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 The Garfield Movie reeks of studio-mandated slop that panders in many outdated ways, and if not for a couple of pretty funny visual gags, I would've been miserable the whole time.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.

28 YEARS LATER: THE BONE TEMPLE Starring: Ralph Fiennes, Jack O’Connell, Alfie Williams, Erin Kellyman, and Chi Lewis-Parry Director: Nia DaCosta ADRIANO The Bone Temple is an exhilarating middle chapter that continues to play into the franchise's experimental nature by going off the hinges in glorious, heavy-metal fashion. Anyone who wishes there was more zombie action won’t be satisfied, but I didn’t mind. Watching director Nia DaCosta take so many bizarre directions was enough, going from unhinged and gruesome in one moment to wholly human in the next, thanks to the strangely beautiful performance from a manic Ralph Fiennes. I could’ve used some more Spike (Alfie Williams) development, but that could be what the next one is for... AMARÚ The Bone Temple is fascinatingly unique, colliding three stories (one of peace, one of chaos, and one of survival) on the edge of the knife that is an uncertain world. It eschews the franchise’s frequent scares for more quiet contemplation, but utilizes shifting sounds and visuals from composer Hildur Guonadóttir and director Nia DaCosta, respectively (who, after Hedda , are becoming a dynamic pair), to remind audiences that peace, chaos, and survival are a blink away in a world torn asunder. Every errant laugh, fright, and shift in tone keeps you intensely locked-in and entertained, waiting with bated breath, wondering what will happen with each passing moment. BODE 28 Years Later was one of my favourite films of 2025, giving me high hopes as to where else this franchise could go. However, The Bone Temple doesn’t quite measure up to that last instalment due to a more conventional shooting approach and an occasionally slower-than-necessary pace. Nevertheless, it’s a compelling enough middle chapter that not only finds writer Alex Garland and director Nia DaCosta (taking over for Danny Boyle admirably) expanding on its ideas in fascinatingly playful and gruesome ways, but also finds Ralph Fiennes acting up a storm once more. It’s a solid foundation for what comes next. QUENTIN Surprisingly, The Bone Temple is a substantial improvement on its great predecessor. To its benefit, the somewhat questionable flourishes that director Danny Boyle shoe-horned into 28 Years Later have been replaced by new director Nia DaCosta’s more viscerally grounded exploration of science v. faith. The two competing storylines intertwine perfectly, creating a sense of propulsive dread that never falters, all while being carried on the shoulders of a charismatically sinister Jack O’Connell and a soulful Ralph Fiennes. However, the true star is the expansive world created by Alex Garland, and I’ll return for each episodic chapter if they continue to be this enriching. KATIE I find that zombie content falters when it eventually shifts focus from the zombies to the monstrosities people are capable of, but The Bone Temple manages to keep its footing. Unlike the previous film’s community, we see a side of post-apocalyptic society that is far more gruesome and unforgiving, though still entertaining and energetic. Ralph Fiennes, as always, is absolutely incredible playing a deeply compelling character, and is responsible for the film’s most insane scene, which is impressive considering the murderous mayhem inflicted by the unhinged gang of Jimmies led by Jack O’Connell’s terrifying Jimmy Crystal. PAIGE While its predecessor struggled with tonal issues, The Bone Temple is far more straightforward and focused in its approach. Rather than leaning into typical zombie apocalypse territory, the film delivers a menacing yet engrossing look at what the outbreak has done to some of the people surviving this world. The material allows its cast to hand in solid performances all around, especially Ralph Fiennes, who gives a committed and fearless performance. My biggest concern, though, is the overarching direction for this intended trilogy. I truly don’t know what the endgame is, which is difficult to ignore. ROBERT Middle chapters of a trilogy can vacillate in quality, usually dependent on the overarching story being told, but a great Part Two needs to segue between the newness of the opener and the impending finality of the closer. The Bone Temple doesn’t quite meet the lofty aspirations of even its predecessor, but it deftly tells a story bisected between Dr. Kelson’s (Ralph Fiennes) quiet unpacking of his solitude and the Rage virus, and Jimmy Crystal’s (Jack O'Connell) loud and nasty rampaging and “charity work” across the English countryside. With these juxtaposed plots, there are some pacing concerns, but the acting and gore are still top-notch and worthy of this universe. NICK A highlight of last year, 28 Years Later rejuvenated my interest in the long-dormant franchise. Its follow-up, The Bone Temple , maintains that interest despite new director Nia DaCosta taking the reins. Although the film is a little uneven and disconnected early on, the storyline of Dr. Kelson (Ralph Fiennes) and Samson (Chi Lewis-Perry) keeps things engaging until the main story threads converge. Once that happens, this thing soars. The Bone Temple isn’t quite as good as its predecessor (it's very close), but it’s just as ambitious while setting itself up for a dynamic finale...even though I wish it was kept a surprise.

JOY RIDE Starring: Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu, and Ronny Chieng Director: Adele Lim NICK The trailers for Joy Ride showed me that I was in store for a comedy along the lines of Bridesmaids , The Hangover , and Girls Trip , so I was expecting laughs (which came often). What I wasn't expecting was the level of heart in this story. Its focus on culture, family, and what it means to belong elevates the material, as do the performances of the central cast. The group dynamic is great, but it's the individual relationships they have within that really shine. Comedy has had a rough go of things recently, so it’s a pleasure to see a film like this put it all together. JACOB A raunchy ride, through and through, with a sincere beating heart, Joy Ride is an absolute goddamn delight and easily one of the funniest movies of the year to date. It doesn’t always navigate the conversation of personal identity in terms of immigration, international adoption, or racism in the most nuanced terms, but apart from that, there’s very little to dislike here. The starring foursome have terrific chemistry, with Sabrina Wu’s Deadeye being a scene-stealing standout, and some of its more emotional moments really pack a punch. It plays out more or less how one would expect, but the journey is 100% worth it. ADRIANO Joy Ride is, pun intended, one hell of a ride. It made me laugh like most comedies aren’t able to these days, which is to say consistently. Part of what makes it so funny, beyond the sharp and raunchy writing, of course, is the unrelenting commitment from Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu. All four of them had me rolling for the longest time, until the film slows down and takes a turn to tug at the heartstrings as its themes of friendship and cultural identity come to fruition. Suffice to say, I loved this movie. AMARÚ Joy Ride is a breath of fresh air that uniquely carves its own lane amongst the slew of 21st century R-rated comedies. Director Adele Lim not only roots the story in Asian culture, but also in the reality that women are as raunchy as their male counterparts. Focusing on themes of identity and belonging while simultaneously delivering intelligently dirty humor lets the main foursome (Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu) play in a hilarious and heartfelt sandbox. They leave you laughing, crying, and hoping for more uproarious shenanigans with them in the future. QUENTIN While I can see why some will find Joy Ride hilariously raunchy, I spent my 20s enjoying arguably the heyday of the R-rated comedy. So, everything here feels done before: the athlete cameo and oddball tagalong (The Hangover ), the traveling plotline (Eurotrip , Road Trip ), the mismatched friends who blame each other for their problems (Superbad ), the women’s camaraderie (Bridesmaids , Girls Trip ), a “WAP” rap sequence (SNL Digital Shorts), and so on. The only fresh aspect is the Asian dynamic, but it mostly just allows for lazy racial jokes (white people like Friends ?! No way!). Maybe I’m just desensitized and have seen too many comedies, but meh… PAIGE Joy Ride is a brash, raunchy, and hilarious movie that very much has its own identity. While the film is definitely full of shock value moments and jokes that can be hit or miss, the majority of them land like a slap in the face, so you’ll be laughing your ass off the entire runtime. But where the film shines the most isn’t from its jokes, but from its heart, which comes from the beaming ensemble cast. Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu’s chemistry is exceptional, and I’d totally be down for a sequel with Brownie Tuesday.

PILLION Starring: Harry Melling, Alexander Skarsgård, Douglas Hodge, and Lesley Sharp Director: Harry Lighton QUENTIN I say this literally, respectfully, and with zero negative connotation: Pillion is one of the gayest movies I’ve ever seen. If Brokeback Mountain made you uncomfortably squirm in your seat, this ain’t for you. But if you can handle it, Pillion is a tender and beautiful coming-of-age love story that deserves way more recognition than it got during awards season. Yeah, it’s an explicit, surprisingly-not-NC-17 look at homosexual Dom/Sub relationships, but there is so much humanity, vulnerability, and compassion, particularly in Alexander Skarsgård’s Oscar-worthy performance, that it should speak to anyone who has experienced the roller coaster of first love, gay or straight. PAIGE Pillion is a sexy, yet honest and raw film that isn’t afraid to explore the BDSM world in a way rarely seen on screen. This unconventional love story is bolstered by unreal performances from Harry Melling and Alexander Skarsgård. While the pacing feels off at times, as the story tends to pull back in certain moments instead of going all in, writer/director Harry Lighton still delivers a strong debut. It’s a horny good time that is not made for shock value, but as an authentic look into the power dynamics of the characters’ relationship. ADRIANO After “Wuthering Heights,” watching a great and provocative romance that deals with longing and features kinky sex was a refreshing February experience. Despite its subject matter, Pillion never uses its central romance as a punching bag, but rather as a way to show the human desire that comes from this strange, but real dynamic. The sense of loneliness and desire to feel loved by a partner feels both authentic and devastating, and the contrasting performances of Harry Melling and Alexander Skarsgård complement the story perfectly. Finally, the romantic BDSM film we all deserve. KATIE Pillion is a surprisingly thoughtful, daringly provocative film centring on a BDSM relationship. Colin, played by Harry Melling, derives pleasure from the relationship, but craves affection that isn't willingly given, and is ultimately unsure of what he wants. This creates ambiguity on whether the romance is unhealthy or even abusive. Yet, the film is sharply funny and poignant, exploring the nature of love and trust in sub/dom relationship dynamics, and never demonises its character's desires. It's also lovely how leather clad bikers and explicit sex are set against a backdrop of very English looking towns and pubs, which gives it an odd charm. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

OLD DADS Starring: Bill Burr, Bobby Cannavale, Bokeem Woodbine, Rachael Harris, Bruce Dern, Katrina Bowden, Reign Edwards, Miles Robbins, C. Thomas Howell, and Katie Aselton Director: Bill Burr CALEB Old Dads is essentially actor-director Bill Burr’s excuse to whine about society for two hours straight. He never manages to comment on issues like global warming, runaway inflation, or the housing crisis because he has to make time to address real problems: the ones that affect rich, white comedians. You’ve got your cancel culture, your virtue signalling, wokeness, pronouns, etc, etc… All the usual ‘edgy’ stand-up bits make an appearance here, and they’re just as tired as ever. Thanks, but no thanks, Bill. If I wanted to hear old people complain, I could just volunteer at a nursing home. QUENTIN Old Dads isn’t a great movie, but I think the level in which one is willing to give in and appreciate it will come down to the generational divide and one’s feelings on writer-director Bill Burr’s brand of comedy. Generally speaking, this is Burr’s ranty schtick personified on screen, and for an unapologetic Burr fan, it works well enough because I agree with his frustrations at the insufferable (if exaggerated) Gen Z-ers as depicted in the film (especially since I’ve had similar experiences as his character). That said, if you are Gen Z, I suspect you’ll feel attacked, making for a less enjoyable experience.

WATCH THE SKIES Starring: Inez Dahl Torhaug, Jesper Barkselius, Sara Shirpey, Eva Melander, Håkan Ehn, and Isabelle Kyed Director: Victor Danell KATIE Watch the Skies is a charming sci-fi adventure with a lot of heart. It’s a genuinely engaging family film that is fun and exciting without being childish, featuring an endearing cast of kooky characters, a retro 80s aesthetic, and a compelling mystery. Although it is slightly overlong, it is mostly well-paced and maintains a sense of suspense and intrigue, and the extraterrestrial enigma takes an unexpected but interesting turn. Notably, this is also the first feature film to be visually dubbed using AI, and I admit I didn’t notice anything that would indicate that fact. ADRIANO I think there are moments where Watch the Skies had an almost self-aware nature that felt like more of a cop-out for the familiarity of the film, but otherwise, the film is very enjoyable and sincere. Sometimes it's not about being totally new, but approaching it compassionately and beautifully. Yeah, I’ve seen this found-family sci-fi adventure before, but am I really supposed to not fall for its spell? I found this film engaging and endearing, a combination of factors that can only do one thing: put a big ol' smile on my face. QUENTIN Watch the Skies is a charming enough throwback to the days of Amblin family entertainment, with movies like Explorers , E.T. , and Flight of the Navigator coming to mind. The dubbing technology, which used AI to make the performers lips match the English dubbing from Swedish language, gets a little wonky at times, but it generally works to cancel out the usual disconnect that comes with dubbing. My only real complaint is that the movie gets confusing in the end with the overly technical and rushed reveals. The journey getting to that point was enjoyable, but it lost me once it went over my head.

CRUELLA Starring: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, John McCrea, and Mark Strong Director: Craig Gillespie AMARÚ The true stars of Cruella are its cinematography and music. The sweeping shots and superb soundtrack allow the style, fashion, and excellent performances to flourish. The Emmas (Thompson and Stone), Paul Walter Hauser, and Joel Fry more than match director Craig Gillespie’s cool aesthetic, which has tonal influences ranging from Guy Ritchie comedy to Ocean's Eleven caper, all mixed with a The Devil Wears Prada rivalry. It's Disney’s best live-action adaptation to date, and if it were 15-20 minutes shorter, it would be an early favorite for best movie of 2021. JACOB Cruella is wickedly fun. Its punk-inspired trappings yield an infectious energy the Disney live-action adaptations have sorely needed, thanks primarily to Emma Stone's committed performance as the titular villainess-to-be. Stone owns the part, chewing enough scenery that one could easily overlook (but shouldn't) how good Paul Walter Hauser is in it as well. Emma Thompson provides an apt foil for Cruella, with her stone-cold confidence as an actress never dropping even underneath her character's behaviors. Lastly, as they should be, the costumes are all sorts of fabulous. The film does run a bit long, but there's never a moment wasted. QUENTIN Cruella is not without its issues. Among them, it’s slow to start, very predictable, and a tad underwritten. Also, I can’t track the line from where this movie ends to the truly monstrous Cruella in the animated movies, which annoys me for some reason. That said, the gritty campiness, excellent soundtrack, and even better costume design do a lot of heavy lifting to keep the story moving along at an unexpectedly entertaining clip. Overall, I was pleasantly surprised by Cruella despite constantly thinking “of all the villains out there, why the Joker -fication of Cruella de Vil?”

DINNER TO DIE FOR Starring: Shamilla Miller, Steven John Ward, and Nina Erasmus Director: Diana Mills Smith This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Dinner to Die For just didn't do it for me. It feels like an unnecessarily drawn out short film, has the look of a well made commercial, and doesn't provide a particularly engaging plot. I understand there's budgetary limitations (this was in the Burnt Ends section of Fantastic Fest), but the struggles of this one go beyond that. It’s no excuse for the sluggish pacing and pedestrian performances (which give this the feel of a high quality student film), nor the film's rushed conclusion that was wholly unsatisfying. Nothing to die for here, in fact you’re lucky if you feel anything. QUENTIN Playing as part of Fantastic Fest’s (low-budget) Burnt Ends section, I can’t be too hard on Dinner to Die For because it probably does more with less than most of its competition. However, at only 75 minutes, the film is caught in no man’s land between being too long for a short film and too short to sustain itself as a feature. As a result, the pacing is laggy and the story’s stakes aren’t adequately fleshed out to create the suspense required. Director Diana Mills Smith seems to have a decent eye, but the general cheapness made me wish I had skipped this meal.

THE MAN FROM TORONTO Starring: Kevin Hart, Woody Harrelson, Jasmine Mathews, Ellen Barkin, Kaley Cuoco, Lela Loren, Pierson Fode, Jencarlos Canela, and Kate Drummond Director: Patrick Hughes QUENTIN It’s easy to see why Sony offloaded The Man from Toronto to Netflix because it’s a stinker. Kevin Hart plays yet another variation of his go-to archetype (see: Ride Along , Central Intelligence , The Wedding Ringer , Get Hard , Night School ...you get the idea), while Woody Harrelson’s titular assassin is so weirdly characterized that he’s neither menacing nor likable. To the movie’s credit, it features a lengthy fight sequence edited to look like it was shot in a single-take that is decent, but it also features some of the worst green screen effects that I’ve seen in quite a while. Overall, it’s probably amongst 2022’s worst movies. NICK Every Kevin Hart led action-comedy blends together. Is this better than Ride Along ? Who’s to say? How about Central Intelligence ? No idea. Just like those films, The Man From Toronto really doesn’t leave a lasting impression. It’s a relatively generic film with a couple laughs that could be much funnier than it is. The one saving grace is the final fight scene (reminiscent of the church battle royale from Kingsman: The Secret Service ) which is way too good for a film this mediocre. ADRIANO I knew exactly what The Man From Toronto was and where it was going from the first six minutes. A couple chuckles aside, the vast majority of the humour is cheap jokes that don’t land. Kevin Hart and Woody Harrelson have some decent chemistry, and there is one really well-coordinated and funny action sequence; but overall, they took a somewhat decent concept and made it painfully predictable. I feel like I’ve seen this movie a hundred times already. JOSEPH The premise of The Man From Toronto is funny, a basic comedy of errors, but truth be told, I can’t stand Kevin Hart. If you like him, then you’re probably going to enjoy this movie; However, if you’re like me, then you have to hope the rest of the cast is funny. Unfortunately, most of the humor is just from the increasing absurdity of the plot and not much else. The special effects are severely lacking in several areas, but at least the fight choreography is pretty good. All in all, it's a solid premise that ends up falling flat.

SLY Starring: Sylvester Stallone, Frank Stallone, Arnold Schwarzenegger, Henry Winkler, John Herzfeld, Wesley Morris, and Quentin Tarantino Director: Thom Zimny NICK Much like Netflix’s Arnold earlier this year, Sly plays it too safe. Its strength is in discussing everything that went into the Rocky franchise from the mouth of Sylvester Stallone himself, and it’s evident how much thought and care has been put into the iconic character. Beyond that, it’s a little unremarkable. It zooms past his non-franchise film career, and it never dives into his hardships with any depth. I understand that Stallone tries to maintain a level of optimism and was likely very hands-on with this project, but I don’t feel like I know the man any more than I did going in. ADRIANO As a lifelong fan of Sylvester Stallone, it saddens me to say that Sly is predictably self-pandering. I wanted a deeper look at his life, not just his career, but the movie takes most of its runtime to talk about how Stallone created his famous franchises (a lot of the movie is just about Rocky ). As a fan, that's fun, but it's not worth my time when I'm after a little bit more. Not that his personal life isn't touched on at all, but not nearly enough to be insightful. Is it an easy watch? Absolutely. Will I watch it again, though? Probably not. QUENTIN Though perhaps a bit too long and too focused on Rocky , Sly remains an interesting and honest portrait of Sylvester Stallone. It’s less self-aggrandizing than Netflix’s Arnold , and I can genuinely say that I came away with more insight into the man. That said, I also was left just a little wanting. Obviously, with a 77-year-old subject that has had such a lengthy career, it’d be near impossible to cover everything, but there are aspects of his life that I wish it had touched on more, including certain film failures and his rivalry with Arnold Schwarzenegger. Still, a great watch for fans of the icon. PRESTON Sly is a kind of one-on-one, but lightly assisted, documentary from and about the man himself, Sylvester Stallone. It can be easy for someone to look upon the past with rose-colored glasses and attribute too much to the meaning behind past accomplishments. In this case, I believe Stallone to be insightful and his attributions to be admirably objective, but you can tell that he is protective of his family, which leads us down a safer and narrower path that hinders the film’s potential. Nevertheless, Rocky fans and general Stallone enthusiasts alike shouldn’t hesitate to queue this one up. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.