ANT-MAN AND THE WASP: QUANTUMANIA Starring: Paul Rudd, Evangeline Lilly, Jonathan Majors, Michael Douglas, Michelle Pfeiffer, Kathryn Newton, Bill Murray, and Corey Stoll Director: Peyton Reed NICK Quantumania is the most Star Wars -ish film we've seen in the MCU thus far. In fact, there are clear homages to that franchise within. If this is the Phase Five direction, it's a welcome one; however, it does divert away from a typical Ant-Man film. Gone is a lot of the comedy in favour of showcasing the Quantum Realm and introducing a new "big bad" in Jonathan Majors' Kang, who reclaims much of the terror Thanos brought. This feels like the kick-off to a new saga, and it instills true fear for our heroes as the MCU has found its next villain. DARRYL Quantumania , while still entertaining at times, lacks the magic of its predecessors. The original spirit of the characters, the charm of Paul Rudd, and the low stakes of the Ant-Man franchise are absent, leaving viewers with a bleaker tone and lack of goofy charisma they've come to expect. While director Peyton Reed is still taking ambitious swings, a number of ideas don't connect, resulting in a story that doesn't fully live up to its potential. Worth seeing on the biggest screen possible thanks to some of the great visual effects, Quantumania may have viewers continuing to question the overall quality of the post-Endgame world we live in. QUENTIN Though enjoyable, Quantumania doesn’t feel like an Ant-Man movie because the heavy “EVENT FILM!” vibe creates a tone that dampens the franchise’s typical lightheartedness. Also, it mostly plays as a prologue, full of Kang (Jonathan Majors) backstory and exposition that sets up the MCU’s next decade. In fact, have you ever read a prequel webcomic that was included as a Blu-Ray special feature? It’s like director Peyton Reed made a movie based on that idea. Seemingly by design, it’s more Multiverse Saga foundation building than a new Ant-Man story. It’s still fun, but overall hindered by the MCU machine. The Star Wars comparisons are apt, though. JACOB Jonathan Majors does what he can as Kang to save Quantumania from mediocrity, but ultimately ends up its only true survivor. Unfortunately, the script doesn’t seem terribly interested in its title character, his personal growth, or those who surround him as much as setting up the next "thing." So much of the dialogue is either overly vague or painfully expositional, and most of the jokes don’t really land, either. It also looks terrible, relying far too heavily on green screen (even for a Covid production), which makes its background VFX fall distractingly flat. AMARÚ Director Peyton Reed really wanted Quantumania to be an event film, and he succeeds in some aspects. The stakes are much grander, yet there isn’t enough weight to fully fill out the grandiose scope. Still, it’s a great introduction to MCU’s Phase Five, bringing an epic sci-fi feel to a new world that is going to play a major part in The Multiverse Saga. Quantumania is a really big, really weird prelude to what we’re going to be getting, and if performances from Michelle Pfeiffer and Jonathan Majors are any indication, the heaviness is on the way. ADRIANO It took a while, but Marvel has finally produced a film that I don’t like. While Quantumania achieves its goal of making me intrigued for the future of the MCU, it doesn't feel like an Ant-Man movie at all. They mostly use Ant-Man (Paul Rudd) as a scapegoat to set-up Kang (Jonathan Majors), and the movie itself takes a while to even introduce him, which makes the first half feel tedious. Once Majors arrives, the movie picks up as he carries the whole thing, but it doesn’t stop the movie from feeling like nothing more than a lifeless exposition machine.

GRAN TURISMO Starring: Archie Madekwe, David Harbour, Orlando Bloom, Djimon Hounsou, Geri Halliwell Horner, and Daniel Puig Director: Neill Blomkamp JACOB As video game movies go, Gran Turismo isn’t terrible, but as a racing movie, it lacks the ferocity that it needs to stand out. The first act might actually move too fast for the film’s own good. Although we follow Jann Mardenborough’s (Archie Madekwe) journey into professional racing, we don’t really get to know him as a person, apart from vocationally, and we have almost no tangible relationship to any other characters besides Jack Salter (David Harbour). The climactic race of the film works well, and there are some emotional moments, but overall, this one could have used a tune-up. PRESTON I must qualify my remarks so you know that I am a sucker for underdog stories, especially if they are based on true events. That said, sure, Gran Turismo may be formulaic and take generous liberties in its storytelling, but my heart was still racing from start to finish. David Harbour’s performance is singular, while Archie Madekwe and Djimon Hounsou assist beautifully. I think Gran Turismo will be the underdog film that will most defy expectations this year with surprising universal appeal. I was even pumped for a soundtrack that included the likes of Kenny G! I highly recommend racing to see Gran Turismo today! AMARÚ With its so-unique-it-could-only-be-true premise and Neill Blomkamp’s frenetic direction, Gran Turismo has a surprising amount of heart to make up for the otherwise standard underdog fare. For a racing film, it suffers from having some unceremonious finishes to very intense driving sequences. But with David Harbour charmingly carrying the rest of the cast through cliché dialogue, and one breathtakingly shocking scene that cuts through the mostly by-the-numbers sports movie plot points, there is just enough here to stick with this film to its somewhat satisfying ending. KATIE I enjoyed Gran Turismo far more than I expected to. I have no interest in the video game, yet I was charmed by the feel-good underdog story and captivated by the thrilling racing sequences. Despite the against-the-odds victories being completely predictable, I found myself invested in the drama, sitting on the edge of my seat as Jann Mardenborough (Archie Madekwe) fought to prove himself on the race track. The reconciliation of Jann’s relationship with his father even brought a tear to my eye. Amplified by a pounding soundtrack, this cut-and-dry sports drama hits all the right beats. QUENTIN As a person who digs racing movies, I can overlook most flaws if the racing sequences are exciting enough. Sadly, Gran Turismo is so rough across the board that it’s hard to be forgiving. Aside from the dull race sequences and cliché story, the acting is wooden (David Harbour, notwithstanding), the rival racer angle is half-baked, the love interest subplot is forced, the dronework is somewhat nauseating, and, frankly, nothing about underdog Jann (Archie Madekwe) makes me want to root for him. That doesn’t even get into the PlayStation and Nissan commercial of it all. Again, I'm left wondering: what happened to director Neill Blomkamp? ADRIANO I’m genuinely confused by Gran Turismo . On one hand, the story is Walk Hard -levels of obvious. Every biopic beat in the book, you name it, it’s in Gran Turismo , and with the exception of David Harbour, the performances are pretty stale, which unfortunately extends to the film's lead, Archie Madekwe. On the other hand, the racing sequences are so exhilarating that I found myself excited when the lead succeeded and at the edge of my seat when he failed, even though I correctly guessed the outcome of each race. It’s by no means a great movie, but it’s a worthwhile ride. PHILL Gran Turismo as a movie is better than it has any right to be. Yes, it’s the classic underdog story seen hundreds of times, about a man who finds himself thrust into an environment his peers don’t think he belongs in. However, the performances and characters are entertaining enough to drive this film forward despite suffering a very one-dimensional villain and an overt amount of cliché, corny dialogue that pump the brakes on this being any kind of masterpiece. The race scenes are ramped up with terrific sound design and genuine suspense, though, and while Gran Turismo doesn’t break the mould, it’s certainly enjoyable. PAIGE Director Neill Blomkamp seems to be coming back into form with his craftsmanship, as he manages to do something truly exhilarating with this adaptation. From a technical aspect, this film will get your blood pumping. On the other hand, the script is very subpar. The story off the track feels like the most generic underdog story of all time, but once it gets in the racecar, the film manages to pick up speed. By no means is Gran Turismo the best racing movie out there, but it’s still a fun ride for all to enjoy, especially those that played the game growing up.

CRIMES OF THE FUTURE Starring: Viggo Mortensen, Léa Seydoux, Kristen Stewart, Don McKellar, Welket Bungué, Tanaya Beatty, and Nadia Litz Director: David Cronenberg NICK What is advertised as a grotesque body horror from writer-director David Cronenberg is actually an exposition-heavy, almost Shakespearean drama about a dystopian future. Unfortunately, it didn’t quite work for me. Viggo Mortensen does an admirable job as the lead, but the rest of the cast (including a particularly annoying Kristen Stewart) don’t add all that much. Plus, while it contains some memorable moments, it feels incomplete as a whole. Crimes of the Future certainly isn’t a bad movie, and it does ask some interesting questions; However, by the end, it never quite answers them. JACOB More philosophical in its mission than plot-driven, David Cronenberg’s Crimes of the Future is unlikely to entice average moviegoers, but presents a fascinating experience for Cronenberg fans. The body horror master shows off his trademark tricks, of course, but they are embedded inside a narrative rife with existential questions. What makes us human? Can that definition ever evolve? What if we evolved? It runs a bit long and the ending feels like the beginning of most other stories, but Viggo Mortenson and Léa Seydoux are more than up to the task of keeping viewers engaged. If anything, it’s interesting.

THE COUNT OF MONTE CRISTO Starring: Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, Laurent Lafitte, Pierfrancesco Favino, Patrick Mille, Vassili Schneider, and Julien De Saint Jean Directors: Alexandre de La Patellière and Matthieu Delaporte AMARÚ The Count of Monte Cristo is one of the most satisfying revenge stories ever told, having been adapted for the screen over 50 times around the world, with the 2002 version being one of my favorite films ever. So, of course, I immediately jumped on this year’s three-hour, French adaptation. Closer to the source material and bleaker than its U.S. predecessor, directors Alexandre de La Patellière and Matthieu Delaporte deliver a grandly dramatic telling that is visually stunning, superbly acted, and epically scored. I really shouldn’t have to say more because it’s The Count of Monte Cristo for goodness sake. So… I won’t. PRESTON I, like so many others, love the original novel on which this film is based, and I won’t criticize this modern adaptation for any departures it makes as this version of The Count of Monte Cristo is beautifully acted with impressive visual effects and captivating sound design. But it has two real problems: first is the reconciliation of the problematic facemasks for the time period, although the problem of recognition has always been a difficult thing to overcome in this story; second is the soft ending. That said, neither of these problems keep the viewer from an engaging and altogether satisfying experience, even at three hours. KATIE Romance, adventure, betrayal, revenge, heartbreak, and spectacle – The Count of Monte Cristo has it all. Despite the nearly three-hour runtime, Alexandre de La Patellière and Matthieu Delaporte’s film is fast-paced, efficient, and thoroughly entertaining, brimming with irresistible old-fashioned appeal yet offering a surprisingly modern take on a story that has been adapted countless times. It’s driven by excellent performances, especially Pierre Niney in the titular role, and stunning visuals, with opulent production design and sweeping cinematography that relishes every frame. If I get the chance, I’d run to see this thrilling epic on the big screen. QUENTIN I understand why your natural inclination may be to skip the latest version of The Count of Monte Cristo given that it’s three hours long and in French (not to mention the terrific 2002 version still exists). That said, you'd be doing yourself a disservice to give in to that feeling because this adaptation is lavishly beautiful and epic in ways that few action-adventure movies are these days. Even with the intimidating (but justifiable) runtime, it’s captivating due to the terrific performances, engaging characters, and exhilarating action sequences. Truth be told, I skipped it at Cannes because it seemed too daunting. Don’t make the same mistake.

THE BLACK PHONE Starring: Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, and James Ransone Director: Scott Derrickson JACOB There aren’t many surprises in store for those viewing Scott Derrickson’s first horror film since Deliver Us From Evil , but even so, this pseudo-supernatural drama does make for an entertaining movie experience. Less traditional horror than psychological thriller, the best thing about The Black Phone is how its ambitions don’t outstretch its reach. It’s not shooting for the stars or attempting to make some grand point. It’s simply taut, filled with good performers, and is very well-designed. I do wish we saw a little more of Ethan Hawke without the mask, but what’s given works well enough for me. PAIGE Director Scott Derrickson goes back to his horror roots with The Black Phone , a tense thriller set in the 1970s that is only enhanced by a creepy score. The film, which is adapted from a short story by Joe Hill (son of Stephen King), packs a punch similar to 2001’s Frailty . It’s a gut wrenching nail-biter of a film that will keep you on the edge of your seat, and while Ethan Hawke is haunting as The Grabber, I do wish we got more of his character. The real standouts are Madeleine McGraw and Mason Thames though, both of whom give breakthrough performances. QUENTIN In an effort to correct your expectations, The Black Phone is not a horror movie, and despite a few attempts at jump scares, it’s not really all that scary. It’s more of a suspense thriller, a sort of creepy Frequency meets Frailty . That said, it’s still pretty good, and Ethan Hawke plays an effectively unnerving villain (though his mask does a lot of the heavy lifting). Some genuine laugh out loud moments (both intentional and not) undercut the tension a little too much, and several of the child actors are downright dreadful, but you’ll never lose interest in what’s happening on screen.

GOAT Starring: Caleb McLaughlin, Gabrielle Union, Aaron Pierre, Nicola Coughlan, David Harbour, Nick Kroll, Jenifer Lewis, Patton Oswalt, Jelly Roll, Jennifer Hudson, Sherry Cola, Eduardo Franco, Andrew Santino, Bobby Lee, and Stephen Curry Director: Tyree Dillihay ADRIANO If you are a child reading this, congratulations, GOAT is for you, as it's filled with fun characters that you can laugh with. If you’re an adult, you won’t hate your life, but you’ll be bored. I want to be very clear, GOAT is good. The animation is gorgeous, and the underlying tone of hometown pride is sincere. But it has the simplicity of a typical sports movie’s narrative structure, and moves at an awkwardly fast pace that gives little breathing room for any character arcs or stakes. This one winds up being serviceable junk food for children. AMARÚ I worried that GOAT was going to be an unimaginative cash grab off of Steph Curry’s visage, and aspects of it were. Breakneck pacing glossed too quickly over emotional character and story beats, and some jokes went full Steve Buscemi “how do you do, fellow kids?” But surprisingly, some of the bits trusted kids (and allowed grown-ups) to laugh at adult-tinted comedy, and much of the themes traversed tried and true sports underdog stories to effective results. While very predictable, overstimulating, and overstuffed, the heart behind this was palpable enough that I couldn’t help but crack more than a few enjoyable smiles.

RENTAL FAMILY Starring: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, and Akira Emoto Director: Hikari ADRIANO There was a fear of mine that Rental Family would lean too sentimental and perhaps even emotionally manipulative, and I was pleased to say that's not the case. Brendan Fraser's teddy bear performance is easy to melt your heart, but director/co-writer Hikari’s patient and often funny writing gives each character a well-fleshed out arc and emotional stake in the narrative. While I never reached the point of tears, I certainly felt the beauty in this story that utilizes an otherwise pretty silly concept. Rental Family is a nice, feel-good film that's genuine and worthwhile in many regards. AMARÚ Rental Family is a sweet story that digs deeply into our inherent need for human connection, doing so with sincerity and an open heart. And it's apropos that Brendan Fraser, the sweetest man in Hollywood, was the catalyst of that honest wholesomeness. He was made for this role, embodying a level of truly inspirational empathy. Director Hikari’s smart use of her ensemble as a whole through which to successfully deliver this unique story without a drop of saccharine frivolity also is remarkable. Some emotional beats did need more time to breathe, but the smile on my face the entire runtime was genuinely undeniable. NICK Brendan Fraser comes across as a very kind and genuine human being, so casting him in Rental Family makes total sense. That doesn’t mean it works, though. Hikari has directed a fairly surface level story that can’t seem to focus itself. It’s a shame, as some of the themes introduced have endless potential, yet the film goes in too many directions to be able to expand on most of them. Fraser is exactly what you want him to be, but it’s the film surrounding him that feels afraid to dive into some of the questions it asks. It would’ve been much more interesting if it did. QUENTIN Given these turbulent times, if you need a source — any source — of optimistic, heartwarming feels, Rental Family will almost certainly deliver. Granted, those feels are incredibly shallow and extremely superficial since the characters are mostly just pawns to get you to the next saccharine story beat, but good feels are good feels. Unfortunately, the narrative doesn’t have much lasting heft behind it either because Brendan Fraser is somewhat miscast, with his ever-present teddy bear persona never allowing for a full character arc. Still, you could do worse than Rental Family , even if this cynic found it to be a little too sentimental. ROBERT For some people, a rush of emotional distress or anxiety can be mitigated by the assistance of an emotional support animal. Rental Family is a story about actors hired as emotional support people in Japan, giving insight into a culture where respect is one of the main foundational pieces of relationships. Beyond that, it asks about the lengths you would go for loved ones to make them feel seen and heard, and Brendan Fraser as the American avatar slowly coming to grips with the intent of his new job is lovely casting. For some, it might be cheap sentiment, but tears abounded for me. This film was reviewed by Nick, Adriano, Amarú, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

MERCY Starring: Chris Pratt, Rebecca Ferguson, Kali Reis, Annabelle Wallis, Chris Sullivan, and Kylie Rogers Director: Timur Bekmambetov NICK Director Timur Bekmambetov is known for his screenlife films. There's the good (Searching ) and the bad (War of the Worlds ). Unfortunately, Mercy falls much closer to the latter. First off, there's the visuals. For a style so tech-heavy, there's a real amateur feel to the way everything looks. Then you have Chris Pratt, who left his charisma at home in an unconvincing, and frankly, rather pedestrian performance. Toss in a bunch of plot holes and gaps in logic, and a perplexing final message (that last line knocked this rating down) and you get a film that may be bad enough to end this screenlife genre. ADRIANO If for nothing else, Mercy is as much a January movie as it gets. Relying purely on a Chris Pratt performance isn’t a great idea already, but this hits a career low, as his stoicism once again falls flat. Beyond its poorly directed and awkwardly edited chamber concept, Mercy’s writing is horrible and shoe-horns action for no other reason than to hold audience interest, before dialling the stakes up to a thousand and ruining whatever momentum it could’ve had. And if all that didn’t suck enough, its blatant pro-AI messaging makes this a cinematic failure. BODE Timur Bekmambetov has spent much of his filmmaking career building out the screenlife movement, which has yielded some gems like Unfriended , but also some stinkers like 2025’s War of the Worlds . And though Mercy technically doesn’t fit in that category, he’s certainly applied some of those tools to a larger canvas. Unfortunately, whatever promise that concept may have shown is squandered on a script that’s almost too forgiving of AI and the flaws of the justice system, and another performance from Chris Pratt that makes you wish he went back to comedies. It’s a January movie, and that’s not complementary.

MEAN GIRLS Starring: Angourie Rice, Reneé Rapp, Auli’i Cravalho, Jaquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Tina Fey, Jon Hamm, and Tim Meadows Directors: Samantha Jayne and Arturo Perez Jr. NICK If you’re going to remake a film that was released in the 21st century, you need to offer me something new. With Mean Girls , that offer is solely a transformation into a musical with relatively forgettable songs. Beyond that, it’s just a retread of the original with a perfectly fine new cast who, aside from Jaquel Spivey’s take on Damian, don’t outdo their predecessors. All of it has a very Disney Channel Original Movie vibe. With fresh eyes, those new to the films may have differing thoughts, but if you’ve seen the 2004 version, there just isn’t enough new here to warrant checking it out. CALEB If being a musical is the only thing justifying the existence of Mean Girls (2024), then it probably should’ve had some better songs. There are about a dozen musical numbers in this broadway adaptation, and none of them are memorable. The singing isn’t terrible, but the dancing and cinematography are wildly underwhelming. The script was also a lot tamer than I was expecting, relying mostly on jokes from the original. While it isn’t awful, it’s pretty tough to recommend a musical without any good music. I wanted to enjoy it, but this new Mean Girls isn’t very fetch. AMARÚ I don’t blame the Mean Girls’ actors for the numerous times I said “you’re no Amanda Seyfried/Amy Poehler/Lacey Chabert”. I blame writer Tina Fey (who was somehow no… Tina Fey) for not understanding that good remakes don’t recycle story beats without earning it with something original. Nor do good musicals give their leads the blandest musical numbers. I do recognize that Auli’i Cravalo and Jaquel Spivey wholly understood those facts, so two reels go to them. Plus another half reel because along with Reneé Rapp, they had to carry the second half of Fey’s carbon copy script on their backs. ADRIANO As someone who loves the 2004 original and is a huge fan of musicals, Mean Girls should've been right up my alley. Unfortunately, this remake is a lazy carbon copy where everything is worse. Other than an entertaining Reneé Rapp, there was nothing to take away from this film beyond seeing actors poorly recreate well-known scenes and some forgettable songs accompanied by MTV-like musical numbers. I was genuinely taken aback when I found out Tina Fey wrote this. I don't know what happened, but she must have forgotten what made the first film so timeless.

THE TENDER BAR Starring: Ben Affleck, Tye Sheridan, Daniel Ranieri, Ron Livingston, Lily Rabe, Christopher Lloyd, Max Martini, Sondra James, and Briana Middleton Director: George Clooney JAMES After The Monuments Men and The Midnight Sky , I wasn't sure George Clooney could regain the directorial flair I saw in Good Night, and Good Luck . The Tender Bar proved me wrong. Clooney draws pitch-perfect performances out of all his actors, making the dynamic between Ben Affleck and Tye Sheridan the emotional core of the film. The script uses just enough humour to take the edge off some of the more painful moments in the film, and my inner film student was thrilled to see such clean, efficient editing. The Tender Bar is altogether a funny, gut wrenching package. QUENTIN The Tender Bar doesn’t break any new ground, but that doesn’t mean it’s not a charming little coming-of-age tale. Admittedly, it would not be near as good if it weren’t for Ben Affleck carrying every scene he’s in, but his subtly terrific performance covers for the more formulaic and saccharine story beats. All other aspects of the film, from the direction to the acting, are never worse than workmanlike or better than competently done, but I still found myself swept up in the story despite its general unremarkability. The excellent soundtrack carried a lot of weight towards that end too.

MOANA Starring: Catherine Laga'aia, Dwayne Johnson, John Tui, Frankie Adams, Rena Owen, and Jemaine Clement Director: Thomas Kail NICK Much like last year’s How to Train Your Dragon , the live-action Moana was my introduction to the franchise. So, even though this was seemingly a shot-for-shot remake, it was new to me. That said, its flaws are apparent. Things don't start well as Catherine Laga'aia struggles to find her footing early on as Moana, but once "Disney Dwayne" appears on screen, his charisma instantly elevates her performance and lets her voice shine. Unfortunately, there's something missing in the transition to live-action as Moana relies too heavily on a distracting amount of CGI and ends up feeling quite shallow. It all adds up to another unnecessary remake. ADRIANO There’s nothing new about dunking on Disney live-action remakes. But for this one, its existence is extra confounding. Moana is exactly what studios want out of AI: take what's known, suck all the heart out of it, and hope audiences don’t care enough. Nothing has changed from the decade-old original, yet the live-action transition is dismal. It’s 95% CGI, and not good CGI, so everything about it feels drab and lifeless, and the weak performances from the two leads (Catherine Laga’aia and Dwayne Johnson) only add to the notable quality decline. This one broke me, I can’t lie.

OVER YOUR DEAD BODY Starring: Jason Segel, Samara Weaving, Paul Guilfoyle, Timothy Olyphant, Juliette Lewis, Jake Curran, and Keith Jardine Director: Jorma Taccone AMARÚ Knowing the main premise of Over Your Dead Body actually helps the experience, as the hilarious tension has you eagerly waiting on how it all hits the fan. So, when the gnarly shenanigans get wilder and wilder, you’re bought into the ridiculous surprises that director Jorma Taccone continuously unravels. Samara Weaving and Jason Segel are great at hating each other, so there’s no one to naturally root for or against, just people to laugh at as things get worse for all involved. Taconne’s murderously wacky tone would’ve paced itself better with 15 less minutes, but there’s no denying a fun time was had. ROBERT My knowledge of Scandinavian cinema is limited, but I am aware that American remakes don’t usually compare to that region’s original works. If the quality of Over Your Dead Body is any indication, its predecessor must be near perfection. I found myself thinking of The Last House on the Left with some shades of Ready or Not (not just thanks to Samara Weaving), as it’s a thrilling combination of violence and macabre comedy. I truly felt the unresolved tension between the married leads, and the visual storytelling was meticulous and considerate to an audience’s attention. This was killer, in the best ways.