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DECISION TO LEAVE Starring: Tang Wei, Park Hae-il, Lee Jung-hyun, Go Kyung-Pyo, Yong-woo Park, and Jung Yi-seo Director: Park Chan-wook ADRIANO Decision To Leave is yet another masterclass from writer/director Park Chan-wook. Honestly, it’s a movie that should not have worked. A detective noir that turns into a love story sounds like a mismatch, but it succeeds because the detective stuff is thrilling and engaging while the love story is romantic. The cast also does wonders with Park’s wonderfully written script, and his direction is off the charts as usual. This is a film that had me second-guessing things in ways I didn’t even think was possible, and for that reason, it’s one of my favorite films of the year. JACOB Decision to Leave is not simply one of the best movies I saw at NYFF, it’s one of the best movies of 2022, full-stop. Park Chan-wook’s epic detective love story may feel a little longer than it should be, but it’s never something one wants to leave. With their palpable chemistry, Tang Wei and Park Hae-il are magnetic as the two leads, and the sheer innovation in the editing is enough to land it in at least my Top Four of the year thus far. Go Kyung-Pyo also excels as Hae-il’s partner, bringing most of the jokes with him. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

BROS Starring: Billy Eichner, Luke Macfarlane, TS Madison, Monica Raymund, Guillermo Diaz, Harvey Fierstein, Guy Branum, Jim Rash, Amanda Bearse, Miss Lawrence, Dot-Marie Jones, Jim Rash, and Bowen Yang Director: Nicholas Stoller JACOB Bros doesn’t exactly rewrite the rom-com or elevate the form in most senses, but its status as the first mainstream LGBTQ romantic comedy will certainly not be considered a waste. Billy Eichner and Nicholas Stoller’s hilarious script brings the rom-com back in full force, with all the tropes, humor, and heart it needs to be counted amongst the best of both the genre and Stoller’s other directorial efforts. It does overstay its welcome by a bit, but between Eichner’s surprisingly confident leading man energy and the soft vulnerabilities of Luke Macfarlane, it’s hardly an experience one is eager to cut short. QUENTIN While I applaud a major studio for finally having the balls to make a queer rom-com, Bros is mostly a formulaic yawnfest. It doesn’t even try to do something new with the genre, seemingly content to be like other rom-coms but gay. It feels…lazy?...like a giant missed opportunity? Plus, I simply didn’t buy the titular bros as a couple due to their lack of chemistry. Billy Eichner’s rapid fire comedic stylings didn’t help either, as he never lets a joke sit long enough before moving on to the next one, many of which weren’t all that funny to begin with. Gotta say, “nah, bro….” ADRIANO I don’t think there’s anything I didn’t love about Bros , and it was the absolute hardest I’ve laughed in a very long time. The one-liners are nonstop, and they rarely, if ever, missed. But that aside, it also provides a very sweet rom-com at the heart of it all, and at the center of that heart are truly wonderful performances by Billy Eichner and Luke Macfarlane. Their chemistry is so hard to root against, not to mention the interesting view of the LGBTQ community, both past and present. This is the kind of studio comedy we need more of. NICK While I don't want to downplay the importance of Bros as it pertains to progress for LGBTQ film, I just didn't find it that funny. The jokes range from stereotypical to worthy of a minor chuckle, and the ones that do work are often spoken over by star Billy Eichner before they get a chance to land. This actually works better as a love story than a comedy, as the romance between the leads has a modern day sweetness to it. But even then, Bros was a film with every chance to be unique, yet for the most part, it falls into tired rom-com clichés. AMARÚ Bros is the cinematic manifestation of Billy Eichner. It’s a purposeful, laugh-out-loud, stream-of-consciousness scene dump that wraps a whole lot of randomness around a really sweet story. Its staccato pacing moves from club scene, to crass one-liner, to sex scene, to LGBTQ+ history lesson, to sex scene, to rom-com montage, to heartfelt monologue, back to sex scene. Born from this chaos is a mixture of simple, straightforward dialogue, hilariously awkward moments, and engaging characters. But that’s Eichner’s appeal - he’s simultaneously unique, brash, blunt, and warm, and he imbues this movie with every bit of that abrasive charm. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

28 YEARS LATER Starring: Aaron Taylor-Johnson, Jodie Comer, Alfie Williams, Ralph Fiennes, and Edvin Ryding Director: Danny Boyle NICK In spite of becoming our resident zombie fan, I've never loved the 28 films. They're good, but they never blew me away. This most recent entry, however, really impressed me with its ambition. Director Danny Boyle has fit what feels like four films into one, all with tonal shifts, and managed to make it work. Although it can certainly be messy, that almost adds to the chaos of the world these characters inhabit. Boyle and writer Alex Garland have taken a dormant franchise, reinvigorated the universe and brought it back to life. Fitting for a zombie film, if you ask me. BODE Even when looking back, Danny Boyle is always looking forward. This was first evident in T2 Trainspotting (underrated), and is evident once more in 28 Years Later , which finds the director and returning screenwriter Alex Garland expanding upon their post-apocalyptic vision with bold formal swings not often seen in mainstream filmmaking (courtesy of cinematographer Anthony Dod Mantle and editor Jon Harris), humanism so sweeping you’ll be tearing up, great performances (Alfie Williams especially holds his own amongst a cast of veterans), and a chaotically beautiful score from first-time composers Young Fathers. It’s a major reinvigoration in nearly every way. ADRIANO I'm not going to pretend 28 Years Later isn't structurally wacky. Writer Alex Garland had plenty of ideas for a sequel, and threw all of them into one movie. Not to the point of feeling like several conflicting movies at once, but in the end, it felt a little messy. So, leave it to director Danny Boyle to make it coherent, while experimenting with wild cinematography and editing choices that simply rock, and yet, still find room for an effective emotional payoff. I'm conflicted about the ending, but I am hopeful for what's to come. ROBERT Everyone always credits The Walking Dead as being the reanimator of zombie media, but 28 Days Later had an eight-year head start that reminded the world of what we admire about pictures centered on the undead. The current iteration jumps us forward a few decades, emphasizing how mangled the UK is while the rest of the world is seemingly untouched. The first half is disorienting, like a mountain climber getting used to high altitude, logically mirroring what Alfie Williams’ Spike is feeling with his first venture to the infected mainland. The second half is more of a straightforward mission before the end pulls the rug out from under you, which would be jarring if it wasn’t so dang beautiful. QUENTIN While watching 28 Years Later , its random flourishes of archival footage, jarring tonal shifts, and a disjointed narrative — not to mention the dreaded “dumb kid making dumb decisions” trope — I wasn’t sure I’d walk away having enjoyed myself. However, after having a few hours to ruminate, I believe it ultimately works due to terrific direction, gorgeously experimental cinematography, and incredible sound design. Spike’s (Alfie Williams) coming-of-age throughline even ties the somewhat episodic presentation together in a way that provides emotional weight despite the disjointedness. The final sequence is hilariously bonkers, but I can’t say I’m not super excited to see more of it in the sequel. AMARÚ I rather dug the vibe director Danny Boyle and writer Alex Garland bring to 28 Years Later . Young Fathers’ music mixed with flashback intercuts, grainy texture, and skewed camera angles set a creepy and intense tone that establishes the weight of every day-in-the-life of Jamie (Aaron Taylor Johnson), Isla (Jodie Comer) and their son Spike (Alfie Williams), not just the one we are dropped into. That connection we feel allows the film’s wide range of tonal shifts to naturally progress into something quite emotional and unexpected. I’m now fully locked into how The Bone Temple will follow-up this hauntingly impactful tale. KATIE 28 Years Later is chaotic, but undeniably intense and entertaining. The incredibly immersive, and sometimes discombobulating, experimental cinematography and stylistic choices by Anthony Dod Mantle and editor Jon Harris throw you headfirst into the frenzied, bloody insanity without being too dizzying. The cast is fantastic, especially Jodie Comer and the young Alfie Williams’ deeply moving performances. However, the tonally dissonant final scene, with its painfully obvious sequel set-up, did not work for me. I found it ruined the high that this emotionally grounding coming-of-age story could have potentially ended on.

BLITZ Starring: Saoirse Ronan, Harris Dickinson, Benjamin Clémentine, Kathy Burke, Paul Weller, Stephen Graham, Elliott Heffernan, Sally Messham, Erin Kellyman, and Hayley Squires Director: Steve McQueen KATIE With emotional family drama, gripping action, and incredible special effects that are breathtaking in their sheer scale, Blitz captures the devastating destruction of war and the ways that it united and divided people and communities. Director Steve McQueen highlights the efforts and impact of those that history and cinema have previously ignored, specifically women and people of colour, neither of which have been represented fairly, if at all. The cast is also very strong, particularly a captivating Saoirse Ronan, as well as an incredible acting debut from the young Elliott Heffernan, who is our emotional lifeline throughout the film. ADRIANO I never hoped I'd have to talk about the latest film from one of my favourite directors like this, but I despised Blitz . It's solidly well-made from a production standpoint, but nowhere near the level of what we're used to from director Steve McQueen. The cinematography has that gross WWII grain, and I couldn't connect to anything, as hard as McQueen tried. The mother-son story was underdeveloped, and the film's protagonist (Elliott Heffernan) felt like nothing more than a capsule to go from one useless plot point to the next. Just one big bag of empty Oscar bait. AMARÚ I couldn’t tell you what exactly, but Blitz is missing… something. It’s fine, but I couldn’t fully connect to it like most movies with this subject matter and these performances. Maybe that’s it. It’s an amalgamation of a lot of other World War II movies I’ve seen before. Even with the always impeccable Saoirse Ronan and a great debut from Elliott Heffernan, I could see the next scene coming. And even when I couldn’t, I asked why did that even happen. Director Steve McQueen doesn’t know how to make a bad film, but this one shows he doesn’t always hit. PAIGE Steve McQueen’s Blitz may stand tall with its eye-catching visuals and stunning performances, particularly from Saoirse Ronan and Elliott Heffernan, but it falls flat on its face with its subpar narrative and underdeveloped themes. In addition, its editing and pacing are all over the place, occasionally feeling as if you're watching two clashing films lacking concentration on what it wants to convey. While the movie has some poignance, too many of its components don’t at all mesh well together. PRESTON Writer and director Steve McQueen has a hard time focusing on the story he is trying to tell in Blitz. It opens with expectations about the hardships that the English people face during the Nazi bombings at home, and with the associated evacuations. Then, he can’t help but introduce a competing, simultaneous narrative about racism. While important, the resulting unfocused plot detracts from the attention that both messages deserve. Incidentally, the scoring is, at times, oddly inappropriate for what is called for in the moment. It’s close, but the sometimes-tedious film is just too tepid to earn the additional half reel. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.

ZOLA Starring: Taylour Paige, Riley Keough, Nicholas Braun, Colman Domingo and Jason Mitchell Director: Janicza Bravo JACOB As an adaptation, Zola doesn't quite capture its source material wholistically, and, frankly, the story is more entertaining in written form. That said, co-writer/director Janicza Bravo's re-telling of the iconic Twitter saga is engaging enough to keep one's attention thanks to solid performances from Taylour Paige and Riley Keough. Some will inevitably be turned off by the experimental manner in which certain scenes are crafted, but conventionality wouldn't fit the story's essence. I do wish there was more of an ending than what's included, as the film sort of just ends without much in the way of resolution. QUENTIN For better or worse, I wasn't familiar with the Twitter thread that inspired this movie. I knew it existed, but had no idea about the ins-and-outs of the supposedly true story. It's a wild one, to be sure. That said, something just didn't click for me despite fantastic acting and direction. Colman Domingo is especially great, stealing every scene he's in, while director Janicza Bravo announces herself with a style that is perfectly suited for a Twitter-based movie in the TikTok era. It's certainly not bad, but the most exciting thing about it is the introduction to Bravo.

THE WRATH OF BECKY Starring: Lulu Wilson, Seann William Scott, Michael Sirow, Courtney Gains, Aaron Dalla Villa, Matt Angel, and Denise Burse Directors: Matt Angel and Suzanne Coote NICK I don’t know who has been clamouring for a sequel to 2020’s Becky , but The Wrath of Becky is here for them, and while there’s certainly some entertainment value throughout, it’s pretty much worse in every way. Seann William Scott’s villain isn’t near as menacing as Kevin James’, the tone changes into something more campy but lacking in humour, and the kills are less memorable. That said, I can’t say I hated it. It’s dumb fun, and Lulu Wilson is clearly having a blast. I don’t particularly want Becky 3 , and I don’t particularly need Becky 3 , but if it happens, I’ll likely be back. QUENTIN I’ve never seen a movie more perplexing in its existence than The Wrath of Becky , a sequel to 2020’s Becky , a movie only notable because Kevin James played a neo-Nazi. The weird thing is that it’s not terrible despite shifting from a gritty handheld approach to more fluid Steadicam. It also leans more into almost literal winking-at-the-camera camp. However, at 80 minutes, it never overstays its welcome. Lastly, the ending incredulously sets up a franchise and mysterious MacGuffin for the future…which, okay, sure...and honestly, I’d probably watch another one, especially if they continue casting comedic actors as Nazis getting their comeuppance (Seann William Scott, this time).

THE MARSH KING'S DAUGHTER Starring: Daisy Ridley, Ben Mendelsohn, Brooklynn Prince, Gil Birmingham, Caren Pistorius, Garrett Hedlund, and Joey Carson Director: Neil Burger PRESTON The Marsh King’s Daughter is the ultimate tease as a psychological thriller, taking you right up to the point of exhilaration without actually coming through. The initial act sets things up nicely, but what follows is a boring slog that is further hindered by some confusing choices in flashback- and action-sequence camerawork. Daisy Ridley and Ben Mendelsohn are fantastic, though, and, as a film, this may have been the rare case where taking some creative license from the novel on which it is based might have added some pop to a story with an underlying premise that really had potential. QUENTIN Though it does nothing groundbreaking or anything particularly memorable, The Marsh King’s Daughter remains just engaging enough to function as a nice rainy-day distraction. Honestly, it feels a lot like a movie Ashley Judd would have starred in 20 years ago. That said, after an unexpected twist early on, it doesn’t seem to know what it wants to be, with some scenes feeling like they belong in a slasher movie while others are more family drama. Still, it all mostly comes together decently (even if it is predictable), and the performances are solid, especially Ben Mendelsohn. All in all, it was worth the watch.

ABOUT MY FATHER Starring: Sebastian Maniscalco, Robert DeNiro, Leslie Bibb, Kim Cattrall, David Rasche, Anders Holm, and Brett Dier Director: Laura Terruso NICK Sebastian Maniscalco is the latest stand-up comedian to make his leading man debut, and it doesn’t exactly inspire a second take. His performance is sheltered thanks to some well-timed edits and a reliance on narration, but much like the film itself, he's average at best. The only thing elevating the material is the commitment from Robert De Niro. Many would have phoned this in, but he instead gives one of his most earnest performances in years. The sincerity is there, thanks to the cultural and familial story beats interwoven throughout, but, unfortunately, the same can’t be said about the laughs. ADRIANO I come from a family of hardcore Italians, so despite my reservations about Sebastian Maniscalco as a comedian, I had some interest in About My Father . Ultimately, while my reservations were met with validation, I still found something worthwhile here. It’s not the funniest movie, and it’s mostly surface-level in terms of presentation and concept, but its depiction of Italian immigrants and the generations that follow certainly got me, especially considering how much Robert De Niro’s performance reminded me of my Nonos (grandpa). It’s not great, but I got something out of it. JACOB About My Father seems like it just might work for the first few minutes, but it steadily loses steam along the rest of its runtime. This is largely due to excessive and often repetitive narration from co-screenwriter and star Sebastian Maniscalco that sounds more like unused stand-up material than actual storytelling. To be fair, Robert De Niro shines about as bright as he’s allowed to, and the story itself isn’t the worst; it’s just poorly told from a screenwriting standpoint. When it comes to comedy, a great script isn’t just an important component – it’s everything. Unfortunately, this one just isn’t up to par.

NO ONE WILL SAVE YOU Starring: Kaitlyn Dever Director: Brian Duffield NICK I respect what director Brian Duffield has attempted with No One Will Save You , but it just didn't work for me. The atmosphere he creates and the alien design are both top notch, but the risky decision to have the film basically be devoid of dialogue had me tuning out more than in. It seems like he was going for something similar to A Quiet Place , but without the tension of that film, it just makes things feel awkward. I fully expect it to work for many others, but for me, I just wasn't able to connect with the approach. PAIGE No One Will Save You is a tense and seriously creepy alien invasion flick that gives off classic horror sci-fi vibes while also feeling very reminiscent of 2002’s Signs . The classic gray alien and UFO designs will truly give you nightmares, not to mention that Kaitlyn Dever proves once again that she is a force to be reckoned with, delivering a fierce physical and emotional performance. This film has next to no dialogue, which makes it all the more eerie, but the ending may lose some people with the very odd note it decided to leave its audience with. CALEB I’ll give No One Will Save You credit for taking some creative risks, but they don’t really pay off. The most daring element of the film is the dialogue-free script, but this has been done before and it’s been done better. Films like A Quiet Place (2018) and Don’t Breathe (2016) tread similar ground, but make the lack of dialogue an essential component of the storytelling. Here, it feels more like a gimmick that the film is forcing on itself. The unnatural storytelling, along with some mediocre visual effects, make this alien invasion feel poorly planned out. PHILL No One Will Save You might easily be one of the most visceral-sounding films ever made, especially since the characters never utter a single word. Without dialogue, the sound mixing fixes on every creepy step and snapping bone crunch, effectively maximising an immersive and unsettling tension that rarely is executed this well. It adds tremendously to the isolation of Brynn (Kaitlyn Denver) as she deals with her extraterrestrial terrors. No One Will Save You might not break the mould, but it certainly attempts to reshape it in one of the creepiest horror films of 2023.

THE CAINE MUTINY COURT-MARTIAL Starring: Jason Clarke, Kiefer Sutherland, Jake Lacy, Monica Raymund, Lewis Pullman, Tom Riley, Jay Duplass, Elizabeth Anweis, Gabe Kessler, and Lance Reddick Director: William Friedkin QUENTIN Though not flashy, The Caine Mutiny Court-Martial is a thoroughly engaging courtroom drama. Presented like a single-room stage play, it’s content to simply let its actors do what they do best: act. It asks interesting questions about military rank structure, the uniform code of military justice, and the ramifications of decisions made by those in command only through the various testimonies, which allows viewers to draw their own conclusions about the case at hand. Given that it was directed by the late William Friedkin, it’s no surprise that this stripped-down version of A Few Good Men is old school movie-making at its finest. CALEB The Caine Mutiny Court-Martial is an exceptionally written courtroom drama that deftly explores the unspoken vulnerabilities of men serving in the line of duty. The film’s compelling script is enriched by captivating performances from Kiefer Sutherland, Jason Clarke, and Lance Reddick. Visually, the film employs a calculated, restrained style, dedicating its cinematic language solely to highlighting the multitude of impressive performances on screen. This unpretentious approach is a shining testament to director William Friedkin’s confidence as a storyteller. Court-Martial is a powerful meditation on honour and responsibility that makes for a memorable send-off for both Reddick and Friedkin. PRESTON The Caine Mutiny Court-Martial is the latest adaptation of the Pulitzer Prize-winning novel, The Caine Mutiny (1952). Despite its abrupt start (and confusing libel with slander at one point), this latest rendition proves that a massive budget filled with expensive visual effects and eccentric camerawork isn’t necessary to make an altogether satisfying and quality production. The script is dialogue rich, featuring a functional style that is 12 Angry Men meets A Few Good Men and a refreshingly accurate and believable portrayal of everyday military shenanigans. Trust me, you won’t regret sitting down to watch this little hidden gem. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

KINDA PREGNANT Starring: Amy Schumer, Will Forte, Jillian Bell, Brianne Howey, Urzila Carlson, Chris Geere, Damon Wayans Jr., Alex Moffat, and Joel David Moore Director: Tyler Spindel AMARÚ You know, I thought we were past taking all the ridiculous tropes of romantic comedies and making them R-rated fodder, but I guess Amy Schumer missed that memo. Almost everything about Kinda Pregnant is an unfunny copy of more intelligent rom-com scripts, right down to the not-trying-to-hide-it-in-any-way Rebel Wilson imitation. Will Forte, Damon Wayans Jr., and the few instances of genuine heart when discussing the realities of pregnancy are absolutely wasted in this unappealing “comedy.” There are two good laughs, though, so there’s that. ROBERT Given the contributors involved, my expectation was that Kinda Pregnant would be like another episode of Inside Amy Schumer . However, as a feature of Happy Madison Productions, it became pretty clear that it would fall more in line with an Adam Sandler romantic comedy: odd physical pratfalls; weird, overly involved background characters; and a lie that balloons to the size of a 20 pound turkey. When the film plays to its raunchiness and subversion of rom-com tropes, it's more successful, but it has a hard time letting itself be consistently different to be truly unique as a Netflix comedy. BODE It’s already questionable enough that Kinda Pregnant attempts to explore real issues surrounding motherhood (or the paradox of wanting to be a mom) through an exaggerated premise, but that could be forgiven if the humour connected, the characters felt real, and it was willingly subversive. Unfortunately, many of the jokes (save a few) fall flat, and there’s very little care regarding any kind of character development (especially the central friendship between Amy Schumer’s Lainy and Jillian Bell’s Kate). Plus, even with that premise, it’s as predictable, as low-energy, and as overly lit as streaming movies get. Feel free to skip it.

BLACK WIDOW Starring: Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, O-T Fagbenle, Ray Winstone, and William Hurt Director: Cate Shortland QUENTIN Black Widow is basically the MCU meets Red Sparrow , with a hint of the Bourne movies. It generally follows the Marvel formula, which leads it to be decently entertaining, but also gives it a "going through the motions" vibe: The action scenes are well-done, but not super exciting; The one-liners are amusing, but not funny; and Taskmaster is kinda cool, but just a henchman. It drags a little in the middle too. Florence Pugh is a highlight, but overall, it’s a little paint by-numbers. As a standalone MCU entry, it's better than Captain Marvel , but not as good as Ant-Man . AMARÚ Black Widow shines when it's a spy thriller with emotional stakes. When leaning into these aspects of Natasha Romanoff’s (Scarlett Johansson) life, it feels less like an MCU flick and more like a solid Bourne sequel. Florence Pugh shines every second she's on screen, to the point where Johansson, David Harbour, and Rachel Weisz seem like they're supporting her movie. Still, with Johansson leading, Black Widow is a good time, if a bit predictable. But with Pugh next to her, it’s the movie we've been dying to see for two years. JACOB Black Widow can't help but feel a bit like a placeholder due to its setting. Plus, it has a balancing issue that makes it difficult for the film to fully succeed. In the beginning, the action is too frequent; in the middle, there's not enough. It also falls prey to a lack of character development, as Taskmaster isn't particularly compelling as an antagonist. That said, most other things, such as the action, performances, and visual effects, are pretty well in line with Marvel standards, reinforcing that even lesser Marvel is still a damn good time at the movies.