew Lillard, Freddy Carter, Wayne Knight, Mckenna Grace, and Skeet Ulrich Director: Emma Tammi ROBERT A movie being bad does not preclude it from being entertaining, but if it meanders without much to say — or is just set up for a future film — it commits a mortal sin of cinematics. Five Nights at Freddy’s 2 should be cast into the seventh circle of movie Hell as it hits every pain point. I think the first film is engaging for a PG-13 horror effort, and it had real stakes for the characters. This one is poorly acted, terribly scripted, and had me asking silly logistical questions throughout instead of holding my focus to the action. Please, no more nights at Freddy’s. ADRIANO This feels like low-hanging fruit, but Five Nights at Freddy's 2 is such an embarrassment. Like the first film, it's a hollow joke of a horror film with no tension or narrative cohesion. Now, if you're a long-time fan of the games and you love hearing the names you already know, then have at it, because that's all you get as it ditches the easy-to-adapt terror of the games for nonsense. These are horror films designed for children at the end of the day, and if the non-ending cliffhanger is any indication, we may have to suffer through more of these disasters.

HOKUM Starring: Adam Scott, Peter Coonan, David Wilmot, Michael Patric, Will O’Connell, Florence Ordesh, Brendan Conroy, Mallory Adams, and Austin Amelio Director: Damian McCarthy NICK The one thing that really sticks out in director Damian McCarthy’s films is his ability to create a genuinely eerie atmosphere. Hokum is no different. Although McCarthy relies a little heavily on traditional jump scares here, he blends Irish folklore into his haunted house tale in a way that enhances the story. It also helps that Adam Scott's brand of “unlikable yet accessible to root for” is just what this story calls for. Hokum doesn’t reach the heights of McCarthy’s previous work, but it's a solid film that makes for the perfect rainy night ghost story. ROBERT What if Stephen King were trapped in one of his own novellas, and the only way out was an introspective look at his past and damaged psyche? That is the vibe Hokum set for me, which was reminiscent of Secret Window in a way, another Stephen King inspiration. The smallness and intimacy of the settings and the story don’t lend themselves to heart-attack-inducing moments, but they do ratchet up the unease and make you question everything you are seeing. This harkens back to a timelessness of suspense, where it could belong to any era, and it oozes creepiness and vulnerability… anything but hokum. KATIE Hokum is a deeply creepy, supernatural folk horror film driven by a compelling story. It’s full of effective jump scares that aren't cheap, but well-crafted and reliant on steadily and meticulously building tension and suspense. It makes excellent use of the secluded setting and confines of the hotel, and the cinematography grips your attention to solidify our point of view with the protagonist, leaving the audience as nerve-wracked as he is. Plus, Adam Scott is wonderfully unlikeable and convincing in the central role as the cynical alcoholic writer, Ohm, but also conveys the trauma that is barely concealed under the surface. ADRIANO Hokum is so off-putting, and not in the way it strives for. Writer/director Damian McCarthy clearly wants to make a film akin to the modern definition of “elevated horror”, but despite introducing folklore and themes of grief, it becomes a basic horror movie. All the tension results in a jump scare fest, and everything that happens all culminates in an ending that seems to intentionally pants itself. Now, am I saying Hokum ’s bad? No. It’s well-made, there is some good tension building, and the story is interesting. But it does not hit the heights it aims for.

BUFFET INFINITY Starring: Kevin Singh, Claire Theobold, and Donovan Workun Director: Simon Glassman This film has been reviewed by Quentin, Bode, and Nick as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Harkening back to the days before streaming services, Buffet Infinity does the channel surfing for you. The parade of low budget television ads are entertaining at first but eventually become quite repetitive - outside of the battle for ad space between Buffet Infinity and Jenny’s Sandwich Shop. While I respect the craftsmanship and the difficulty in putting this all together, it just didn’t need to have a feature runtime. The original idea came from a YouTube skit and turning this into a 20-or-so minute short would have been the ideal way to expand it. QUENTIN I respect artists who have an experimental vision and the dedication to see it through. That is where my praise for director Simon Glassman’s Buffet Infinity ends. FYI, this isn’t a movie in the traditional sense. Sure, it’s 99 minutes long, but it’s composed entirely of cheap local commercials that mostly run under a minute. Given that approach, it quickly becomes incredibly tedious and repetitive because there aren’t any characters or story to invest in. Glassman created Infinity Buffet as a 30-second YouTube clip at the beginning of COVID, and it definitely feels like the out-of-control creation of someone trying to hold it together during lockdown. BODE I believe that a movie should be however long as the filmmaker wants it to be. But there’s just no denying whenever you feel a film is overlong, and Simon Glassman’s directorial debut Buffet Infinity is a prime example of this. While the concept of an alien invasion tale told exclusively through low-budget commercials is certainly admirable, it’s clearly better suited for a 30-minute short (ideally watched on Adult Swim) and not a 100-minute feature. The longer it went on, the more its absurdist charm dissipated, leaving this experiment fizzling as a result. Protect Ahmed at all costs though.

IMMACULATE Starring: Sydney Sweeney, Álvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, and Simona Tabasco Director: Michael Mohan KATIE I absolutely loved Immaculate . It gave me far more than I signed up for in the best way possible, and as well as looking fantastic, the tone strikes a perfect balance between shlocky body horror, creepy atmosphere, bloody violence, and genuine scares. It also has some impactful and timely themes, exploring the idea of patriarchal forces attempting to control and claim ownership over women’s bodies, as well as the deluded justifications for it imposed by religious fanaticism. Sydney Sweeney’s performance as Sister Cecilia is phenomenal, and the jaw-dropping final sequence is already one of my favourite horror moments of this year. ADRIANO I enjoyed the insanity of Immaculate much more than I thought I would. I'm not saying it's great; it's not. The film mostly relies on cheap scare tactics and gore that lessen the impact during the more genuinely tense scenes, and the film's eerie atmosphere is weakened by the opening sequence. What's more, the film's stance on religion boils down to nothing interesting. However, I can't deny the film's enjoyment factor when it hits some truly insane peaks. Sydney Sweeney is great, and the final shot is genuinely terrific. As imperfect as it is, I'm really glad I watched Immaculate . NICK I recently saw The First Omen , and while I wasn’t a fan, that movie is light-years better than Immaculate . Aside from a fine yet unremarkable performance from Sydney Sweeney, there’s nothing I really enjoyed here. The film is visually dark and drab, the effects are sub-par, the supporting performances do nothing to stand out, and, overall, the movie just goes through the motions. As there are very similar story beats, I’m curious how people who have seen both this and The First Omen compare the two films because, for me, this actually led to me retroactively enjoying Omen more.

INDIANA JONES AND THE DIAL OF DESTINY Starring: Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Boyd Holbrook, John Rhys-Davies, Ethann Bergua-Isidore, Toby Jones, and Antonio Banderas Director: James Mangold NICK I’ll answer the biggest question first: The Dial of Destiny is drastically better than The Kingdom of the Crystal Skull. Harrison Ford returns, continuing his current streak of being fully committed in his roles; Phoebe Waller-Bridge's Helena fits like a glove; and director James Mangold understood the assignment by creating a film true to the iconic franchise. The reliance on de-aging technology lets the film down a little - the technology just isn't there yet – but it’s mainly only used in an otherwise terrific prologue. Overall, though, this is how the story should end: a fun adventure that’s a fitting farewell to Dr. Henry Jones Jr (Ford). ADRIANO It’s with a heavy heart that I have to say I found The Dial of Destiny dull. Don’t get me wrong, the fun adventure is there, but beyond the first 20 minutes (easily the best part), it’s lifeless, partly due to James Mangold’s direction feeling like the bare minimum. Harrison Ford isn’t phoning it in, and Phoebe Waller-Bridge is a welcome addition to the franchise, but Mads Mikkelsen makes for a fairly boring villain. Plus, even by Indiana Jones ‘ standards, the final act is way too silly. It’s not a bad movie, but it is a disappointing one. AMARÚ The Dial of Destiny is a nice return to form for the Indiana Jones franchise. James Mangold directs some dynamic action set pieces, and John Williams’ score moves the plot forward much more excitingly than the history-laden dialogue. Old Man Indy is just as angry as the real-life Harrison Ford, so the actor’s grouchy disposition works well, especially when pitted against an enigmatic Phoebe Waller-Bridge (Helena) and a menacing Mads Mikkelsen (Voller). Although 20 minutes too long, Dial will put a smile on your face as the adventure injects a freshness to the once thought-to-be-dead franchise. QUENTIN While The Dial of Destiny recaptures the classic Indy vibe, that’s mostly because it plays like an homage to director James Mangold’s favorite parts of the franchise (fan service included). Voller (Mads Mikkelsen) would be right at home in Raiders of the Lost Ark , Teddy (Ethann Bergua-Isidore) is the new Short Round (Ke Huy Quan), and the “tomb diving” is very reminiscent of The Last Crusade . It’s perfectly entertaining, but since it all feels done before, it lacks that special spark. Overall, it ranks fourth in the series; leaps and bounds better than Kingdom of the Crystal Skull , but not as good as Temple of Doom . PAIGE Although The Dial of Destiny may not measure up to Steven Spielberg’s original trilogy, director James Mangold does manage to maintain the spirit and thrilling action beats with this new and bold installment. It’s an exhilarating epic and a proper final entry to this franchise. Hats off to Harrison Ford for delivering a great last run as the iconic character, but it’s Phoebe Waller-Bridge who steals the show this time around. That said, while it’s certainly an entertaining sendoff for the beloved adventurer, the film is far from perfect, most notably having a long and sluggish runtime. JACOB As Indiana Jones movies go, The Dial of Destiny is hardly the worst of them, but its elevated status above Kingdom of the Crystal Skull doesn’t go quite high enough to register it as genuinely good. Between a series of overly repetitive chases and bouts of exposition, the flat digital photography fails to capture the magic of Spielberg’s original trilogy by making things look as if they’ve slowed to a crawl amid subpar VFX. Even Harrison Ford and Phoebe Waller-Bridge giving it a genuine go in their performances can’t save the adventure from being little more than an average fan-service romp.