SATURDAY NIGHT Starring: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Woods, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J.K. Simmons Director: Jason Reitman ADRIANO Plain and simple, I loved Saturday Night . I do think it wraps up a little too quickly, but director/co-writer Jason Reitman ups his game big time here with a surprisingly effective ticking-clock narrative, unique cinematography choices, a pulse-pounding score, and stress-inducing editing. On top of that, the movie's really funny, as well. With an ensemble that's completely committed, Saturday features laugh-a-minute dialogue that feels perfect with the figures that are represented. Lastly, at a crisp 109 minutes, the movie gets to do everything it wants to do, and it balances all the characters wonderfully. This movie simply rocks. NICK All credit to director Jason Reitman for even attempting to bring the mayhem of SNL ‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness. AMARÚ Writer/director Jason Reitman starts Saturday Night with a chaotically energetic one-shot that probably only captures an ounce of the actual nervous spirit of pre-show SNL , which has to be why some of the variety show’s issues get solved slightly too easily by film’s end. However, that doesn’t take away from the utter entertainment Reitman and the amazing ensemble provide. Chaos propels the film forward, but it’s the moments of calm between storms that allow today’s up-and-coming actors playing against pitch-perfect veterans to embody legendary comedians without becoming imitations. Saturday Night is a blast from front to back, and I didn’t want the show to end. PAIGE Jason Reitman’s Saturday Night is a chaotic mess in the best way possible. The film effectively captures what the 90 minutes leading up to the first episode of Saturday Night Live were presumably like with its frantic pacing, long tracking shots, and witty screenplay. Plus, the ensemble is hilarious, and all involved seem to be having a blast embodying their respective roles. Though the film does fall short in its character development by not giving everyone their moment to shine, all in all, it’s an entertaining movie from start to finish that most will enjoy, even if they aren’t SNL fans. PRESTON I don’t think you had to have been a huge fan of Saturday Night Live from the jump to enjoy Jason Reitman’s Saturday Night , but the nostalgia of it all definitely adds to an already fantastic experience. Its intentionally ataxic composition can be disorienting, at times, which is (of course) the point. But, if you are not well aware of who the famous persons being portrayed actually are, then that can detract from the experience, as you are transported frantically from scene-to-scene and character-to-character. The whole cast’s performances are spot on and the comedic tone of the time is expertly reincarnated. Overall, a great time. QUENTIN For a person who grew up watching SNL in the 90s (not to mention the cinematic classics of the original cast), Saturday Night was right up my alley as a sort of nostalgic time-capsule from an era I never personally experienced. Director Jason Reitman excellently captures the frenetic atmosphere that I can only imagine permeates the backstage area prior to SNL hitting the air, let alone the very first episode, while the cast admirably fills the shoes of the comedy icons (none more so than Dylan O’Brien as Dan Aykroyd and J.K. Simmons as Milton Berle). This movie doesn’t deserve to be forgotten. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

WHITE NOISE Starring: Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Lars Eidinger, Jodie Turner-Smith, and André Benjamin Director: Noah Baumbach JACOB White Noise , Noah Baumbach’s first-ever adaptation, is one of his funniest films yet, chock full of great performances, but that doesn’t mean it completely works. Truthfully, its third act is where the film lost me a little bit. It’s not that it’s bad, or even disinteresting, but the film’s themes of death and fear of dying don’t quite coalesce completely. The film’s budget was certainly put to good use, and the “Airborne Toxic Event” sequence in particular is riveting filmmaking on a major scale, but nothing around it seems to work as much as that segment does. NICK I didn't love White Noise , but I also didn't hate it; however, unlike most films that garner that reaction, I don't feel apathy towards it either. It's ambitious for sure, and director Noah Baumbach likely did the best adaptation possible from the source material, but it just doesn't lend itself to film. The story structure spotlights both the strengths and weaknesses of the film - Part Two is the clear highlight – which makes everything a little disjointed. Adam Driver and Greta Gerwig's charm notwithstanding (at times, they reminded me of National Lampoon’s Griswolds), there just isn’t enough here for me to consider this film a success. ADRIANO I loved White Noise , a chaotic slice of existential dread. Director Noah Baumbach turns in his best directorial work yet, working from a script that is so entertaining with how far removed from reality it is. The entire cast is great, although I did have some mixed feelings about Greta Gerwig's performance. Best of all, this movie deals with a tough subject (the inevitability of death) with a bizarre dose of optimism and assuredness, which is an impressive thing to pull off. If the novel on which the film is based truly is unadaptable, then Baumbach pulled off the impossible. QUENTIN Frankly, I think Noah Baumbach’s films are too pretentious. While they usually feature terrific performances, they are like Wes Anderson films without the whimsy. White Noise , while still pretentious, is probably his first offering that I somewhat enjoyed. Still though, I only enjoyed Part Two (“Airborne Toxic Event”). The first act has a meanderingly pompous vibe that leaves you wondering what the movie is even about, while the third act is just kinda disconnectedly there. However, that genuinely great second act takes on pandemic hysteria with National Lampoon-level absurdity. So… I liked about 30% of it, which I guess is progress for me and Baumbach. PAIGE With White Noise being Noah Baumbach’s first ever adaptation, it’s definitely his most ambitious directorial effort yet. The film is a dry and cynical satire depicting how humanity deals with the thought and fear of life and death, making it feel like both a cautionary and a redemption tale. As absurd as the story is and how heightened the dialogue can feel at times, there is still a sense of dread that feels real, and the central family will at least have you laughing through its entirety! JOSEPH There is some hilarity and scary relevance within White Noise , especially seeing as how society is coming out of the Covid-19 pandemic. That being said, it’s too inconsistent and self-referential for its own good, falling into the realm of self-parody. Even solid performances from Adam Driver and Greta Gerwig can’t make the odd dialogue feel natural. However, White Noise does boast a colorful palette, and its second act, “Airborne Toxic Event,” is the film’s main highlight, capitalizing on the humor and horror of the story. This film was reviewed by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

ZOOTOPIA 2 Starring: Ginnifer Goodwin, Jason Bateman, Ke Huy Quan, Fortune Feimster, Andy Samberg, David Strathairn, Shakira, Idris Elba, Patrick Warburton, Quinta Brunson, Danny Trejo, Alan Tudyk, Nate Torrence, Don Lake, Bonnie Hunt, and Jenny Slate Director: Jared Bush and Byron Howard AMARÚ Zootopia 2 is excellent. Unlike recent animated sequels that try too hard to stay relevant, that approach enhances the strengths of its predecessor here. It builds interesting lore into an already fascinating world. It continues the (actually) relevant themes of differing cultures overcoming prejudice to make the world better without straying from social and political commentary. It furthers the naturally entertaining dynamic of its characters, and adds an even more stacked ensemble behind Jason Bateman’s Wilde and Ginnifer Goodwin’s Hopps (Ke Huy Quan, as always, is a voice-over standout). Plus, it helps that its pop culturally referential comedy is hilarious, maintaining this franchise’s top-tier Disney status. ADRIANO Zootopia 2 is more than worthy of its predecessor. My cynical brain assumed this was just a Disney cash grab (in fairness, they've earned that presumption), but it’s a natural next step from the first film. It's very funny, it has great animation, the continued world-building is well-imagined, and it does an amazing job of balancing its themes of stepping up when things aren't right while evolving the endearing buddy cop relationship between Judy Hopps and Nick Wilde (Ginnifer Goodwin and Jason Bateman). I can't believe it, but I'm down to take more trips to Zootopia after this.

LOVE AT FIRST SIGHT Starring: Haley Lu Richardson, Ben Hardy, Jameela Jamil, Rob Delaney, Tom Taylor, Dexter Fletcher, and Sally Phillips Director: Vanessa Caswill KATIE I struggled to find many redeeming qualities about this film. The script spends no time showing us why the fated lovers, Hadley (Haley Lu Richardson) and Oliver (Ben Hardy), are meant to be together since they lack chemistry and don’t seem well-matched. It also makes no sense. Why does a statistics-obsessed mathematics student make so many obvious mistakes?! And most notably, while Richardson's performance is charismatic and sweet, I found Hardy downright sinister. If you got rid of the soft pink lighting and tweaked the score, this would have been a better horror film than it is a rom-com. PHILL Love at First Sight is a bizarre romance film. It’s by no means bad, but it’s very by the numbers – literally. It insists on spouting 5-6 different statistics at you in every other scene, which starts off as a cute and fun gimmick, but becomes more irritating as the film goes on. All of the actors are charismatic enough to carry the film, though, and since they are backed with a decent soundtrack, they hit the emotional beats pretty well. Despite seeing every single story beat coming from a mile away, Netflix has certainly produced worse rom-coms. PAIGE Netflix delivers a surprisingly heartwarming rom-com with its latest drop, Love at First Sight . This movie is such an adorable and sincere flick that it is worth checking out, especially if you just have some time to kill. The script is a wee bit corny, but that doesn’t take away from the charming and authentic performances from Haley Lu Richardson (Hadley) and Ben Hardy (Oliver). It’s about fate and chances, and if you're looking for a light and gentle watch that will have you swooning, I recommend this movie.

JAY KELLY Starring: George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, and Stacy Keach Director: Noah Baumbach QUENTIN As a person who loves movies about movies (and, by proxy, movie stars), Jay Kelly was right up my alley. George Clooney is perfectly cast, essentially playing himself (a running joke in the movie), as a superstar actor grappling with the shallow relationships and disheartening loneliness of mega fame. It deftly walks a tight rope between self-indulgent navel-gazing and brilliant meta subtext. And as good as Clooney is, it’s Adam Sandler who steals the movie as he once again proves that he is a legitimate actor. If this were to be Clooney’s final movie (it won’t be), it’d be something pored over for years to come. AMARÚ There has yet to be a Noah Baumbach-directed film I’ve enjoyed. I often find that his characters have empty, first-world problems, or in the words of those in my inner circles, white people shit. But Jay Kelly ’s introspective look into the psyche of good people who make bad decisions makes this story a little more relatable. The titular character (George Clooney) and his manager, Ron (Adam Sandler), still make choices that seem counter to their narrative momentum; however, placing their seemingly superfluous conflicts in the chaotic day-to-day of movie stars allows for much more emotional resonance surrounding their work-life balance issues. ADRIANO I was on and off Jay Kelly' s wavelength consistently. I loved Noah Baumbach's Fellini-esque direction and the ambitious approach to the titular character's (George Clooney) reflection, but while Clooney and Adam Sandler are excellent at the centre, Billy Crudup stole the movie. With that said, the attempt to erode the barrier between an out-of-touch actor and the audience didn't always land. The journey was lacking in emotional familiarity and was mostly just sad. The ending, however, sticks the landing and made me wish the rest of the meandering movie matched what the finale delivered. BODE Some have critiqued Noah Baumbach’s latest picture, Jay Kelly , for its sentimentality. To that, I would say: don’t be so easily fooled. It’s there, yes, but it’s constantly balanced out with the sourness that Baumbach initially made his name on. It causes some tonal whiplash, but in a way, that just makes this bittersweet character study more compelling - especially as George Clooney does some of his best work in years exploring the contradictions of this pathetically successful Hollywood figure. Adam Sandler, Riley Keough and (especially) Billy Crudup also shine amidst a star-studded ensemble. Solid - if not spectacular - stuff. NICK I know “aura” is a big buzz word these days, but that is the best way to describe what George Clooney has. Be it his charm, screen presence, or overall likeability, Clooney is the quintessential movie star, which makes him perfect for this character. He's wonderful in a role that looks at the cost and ramifications of fame. Kelly is a flawed character, but Clooney ensures we never turn on him; a great supporting turn from Adam Sandler helps, as well. I don’t think Jay Kelly is going to bring Clooney another Oscar, but it shows those aspirations are far from over. KATIE Jay Kelly is undoubtedly self-indulgent and sentimental, but sincere and with enough humour that I didn’t really mind. The dialogue doesn’t always work, and some characters are too underdeveloped for me to care about them, but it's driven by great performances. George Clooney, playing the titular Jay Kelly, is, as always, a perfect movie star: compelling and charming, with an endlessly watchable screen presence. Adam Sandler is also fantastic, again proving his dramatic talent. The score is lovely, and the cinematography is gorgeous. For all its sentimentality, I enjoyed the A-list performances and nostalgic appeal. ROBERT Ambiguity can be either the life raft that lifts a film and its message or the anchor that sinks it completely. The life of Jay Kelly, as portrayed by George Clooney, is designed to make the audience question reliability in the narrator’s account of the past, forcing them to consider whether they should root for him, right until the end. For me, Jay Kelly is wildly successful in its journey of retrospection, sold beautifully by Clooney, Adam Sandler’s beaten-down charm, and whirlwind stints by Billy Crudup and Riley Keough. Some might find it saccharine, but as a father, it leaves me contemplative and emotional. PAIGE Noah Baumbach’s Jay Kelly is an intriguing meta yet sentimental piece that explores themes of regret and the cost of choosing fame over authenticity. While I found the first half of the film a bit difficult to connect with, mainly due to clunky dialogue and a lead character who initially feels unrelatable, George Clooney’s performance slowly drew me into the narrative. As the story unfolds, you begin to put yourself in Jay’s shoes and reflect on the memories we wish we could have had with the people we love, and that, right there, is the power of cinema. Not to mention Nicholas Britell's beautiful score, which truly enhances the emotions you feel by the end of the film. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

STRAYS Starring: Will Ferrell, Jamie Foxx, Will Forte, Isla Fisher, Randall Park, Josh Gad, and Rob Riggle Director: Josh Greenbaum NICK Growing up, talking animal films (mainly for kids) were a dime a dozen. Although they're less common now, they still feel overdone. Strays tries to combat this by going the adult route – think what Sausage Party did for animated films - and it does its job in providing the laughs. However, like many comedy films, the trailers really do the movie a disservice by undermining many of the jokes. The voice performances are good, and the speaking visuals aren't off-putting, yet there’s just a familiarity with the content that made Strays feel like I’d seen it before. Something is missing here, I just can’t pinpoint what. ADRIANO Strays does nothing to reinvent the comedy genre. In fact, Strays is pretty stale in terms of story and writing. But I get the sense the goal was “let’s make a funny, R-rated comedy about dogs,” and you know what? They succeeded. This film may not be for the squeamish, but it made me laugh a lot, thanks in part to some great voice work from the cast. To top it all off, it’s got a decent amount of heart as well. So, while it’s nothing to write home about, it’s dependable if you want a good laugh. QUENTIN I imagine that Strays , which is known by the much better name Doggy Style in Germany, is probably pretty hilarious to someone who hasn’t seen many comedies, be it because they were sheltered or they are just young. I admit there was a time when I would have found it laugh-out-loud funny. But now? It’s merely breathe-a-bit-harder-through-your-nose amusing. This is mostly because the jokes are obvious (did you know dogs don’t like mailmen?), or worse, they are ripped directly from Family Guy . As if it pooped on the rug, this Homeward Bound with Sausage Party sensibilities should have its nose rubbed in it. JACOB Strays is hardly the disaster Letterboxd would have you believe, but the juvenility of its overly repetitive humor is what keeps it from being anything more than surface-level. The voice cast doesn’t exactly stand out, but the script also doesn’t offer them any opportunities to really shine. The characters are one-note at best, only one or two jokes made me chuckle, and it all plays out exactly as one thinks it will. That said, if you enjoyed Good Boys on any level, this is more or less the same thing, just with dogs. Truthfully, I didn’t hate it. AMARÚ Dogs are the cutest and bestest things in this world, and 95% of the reason why Strays is getting this rating. As the movie progresses, it moves away from the try-hard raunch that has stifled Will Ferrell’s worst outings to focus more on the dog-related humor. The lewd gags get a few good laughs, but they work best when having a clever connection to our four-legged friends. Once the incessant cursing stopped being there just to be there and started adding to the surprisingly heartfelt story of worth and friendship, Strays moved from almost unbearable to unexpectedly alright. PHILL Strays is one of the worst films to be released in 2023. This review may seem cynical, but for a film that is supposed to be a comedy, it’s just plain sad, both for the characters’ journeys AND the state of comedy as a whole if this is considered funny enough to be given a worldwide release. It’s grotesque and nauseating white noise, with almost every joke involving dog’s genitalia or dogs going to the toilet. All of that is thrown in with some cheap cameo choices that only work if you’ve seen the films they’re very lightly referencing, making Strays heinously terrible.

MASH VILLE Starring: Park Jong-hwan, Jeon Sin-hwan, and Jin Ye-sol Director: Hwang Wook This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK I don't partake in hallucinogenic drugs, but I can only imagine that's how director Hwang Wook wants you to watch this film. Mash Ville is bright, loud, campy, frenetic, and all over the map in a way that would make SNL 's Stefon blush. This film has everything: stylish cult members, poison liquor, shotguns, drunk cops, fake corpses, real corpses, the purest love... There's barely a coherent story here, and pretty much everyone in this thing is a cartoon character brought to life… but damn if I wasn't entertained. Mash Ville likely falls into the "so bad it's good” category, but I’ve certainly seen worse this year. QUENTIN Mash Ville is one of the most “extra, try-hard” movies I’ve ever seen. This chaotic mashup (get the title?) of comedic, western, thriller, crime drama, and action sensibilities makes no damn sense, nor is it remotely funny. Admittedly, I’m of the opinion that comedy is a genre that doesn’t work with subtitles because so much relies on timing, but still… I generally had no idea what was going on. I suppose that could mean something was lost in translation, but other than the Ennio Morricone-inspired score, I can’t call anything about Mash Ville watchable. How Hwang Wook won Best Director for this, I’ll never know.

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.

STUDIO 666 Starring: Dave Grohl, Taylor Hawkins, Pat Smear, Nate Mendel, Chris Shiflett, Rami Jaffee, Whitney Cummings, Will Forte, Jeff Garlin, and Leslie Grossman Director: BJ McDonnell NICK Studio 666 doesn’t take itself too seriously, but the execution of the film is top notch. It’s ambitious, yet it works because it knows exactly what it is. You’re not going to find solid acting or some intricate mystery here - it’s a horror film starring Foo Fighters. That said, the band's chemistry translates to the big screen, and there are some surprisingly gnarly scenes (including one with a chainsaw I won’t soon forget). To fans of Foo Fighters, this will surely become a cult classic, and as for non-fans, Studio 666 is at least worth checking out. QUENTIN It’s not easy to thread the needle on a horror comedy, and while Studio 666 doesn’t exactly nail it, it’s not without its goofy charms. Admittedly, I’m a massive Foo Fighters fan so I may be biased, but it has a B-movie silliness and self-awareness that is infectious. It’s dumb, but they know it’s dumb and are in on the joke. The fact that they can’t act worth a damn only adds to its weird appeal. It's not perfect, but it’s not a waste of time or a vapid vanity project either. It’s likely to become a cult classic. PAIGE Studio 666 is a rad horror comedy that shreds in the laugh department while also indulging us with a bloody headbanging good time! Yes, it’s a silly B-movie that is over the top, but it’s also self aware, which makes it rock that much more. It really hits all the right notes. Truth be told, I already loved Foo Fighters, and this flick just made me love them even more. JACOB There’s a B-movie, grindhouse sort of fun to be found in Studio 666 , but unfortunately, the incredibly messy script and Dave Grohl’s terrible lead performance keep getting in its way. When the film really leans into just how ridiculous it is, it starts to shine; However, it keeps attempting to turn that ridiculousness into genuine horror, falling flat on its face every time. Fans of Foo Fighters may turn this into a cult hit down the line, but anyone seeking a diamond in the rough will unfortunately be met with a lump of damp coal.

SUNCOAST Starring: Nico Parker, Laura Linney, and Woody Harrelson Director: Laura Chinn AMARÚ Suncoast is a pretty standard coming-of-age story, but that doesn’t take away from its relatable themes and standout performances. Nico Parker is effortless in front of the camera, grabbing your attention away from veterans Laura Linney (who might be slightly overwrought) and Woody Harrelson (who definitely is the right amount of Woody). The film takes care with its heavy topics too, balancing the heft with heart, but does come up short by not delving too deeply into either. While Suncoast may not do anything new, it’s a nice watch for fans of the genre and a great launchpad for the charismatic Parker. PAIGE Suncoast is a personal, melancholy coming-of-age story about loss and grief that is worth seeing despite the fact that it treads on a lot of familiar tropes. Director Laura Chinn does an impressive job of blending humor and sorrow in her directorial debut, but the true stand out is Nico Parker, who elevates the material given to her. This flick will warm your heart and shatter it at the same time. I’m very much looking forward to what Chinn and Parker do next in their careers because they both have bright futures ahead.

FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE Starring: Jude Law, Eddie Redmayne, Mads Mikkelsen, Ezra Miller, Dan Fogler, Callum Turner, Alison Sudol, Jessica Williams, William Nadylam, and Victoria Yeates Director: David Yates AMARÚ It takes two-thirds of Fantastic Beasts: The Secrets of Dumbledore to completely wipe away the bad taste left by its predecessor. The early acts don’t quite nail the Harry Potter magic, but they do satisfyingly answer unresolved questions and lean on a strong ensemble. Dan Fogler and Jude Law continue to shine, but it’s the wonderful additions of Mads Mikkelson and Jessica Williams that carry the film through to a turning point in the third act that seemingly clicks the magic back into place. When the film started, I was worried about this franchise; Now, I’m genuinely excited to see where it goes next. JACOB Though better than the previous film in a series I now dread, the third entry in the Fantastic Beasts franchise is as overlong and dry as it could ever be. Mads Mikkelsen makes for a better Grindelwald on the whole, and Jude Law remains excellent as Dumbledore; However, the story is so scattershot that it’s a wonder the film even has time for Newt (Eddie Redmayne), the supposed series protagonist. The movie continually insists on its own importance in the wizarding world story, but never earns the audience’s attention or care. Despite its improved tonal consistency, the magic has run out.

MY BIG FAT GREEK WEDDING 3 Starring: Nia Vardalos, John Corbett, Louis Mandylor, Elias Kacavas, Elena Kampouris, Gia Carides, Joey Fatone, Lainie Kazan, and Andrea Martin Director: Nia Vardalos CALEB My Big Fat Greek Wedding 3 is a frustratingly aimless rom-com that fails to deliver either romance or comedy. Instead of having a central conflict like the original, this narrative operates like a revolving door of pointless sub-plots that seem to come and go on a whim. The cast mostly just meanders around Greece, occasionally indulging in some sappy familial melodrama to keep the audience awake. If you like these characters enough to watch them go on vacation, then maybe this movie is for you. However, if you enjoy movies where things actually happen, you may want to sit this one out. PRESTON It’s my fault really, because… what did I expect?! All the Windex in the world can’t save this third outing. The only acceptable explanation for its failure is that the whole crew was reunited for a few drinks, reminded of their roles, and were then instructed to henceforth improv with unwarranted stage-like exuberance. The script is so frustratingly ill-prepared that all of the outrageous one-liners and once-funny Greek hubris fall completely flat. My advice: if you were a fan of My Big Fat Greek Wedding , avoid this rendition and rewatch the original again if you are feeling nostalgic. PHILL The My Big Fat Greek Wedding franchise has always been unremarkable, but the first film had some charm, and its simple culture-crossing love story was sweet enough to carry it through - all things the third film in this trilogy are not. My Big Fat Greek Wedding 3 is deeply unfunny, and so poorly edited that it can barely be called competent. Scenes are very loosely connected, with character arcs having beginnings and incredibly unearned endings, but no middle. Everything about this third entry falls incredibly flat, and it sorely misses the late Michael Constantine’s Gus, who was the heart of the previous two films. JACOB It’s a real shame that the My Big Fat Greek Wedding trilogy as a whole can’t live up to the first film’s charm, but even disconnected from its franchise roots, this third entry probably wouldn’t be very good on its own either. Apart from the premise and shared characters, there’s not much it has to say about why its own story is important, other than that we should think it is. Scenes come and go with an occasionally funny moment, and there are some neat new characters, but ultimately there’s little to actually hold onto in terms of real quality.