THE ELECTRIC STATE Starring: Millie Bobby Brown, Chris Pratt, Ke Huy Quan, Jason Alexander, Woody Harrelson, Anthony Mackie, Brian Cox, Jenny Slate, Giancarlo Esposito and Stanley Tucci Directors: Joe and Anthony Russo BODE Since helming some of the most successful films of all time under the MCU banner, the Russo Brothers have mostly spent their capital on over-budgeted streaming fodder that you can half-watch while doing other activities. The Electric State is their latest project to serve this purpose. They take the basic premise of Simon Stålenhag’s illustrated novel and make an utterly soulless Amblin homage out of it, complete with hollow observations regarding our reliance on technology, bland Marvel-style humour, and performances that are either doing too much (Chris Pratt) or too little (Millie Bobby Brown). At least the effects are decent, hackery be damned. ROBERT Given recent announcements for future projects, The Electric State seems like the Russo Brothers spinning their directorial wheels until they are fully engrossed in Avengers movies again. Overall, this gives off vibes of Wall-E and Ready Player One , mixed with some Terminator : cautionary tales about how human laziness will lead to technology reliance and potential destruction (or, at the very least, aversion to reality). The difference is that those movies are mostly more enjoyable since they are managed with more direction and emotional pathos. When the robots have more heart than the humans, you’ve got problems. ADRIANO For a directing duo that can't seem to stick the landing while also saying pretty stupid things about cinema (ok, really just Joe Russo, in fairness), The Electric State is, unsurprisingly, just unwatchable. The whole movie is essentially the Russo Brothers advocating for AI on a thematic level, and to make their point, they deliver a movie with a terrible script that lacks good ideas and cohesion to an otherwise straight-forward story, not to mention flat direction emphasized by horrible editing and a robotic performance from Millie Bobby Brown. These are your Avengers: Doomsday directors. Yeah, good luck with that. BRYAN There was a time when a new Russo Brothers outing was exciting, yet post-Endgame , the results have been repeatedly chunky. The Electric State may have even reached new levels of unwatchable in every possible way. If you wanted a guide to Lazy Filmmaking 101, this meets the criteria. Any ounce of emotional heft presented in the illustrated novel is nowhere to be found throughout this $320 million soulless snoozer. Even with a talented cast at the forefront, everything feels off. There was promise here, but maybe it'd be best for the Russos to hang it up.

BOY KILLS WORLD Starring: Bill Skarsgård, H. Jon Benjamin, Jessica Rothe, Michelle Dockery, Brett Gelman, Isaiah Mustafa, Andrew Koji, Famke Janssen, Sharlto Copley, Yayan Ruhian, and Quinn Copeland Director: Moritz Mohr QUENTIN In the crowded action revenge genre, it doesn’t take much to succeed. The plots are almost always the same, so you only need charismatic characters, well-choreographed fight scenes, and exciting action sequences to entertain. Sadly, Boy Kills World didn’t get the memo. I admit there are few solid chuckles to be had, particularly a running joke about the deaf and mute Boy (Bill Skarsgård) being unable to read another character’s lips, but they aren’t enough to carry the film through its bloated runtime, mundanity, or dumbass twist. You’re better off rewatching John Wick . Or Monkey Man . Or Silent Night . Or…well, you get the idea. NICK Boy Kills World is a lot like a video game because the action scenes are bombastic and clearly inspired by that world. Bill Skarsgård makes for a dynamic lead despite any of his own dialogue thanks to his facial expressions and combat skills. I actually wish he had done the internal monologue over H. Jon Benjamin (the way it was originally screened at TIFF) as Benjamin provides too much disconnect. All in all, I liked this more than most of the John Wick -style films, probably because it leans heavier into the comedy side of things. It’s just a good-ass time. AMARÚ The second Bob from Bob’s Burgers (H. Jon Benjamin) starts narrating Boy Kills World , I knew what to expect: an utterly ridiculous time that rides the line between satirical and stupid. Then I saw the “Old Spice Man Your Man Could Smell Like” (Isaiah Mustafa) leading the film’s best running bit, and from that point on, I said fuck it. The action (and paired soundtrack) is cool, Bill Skarsgård’s gamut of expressions fit perfectly, and supporting actors like Mustafa and Sharlto Copley know exactly how to elevate this kind of stupidity. Yayan Ruhian alone is worth the crazy, and I’m here for it.

THE KING'S MAN Starring: Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Tom Hollander, Harris Dickinson, Daniel Brühl, Djimon Hounsou, and Charles Dance Director: Matthew Vaughn QUENTIN As an unnecessary prequel designed to spawn a concurrent Kingsman series, The King’s Man is good enough to be watchable, but not to the point that it justifies its own existence. It’s like the store brand version of the first two movies, featuring action scenes that aren’t as exciting and characters that aren’t as magnetic (except for Rasputin (Rhys Ifans), who steals every scene). I give it credit for subverting expectations in two major ways, but the ending is so predictable that it somewhat undermines those efforts. Mostly though, it’s just a disappointment that lacks the spark of its predecessors. JACOB While it lacks the whimsical absurdity of the franchise starter, The King’s Man is as worthy a prequel as it can be with its more self-serious approach. Not all of it works (the middle of the film is quite choppy in terms of pacing), but enough of it comes together so that the audience won’t feel their time is wasted. The action is fun to watch – especially the silent No Man’s Land sequence – and all the actors seem to be having fun, with Rhys Ifans as the infamous Rasputin being a particular highlight. It’s certainly better than The Golden Circle .

MUTINY Starring: Jason Statham, Annabelle Wallis, Ramon Tikaram, Roland Møller, and Adrian Lester Director: Jean-François Richet QUENTIN Somewhat hilariously, Jason Statham is his own movie genre at this point, and one should really only compare Statham movies to other Statham movies. With that in mind, Mutiny is one of the better ones. Does the story carry emotional weight? Are character motivations clear? Are the performances any good? Bro, this is a Statham movie; quit asking dumb questions you already know the answers to. All you need to know is that Statham's Cole Reed kicks ass and takes names in pursuit of vengeance, and that the ass-kickery is more brutal and creative here than in any other Statham movie in recent memory. AMARÚ One pretty nice fight scene towards the end of Mutiny is not enough to make up for an hour's worth of sluggish pacing, thin writing, and stiff performances. How director Jean-François Richet made a 95-minute Jason Statham movie feel like a much longer tepid thriller is a conundrum to me. When the action does hit, it’s still compelling, but there’s nothing but idle filler and cliche one-liners in between the few and far between shootouts. Fill in 80% of that stagnancy with some kind of action and there’s a salvageable movie; however, we’re stuck with the unfortunate Statham dud.

TEENAGE SEX AND DEATH AT CAMP MIASMA Starring: Hannah Einbinder, Gillian Anderson, Jack Haven, and Patrick Fischler Director: Jane Schoenbrun ADRIANO As a vocal fan of Jane Schoenbrun, I’m delighted to say Teenage Sex and Death at Camp Miasma is another win for the surreal filmmaker, but in a way that feels fresh. As opposed to the dourness of their first two films, this one is not only silly, but it also showcases Schoenbrun’s fascination with identity and media in a more liberating register. I had a blast watching it, yet I’m still pondering its many themes and ideas. Once again, I walked away with the feeling that I’m watching an artist come into their own in real time. BODE With their previous two features, We’re All Going to the World’s Fair and I Saw the TV Glow , I’ve admired how writer-director Jane Schoenbrun can nail a Lynchian vibe whilst still carving out their own distinct style. With their latest feature, Teenage Sex and Death at Camp Miasma , I feel like I’ve fully embraced it. It’s a surprisingly playful and deeply poignant deconstruction of the slasher and the sort of impact it can have on one’s identity. Boosted by terrific central performances from Hannah Einbinder and Gillian Anderson, a great score from Alex G, and some outstanding needle drops, I’m a big fan. NICK Much like with I Saw the TV Glow , I can clearly see what director Jane Schoenbrun is going for with Teenage Sex and Death at Camp Miasma . Although I think they did a better job realizing that concept here, something about it just didn’t connect. As a parody of the slasher genre, it works. As a story of sexual awakening, again, it works. I just don’t feel these elements of the story fully complement each other. That said, Gillian Anderson is great, there’s a nice mix of flesh, fluids, and laughs (despite any scares), and I respect that Schoenbrun never compromises their vision. QUENTIN I appreciate that film is an artform through which artists can explore themselves and share experiences. Between I Saw the TV Glow and now Teenage Sex and Death at Camp Miasma , director Jane Schoenbrun seemingly does that exclusively. While that’s well and good, I don’t want to feel like I’m sitting through someone’s therapy sessions. So, despite delightful homages to ‘80s slashers, a terrific Hannah Einbender as a relatably obsessive film nerd, a surprising sense of humor, and a uniquely singular vision, Miasma feels more like another introspective analysis for Schoenbrun than entertainment for an audience. I’m sure the “MaRvEl IsN’t CiNeMa!!” crowd will adore it. KATIE I loved Teenage Sex and Death at Camp Miasma . I wasn't a fan of writer-director Jane Schoenbrun’s previous feature, I Saw the TV Glow , but this is a playful, seductive, funny, romantic, surreal, and importantly entertaining film that explores female desire and sexual identity in a way only horror can convey. Its fetishistic treatment of analogue media and clear passion for the horror genre produces a tantalising, nostalgic visual language, with gorgeous cinematography. It’s further elevated by pitch-perfect needledrops, plus an endearing lead performance by Hannah Einbinder and a brilliantly seductive Gillian Anderson. This film was reviewed by Nick, Adriano, and Bode as part of Bitesize Breakdown's coverage of the 2026 Fantasia International Film Festival.

KARATE KID: LEGENDS Starring: Ben Wang, Jackie Chan, Joshua Jackson, Sadie Stanley, Ming-Na Wen, Wyatt Oleff, Aramis Knight, and Ralph Macchio Director: Jonathan Entwistle AMARÚ I loved everything about Karate Kid: Legends. It takes the heart of what we love about The Karate Kid and uses it to enhance the heart of what’s new. Jackie Chan’s endless charm channels Pat Morita’s endearing spirit, Joshua Jackson was perfect casting to bring freshness to the franchise’s well-tread story, and while this “introduces” Ben Wang to film audiences, anyone who watched his recent television shows knew that he had the goods to carry the likable underdog torch. The breakneck pace does undercut the action, but it also bolsters the emotional cheese to “pure vibes” status, delivering the exact corniness I’d hoped for. ADRIANO The Karate Kid is a franchise that's been churning out nostalgia for over a decade, between the 2010 remake (or I guess, spin-off now) and six seasons of Cobra Kai . So, excuse me if the nostalgia of Karate Kid: Legends feels like old news at this rate. You don't even get your legacy character team up until the end, and while their dynamic can be funny, we barely get any of it due to the baffling and obscenely rushed pacing. Between that and a first hour filled with horrid narrative decisions, this boardroom product will be lost in time. ROBERT Welcome to 2025, where a film idea can manifest from one line in a movie 40 years ago. That is how Karate Kid: Legends was born, and frankly, it probably should’ve gestated a little longer. The cast works well together, especially with the addition of Joshua Jackson to provide some heart and toughness. However, the love story between Ben Wang’s Li and Sadie Stanley’s Mia is fast-tracked and bland, and the transition of storylines in the second act, bringing along Ralph Macchio’s Daniel to assist through to the conclusion, can give you whiplash. This formula was done twice before, and the third time wasn’t really the charm.

BALLS UP Starring: Mark Wahlberg, Paul Walter Hauser, Benjamin Bratt, Eva De Dominici, Daniela Melchior, Molly Shannon, Eric André, Jackson Tozer, Chelsey Crisp, and Sacha Baron Cohen Director: Peter Farrelly ROBERT Sometimes you can go home, and other times you can’t. Despite streaming comedy warning flags, I figured Balls Up would be a refreshing return to R-rated comedy for Peter Farrelly and Mark Wahlberg. Unfortunately, despite the aesthetics and general return-to-the-1990s feel, the sentiment was missed horrendously. I think Wahlberg and Paul Walter Hauser have decent chemistry, and both Molly Shannon and Benjamin Bratt come out firing in their limited time, but the jokes are outmoded, the setups lack energy, and the set pieces don’t inspire fun. There is too much bad to swallow here. BODE If there’s anything notable about Balls Up , it's that it's the only movie to come from an Oscar-winning director with a premise built on one long dick joke. But while it’s admirable that Peter Farrelly hasn’t abandoned his comedy roots, this latest effort is just another reminder of how he’s struggled to fully recapture the lowbrow charm of his earlier works. It’s not without some laughs here and there, but there aren’t enough to distract from the haphazard plotting, surprisingly lethargic pacing, and lack of buddy chemistry between stars Mark Wahlberg and Paul Walter Hauser. Balls Up ? More like balls down.

PERFECT DAYS Starring: Kôji Yakusho, Min Tanaka, Tokio Emoto, Aoi Yamada, Sayuri Ishikawa, Arisa Nakano, Yumi Aso, and Tomokazu Miura Director: Wim Wenders ADRIANO Perfect Days is proof that, sometimes, less absolutely equals more. A fascinating character study, the movie follows the protagonist through his day-to-day life, and the film holds nothing back in showing the less-than-ideal yet mundane situation he’s in; however, through Wim Wenders’ nuanced direction and Kôji Yakusho’s subtle performance, even the 20-minute-long sequences of Yakusho cleaning bathrooms reveal a poetic truth. Due to the film’s patient and purposefully repetitive nature, I can’t say it’s a film that’ll appeal to everyone, but the final shot alone made the journey worth it. KATIE Perfect Days is a contemplative slice-of-life story that focuses on the “little things” that we often take for granted, but ultimately make life beautiful. Wim Wenders’ quietly joyful film is deceptively simple and unattached whilst being emotional and thoughtful, capturing the meaning that can be found in the mundane with breathtaking cinematography and music, carried by Kôji Yakusho’s wonderful performance. With a relaxed pace, little dialogue, and a very loose plot, this may not be for everyone, but I’d encourage everyone to take the time and enjoy this deeply enriching viewing experience. AMARÚ Artistically, Perfect Days is a beautiful film. Entertainment wise, well that’s up to your own proclivities. Not much really “happens”, but that, of course, is the point to director Wim Wenders’ poignant look into finding the perfect moments in everyday life. You feel grateful every time Hirayama (Kôji Yakusho) basks in his surroundings, and the care he takes in every aspect of his life (especially his music taste). It resembles Akira Kurosawa’s masterpiece Ikiru after the main character learns of his fatal diagnosis. I just hope that we all don’t let tragedy be the force which drives us to care about life as Hirayama does. PRESTON Perfect Days embodies the virtues of ikigai, simplicity, and stoicism, with all of these concepts being beautifully intertwined to represent the value of staying in the present, persevering through the mundane, and finding one’s purpose through personal suffering. Human connection is one of life’s true blessings (or curses), and when experienced through the eyes of Hirayama (Kôji Yakusho), we see all that encapsulates life’s pains, as well as its joys. Director Wim Wenders’ ability to capture this all without the often ubiquitous need to do too much makes Perfect Days a perfectly suitable candidate for best international film of the year. CALEB Perfect Days is a serene meditation on the little moments that make life worth living. The film's skeletal, poetic approach to storytelling may not be for everyone, but I adored it. There is something so charming about watching Hirayama (Kôji Yakusho) go about his week. His appreciation for the world around him managed to make arguably mundane sequences feel authentic and beautiful. Director Wim Wenders harnesses the power of editing, music, and framing to create a narrative that speaks volumes despite the lack of dialogue. Perfect Days is definitely a film that demands your patience, but I think that's its biggest strength. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

REBEL RIDGE Starring: Aaron Pierre, Don Johnson, AnnaSophia Robb, Emory Cohen, Zhané Jhé, and David Denman Director: Jeremy Saulnier AMARÚ Rebel Ridge ’s first act is a pressure cooker of slowly ramping tension, building great atmosphere on strong character work and the all-around badassery that is Aaron Pierre. He oozes cool with his striking eyes, calm demeanor, and powerful delivery. Combined with a compelling supporting cast, his performance drives the film forward as the second act’s pace surprisingly lets off the gas without ever truly regaining its initial momentum. However, once you readjust to the new tenor, the intensity doesn’t dissipate, it just flows in a new direction. A direction that, while about 20 minutes too long, doesn’t fail to capture your full attention. KATIE Rebel Ridge is a solidly entertaining and stylish action thriller featuring an engaging central performance from Aaron Pierre as protagonist Terry Richmond. The film immediately establishes a sense of tension that sticks with you throughout, and the suspense heightens as Terry dives deeper into the corruption that infects the small town. The action is sporadic but compelling, though I would have liked to see more, especially since a shorter run time would have enhanced the excitement, even if the general pacing is good overall. NICK A pandemic, multiple strikes, and the loss of its lead actor all contributed to Rebel Ridge 's five-year journey to completion. Despite the odds, however, it may have worked out for the best. John Boyega (the original lead) is a fine actor, but Aaron Pierre deserves more chances to shine. Thankfully, this role gives him a chance to do so. Pierre takes full advantage of the opportunity, and his screen presence is the ideal match for director Jeremy Saulnier's authentic and deliberate storytelling style. Together, they create great tension in this (admittedly overlong) deep-seated story about corruption. Rebel Ridge is another sneaky good Netflix Original. PRESTON Rebel Ridge starts out so good! It’s a Walking Tall -style film that swaps out a Green Beret for a Marine Corps combatives instructor, played by a kick-ass lead in Aaron Pierre. The problems begin to creep in when the former Marine starts using a military communications acronym (P.A.C.E.) to describe his actions before proceeding to bombard us with more military lingo. Also, the level of fear this police force has for a recently discharged E-4 is just comical. That is all forgivable, though, whereas the extended runtime is less so. Overall, a good movie that is very close to being great. QUENTIN Though the storyline makes logical sense from beginning to end, Rebel Ridge plays like two different movies. Both are good, but as a single film, it’s a little disjointed due to a tension shift about halfway through. That subtle change contributes to a movie that is less compelling in the back end (being a bit too long doesn’t help, either). That said, Aaron Pierre is terrific as a stoic badass, and as reductive as it sounds, both his character and the basic plot, particularly in the first hour, feel like Black Reacher . Ultimately, that means I’d watch a franchise of Terry Richmond (Pierre) movies.

THE GARFIELD MOVIE Starring: Chris Pratt, Samuel L. Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillén, and Brett Goldstein Director: Mark Dindal AMARÚ The Garfield Movie is only a movie because it has “movie” in the title. Maybe they thought if they made us say “movie” enough, it would pass as one instead of the collection of montages, flashbacks, product placements, unfunny jokes with big words, and obligatory Snoop Dogg cameo in a cat “movie” that it is. I don’t even care if that’s a spoiler. You can’t spoil scenes, lines, and music you’ve seen in millions of other children’s movies. The montage of real cats and dogs in the credits was more enjoyable. Odie, however, is always a good boy. ADRIANO I'm tired of hearing the excuse "it's just a kid's movie" when it comes to films like The Garfield Movie . Yes, kids will enjoy this, but I've seen kids' movies with more to offer than many “adult movies.” The Garfield Movie reeks of studio-mandated slop that panders in many outdated ways, and if not for a couple of pretty funny visual gags, I would've been miserable the whole time. From the product placement to Chris Pratt being miscast to the nonsensical heist plot that Garfield becomes lost in, this feels like Sony Pictures Animation learned nothing from The Emoji Movie .

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES Starring: Tom Blyth, Rachel Zegler, Peter Dinklage, Hunter Schafer, Josh Andrés Rivers, Jason Schwartzman, and Viola Davis Director: Francis Lawrence AMARÚ The Hunger Games has always highlighted humans’ will to survive, and The Ballad of Songbirds & Snakes is an excellent franchise addition that exemplifies this ideal. Director Francis Lawrence unwaveringly showcases humanity’s bravery and brutality, fostering riveting performances from the entire cast, especially Viola Davis and Rachel Zegler. Breakneck pacing creates a thrilling, action-packed first two acts, but it slightly stifles act three’s emotional payoff due to, even at two-and-a-half hours, packing so much detail into a short amount of time. Yet and still, the exhilarating tension and outstanding cast make this a franchise best. I can’t wait to read the book. PAIGE While The Ballad of Songbirds & Snakes succeeds in the world-building of Panem, it stumbles with an uneven and bloated telling of the franchise villain's origin story. That said, the first two acts give us fascinating insight into the evolution of the games and Coriolanus Snow’s (Tom Blyth) journey to this point while throwing us back into the world of The Hunger Games we are fond of. All of this allows the outstanding cast to shine throughout. However, the film’s downfall is a rushed third act that leaves the story’s conclusion feeling somewhat unearned. QUENTIN The Hunger Games has always been just another franchise to me. Not bad, but nothing special either. The Ballad of Songbirds & Snakes , while admittedly an improvement over the two Mockingjay movies, hasn’t changed my mind. Despite being excellent when it’s in the arena (Act Two), the overall story is too much for one movie, even at more than 2.5 hours. The third act feels incredibly rushed, overstuffed, and tacked on, resulting in a deflating 45-minute stretch that comes after the film’s emotional climax in the tense second act. That aside, the world-building and performances are nice, especially from Viola Davis and Jason Schwartzman. ADRIANO The Ballad of Songbirds & Snakes is a tale of three acts. Its first act is a bit expository, but its production value and world-building interestingly expand on the original films. The second act is kind of amazing. It’s invigorating and intense, featuring some of the franchise's best moments while highlighting the phenomenal cast, namely Viola Davis and Rachel Zegler. Sadly, the final act is when it dips, dragging out a runtime that can quickly lose the audience’s interest. While it definitely lost me, it’s still an improvement over the past two installments. CALEB The Ballad of Songbirds & Snakes is ambitious to a fault, covering far too much ground for one film. The performances are great, but the character arcs are rushed, and the relationship between the leads doesn’t have enough time to breathe. Rachel Zegler also has a few too many musical numbers, most of which are kind of awkward. However, it is still pretty fun going back to Panem. The world-building and production design are the film's strongest elements, and franchise fans will certainly admire the attention to detail. Despite its uneven narrative, Songbirds & Snakes still makes for a worthy addition to this beloved series. KATIE Set across three acts spanning over two and a half hours, I was very underwhelmed by The Ballad of Songbirds & Snakes. It skims through one event after another, leaving many interesting aspects of this earlier version of Panem underdeveloped, but ensuring plenty of time for Rachel Zegler’s musical numbers. This left the central romance between Lucy Gray (Zegler) and Snow (Tom Blyth) under-explored and unconvincing, and made the film seem a little shy to really examine Snow as a villain. However, the production design is impressive and there are some fantastic performances, particularly from Jason Schwartzman and Viola Davis. PRESTON The Ballad of Songbirds & Snakes may be worthy of a trip to the theaters if you are a HUGE fan of The Hunger Games , but it fits better as a future late-night streaming option for most. While I have enjoyed the books and the movies, this prequel is just completely overstuffed. By the time the third act hits, much of the theater thought that emptying their bladder was time better spent before soldiering on. The production value and performances are highlights, but with a sickly-paced and unoriginal plot, there is little to inspire real commitment to this tragic love story.

THE BAD GUYS 2 Starring: Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne, Maria Bakalova, Alex Borstein, Richard Ayoade, and Lilly Singh Directors: Pierre Perifel and JP Sans AMARÚ The first Bad Guys is one of my favorite unsung films from Dreamworks Animation. The mix of heart and great characters carried that simple story a long way. While its sequel still has lovable characters and a matching voice cast, the comedic bits revert back to the shallowest of children’s sensibilities seen in Dreamworks’ lesser catalog. It focuses on bigger spectacle instead of its grounded themes of redemption, undercutting the solid messages it has surrounding second chances. Yet, with the amazing animation and some fun additions to the cast, I had a good enough time to want to visit with this crew on another outing. ADRIANO Like its predecessor, I don't have a strong inherent issue with The Bad Guys 2 . While I'd actually consider it an improvement, it just didn't leave a strong impression on me. But, I can't let that cloud the fact that it likely will for others. Setting aside that I didn't find it that funny, the film has an endearing message for kids on top of excellent voice acting and characters, and a pacing/animation style that led to pretty memorable set pieces. These movies aren't for me, but I see the value in recommending The Bad Guys 2 nonetheless.