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BLOODY AXE WOUND Starring: Sari Arambulo, Molly Brown Billy Burke, Sage Spielman, Matt Hopkins, Angel Theory, Eddie Leavy, and Jeffrey Dean Morgan Director: Matthew John Lawrence KATIE Bloody Axe Wound presents a unique approach to the slasher genre combined with an unconventional coming-of-age narrative, resulting in an entertaining but uneven film. The teenage romance is sweet, but I struggled to reconcile the coming-of-age themes with the horror-comedy, especially since it's much funnier when it leans into the absurdity and hilariously gratuitous gore. Eddie Leavy is hysterical as Glenn, stealing every scene, but the comedy is sometimes impeded by the varying tone. Although it didn’t quite hit the mark for me, Bloody Axe Wound offers a fun, fresh, and gloriously bloody experience for genre fans. NICK Bloody Axe Wound doesn’t get off to a very good start, but as the film progressed, its B-movie charms started to win me over a little. The mix of electric rock music and gnarly kills satisfies the throwback horror vibes, but it’s telling a more grounded story of parental pressures through that lens that adequately layers it. Sari Arambulo (Abbie Bladecut) is a serviceable lead who is able to balance the campiness and terror the film requires, but the rest of the cast is fairly replaceable due to poor character development. For a film built around a father/daughter dynamic, I needed more scenes exploring that.

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE Starring: Eric Bauza, Candi Milo, Peter MacNicol, Carlos Alazraqui, and Fred Tatasciore Director: Peter Browngardt AMARÚ The Day the Earth Blew Up is exactly what you would expect from a Porky Pig and Daffy Duck (both voiced by Eric Bauza) two-hander. It’s wacky, silly, ham-fisted, and the perfect combination of slapstick comedy with adult-laden one-liners. The animation is the best Looney Tunes has ever looked, and the story fits right in with all your childhood favorites from the Tune Squad. The shticks will only take you as far as your tolerance for campy comedy, but even if you're not the hugest fan, the heart of Daffy and Porky’s relationship should take you the rest of the way. ADRIANO The Day the Earth Blew Up is classic Looney Tunes . The visual of Daffy Duck (Eric Bauza) bursting through a wall, leaving a hole in the shape of Daffy is enough to get me laughing hysterically. There were maybe one or two jokes that made me cringe, but other than that, the hijinks and slapstick are all here. The animation is great, the plot is hilariously ridiculous, and as high and silly as its concept goes, the movie has a lot of heart, so you're not coming just for the laughs. I'm a simple man sometimes, and I loved this movie.

EL CONDE Starring: Jaime Vadell, Gloria Münchmeyer, Alfredo Castro, Paula Luchsinger, Catalina Guerra, Marcial Tagle, Amparo Noguera, Antonia Zegers, and Stella Gonet Director: Pablo Larraín KATIE El Conde is so many things at once: scathing, gruesome, wickedly funny, absurd, and beautiful. Director Pablo Larraín re-imagines the infamous Chilean dictator, Augusto Pinochet, as a literal blood-thirsty monster who, much like his real-life legacy, refuses to die. This is an ingenious way of confronting Chile’s traumatic recent past, allowing Larraín to make a mockery of the dictator, showing him miserable and wasting away in his crumbling mansion. The black and white cinematography is striking and brimming with visual references, creating an absurd alternate reality that traps all the characters within it. This film will stick in my mind for a while. QUENTIN In its entirety, El Conde isn’t a movie that I enjoyed. Despite the intriguing and outlandish logline, it’s surprisingly boring, but it’s possible that it works better for people who have some knowledge of former Chilean dictator Augusto Pinochet, of which I have very little. Perhaps that is why the satire didn’t hit for me. That said, director Pablo Larraín was able to create a surreal and haunting atmosphere that is well suited to the content, but this mix of Knives Out and Roma falls into the “movies I respect more than like” bucket. ADRIANO It’s hard for me to say that El Conde doesn’t overstay its welcome a bit, but I still feel it accomplished its goal of being a sharp and funny satire. Granted, some of its ideas overshadow the overall goal, and it leans a little too hard into the gore and surrealist elements, meaning the film’s political angle easily gets lost in the madness. But Pablo Larraín’s direction and Edward Lachman’s slick black-and-white cinematography make this a unique viewing experience that, for better and for worse, is unlike anything you’ll see this year. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

SASQUATCH SUNSET Starring: Riley Keough, Jesse Eisenberg, Christophe Zajac-Denek, and Nathan Zellner Director: Nathan Zellner and David Zellner ADRIANO Sasquatch Sunset is depraved, gross, and borderline nonsensical. I loved it. With not a single word, directors Nathan and David Zellner create a bizarrely funny year-in-the-life-of-sasquatches film that, once you get past all the fluids and insanity, has something interestingly profound to say about our connections with nature and each other. The film has many moments of genuine heartbreak and humanity, and being able to do that only with grunting creatures is quite fascinating. I imagine it won't be for everyone, but I fell pretty hard for Sasquatch Sunset . KATIE Sasquatch Sunset is a truly unique film. Following a year in the life of a family of sasquatches, the film ranges from melancholic sadness to truly disgusting gross-out humour, all whilst meditating on the nature of family and our impact on the natural world. The prosthetics are incredible and not a word is spoken, with the unrecognizable cast’s dedicated physical performances doing all the talking. It's eccentric, absurd, and strangely heartfelt, and although the excess of bodily fluids did slightly test my patience and limits, this ambitious film has a more serious message at its heart. QUENTIN Sasquatch Sunset is an odd duck of a movie, like the R-rated, artsy follow-up to Harry and the Hendersons you never knew you needed. Hell, for most of you, you likely won’t want it either, especially if you are grossed out by bodily fluids, shit-flinging, and sasquatch penises. That said, Sunset also features genuine moments of laugh-out-loud surreal humor and somber poignancy, not to mention quiet reflections on who we are as a society. Sure, it probably could have been shorter, and even though I’d only recommend it to a very specific audience, it gets a high rating because of its originality, go-for-brokeness, and audacity. PAIGE Sasquatch Sunset may be one of the most poignant movies of the year despite its peculiarities. Having said that, many people may genuinely wonder, "what the fuck did I just watch?" much like I did. Even though I have mixed feelings about the movie overall, I have to acknowledge that this dialogue-free film is going to majorly polarize audiences. With its stunning cinematography, this documentary-style film transports you into the world of a sasquatch family. It may not be for everyone, but if you're a Bigfoot enthusiast, you should definitely check out this bizarre yet tranquil gem.

YOU'RE CORDIALLY INVITED Starring: Will Ferrell, Reese Witherspoon, Geraldine Viswanathan, Meredith Hagner, Jimmy Tatro, Stony Blyden, Leanne Morgan, Rory Scovel, Jacki McBrayer, and Celia Weston Director: Nicholas Stoller NICK Considering it stars Will Ferrell and Reese Witherspoon, You're Cordially Invited is straight out of the 2000s. Evoking the memory of films such as Bride Wars , I can't say it adds anything to the comedy battleground genre, staying on par with many of the other entries. There are some decisions late in the film that hurt my overall rating, but for the majority of it, it's an average film. Inoffensive, yet likely to be forgotten once the year turns over. What shouldn’t be forgotten, however, is Geraldine Viswanathan. She’s enjoyable here, and it’s time we start seeing more of her. QUENTIN There are a few moments in You’re Cordially Invited when it seems like writer-director Nicholas Stoller wanted to let Will Ferrell cook in his trademark improvisational style, but they’re buried under so many lazily unfunny jokes, you wonder why they cast Ferrell at all. Alongside that, Invited has one of the laziest R-ratings I’ve ever seen, amounting to nothing more than a couple shoehorned-in F-bombs. Frankly, this dated movie feels like Stoller either self-sabotaged or the studio had too heavy a hand in the final cut because there are shadows of glimpses of a comedy that could have been entertaining. As is, though? RSVP No. PRESTON I entered You’re Cordially Invited with extremely low expectations, and should you choose to do the same, there is an outside chance that you may consider it…not half-bad. I even, surprisingly, avoided the all-too-familiar moment when I thought that I was hating what I was watching. It is ridiculous and sweet, and sometimes funny, and sometimes cringe. But for me, it was a perfectly acceptable way to pass time on a day I was feeling a little poopy. Besides low expectations, an appreciation of Will Ferrell’s style of comedy is also a prerequisite, but that’s too easy. AMARÚ I’m happy to say that You’re Cordially Invited is genuinely heartfelt, hilarious, and more than your run-of-the-mill romantic comedy. Will Ferrell and Reese Witherspoon go toe-to-toe with ridiculous (but not overdone) antics and insightful arcs that’ll make you look at your own familial relationships more closely, but it’s Leanne Morgan and Rory Scovel who threaten to steal the entire movie. Writer-director Nicholas Stoller gives them the biggest laughs while also delivering an honest examination on how people’s differing beliefs can inhibit their ability to listen and empathize. He had no right creating something this good with this premise, but it works. Bravo. ADRIANO You're Cordially Invited has an easy concept, a proven comedic director in Nicholas Stoller, and two great lead performers, one of whom is a comedy legend… so why did it fall so flat? It just comes down to it not being very funny. It has some heart, some chuckle-worthy moments, and there's nothing insincere about it, but Will Ferrell and Reese Witherspoon are sadly not amazing here. Ferrell, in particular, feels weirdly neutered (Jimmy Tatro and Keyla Monterroso Mejia are innocent, though). For a streaming movie, it's simple enough; just be aware you may not laugh as much as you'd hope.

WE LIVE IN TIME Starring: Andrew Garfield and Florence Pugh Director: John Crowley ADRIANO It's entirely possible that timing with personal things that happened in my life recently played a part, but I fell for We Live in Time . I recognize its shortcomings, namely that it's predictable and the film's non-linear storytelling doesn't add anything. That said, director John Crowley and writer Nick Payne seem to have had sincere intentions in making this, as the movie isn't overly sappy. It’s never trying to get tears, and is much funnier than you'd think. Plus, Andrew Garfield and Florence Pugh's chemistry and charm add a lot, making this a lovely film, warts and all. PAIGE We Live in Time is a sweet and charming romantic flick that will pull at your heartstrings. The movie has a somewhat basic plot, but it does a wonderful job of exploring its theme of choosing to live life to the fullest for however long we have through the use of a nonlinear format, which is quite beautiful. Florence Pugh and Andrew Garfield also have such fiery chemistry together that it makes their characters feel incredibly authentic and endearing. Even though We Live in Time is a somewhat generic movie, it is a beautiful love story that you will fall head over heels for. AMARÚ Many recent films have been utilizing nonlinear narratives, with most faltering when their not-so-airtight scripts tell singular stories. Luckily, We Live in Time is more about life as a whole than a particular journey, highlighting that when you focus on the present time, the journey (and movie) you end up with turns out to be quite lovely. Florence Pugh and Andrew Garfield have natural chemistry, enhancing a truly heartfelt screenplay that makes you laugh, cry, and delightfully melt. Their endearing nature and John Crowley’s honest direction makes for a sorrowfully earnest romantic comedy that, rather than feeling emotionally manipulative, genuinely earns your tears. KATIE We Live in Time played me like a fiddle. Andrew Garfield and Florence Pugh’s genuine chemistry imbues their romance with authenticity, and the inevitable conclusion established by the non-linear storytelling enhances the message of living life to the fullest and truly being present to make the most of the limited time we have with our loved ones. It's both deeply moving and surprisingly full of humour, featuring one of the best birth scenes I’ve ever seen, and presents an uplifting way of coping with grief. Plus, it's hard for me not to love a film featuring both of my favourite biscuits. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE INSPECTION Starring: Jeremy Pope, Gabrielle Union, Bokeem Woodbine, Raúl Castillo, McCaul Lombardi, and Eman Esfandi Director: Elegance Bratton NICK Director Elegance Bratton has crafted what is clearly a very personal film that is something to be proud of. The Inspection , above all else, feels authentic. It’s not afraid to “go there,” but it’s never gratuitous, while the moments of levity are organic and never forced. Jeremy Pope justifies his casting with a powerhouse performance that is both touching and heartbreaking, and Gabrielle Union gives a career-best showing - good enough to put her in the awards conversation even. Growth is one of the main themes of The Inspection , which is fitting because we’re about to see that growth in both Bratton and Pope’s careers. ADRIANO The Inspection does a lot while also feeling incomplete. The film likely would have fallen apart if it weren’t for Jeremy Pope’s astonishing performance, but unfortunately, its 90-minute runtime doesn’t give director Elegance Bratton enough time to flesh everything out. Its stance is clear and told effectively, but outside of its central character, everything feels simplified in its approach. I certainly felt the emotions I was supposed to feel, but that was more towards the situation and less because of everything it was building to. JACOB Although The Inspection could have afforded to be a little more biting in its portrayal of the U.S. military and/or the implications of gay men being in it during the “Don’t Ask, Don’t Tell” era, it’s more than well-carried on the back of a brilliantly nuanced Jeremy Pope performance. Pope is exceptional in the film, able to will empathy from an audience that wants him to succeed in his mission just as much as we want him to save himself from it. Gabrielle Union and Raúl Castillo also turn in strong supporting work, though Union is seldom on screen. This film was reviewed by Nick 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.

SMILE 2 Starring: Naomi Scott, Rosemarie DeWitt, Lukas Gage, Miles Gutierrez-Riley, Dylan Gelula, and Peter Jacobson Director: Parker Finn KATIE Smile 2 was one of my most anticipated films of the year after the first one terrified me with its incredibly creepy concept, and I walked out of the cinema even more impressed and scared than expected with its ambitious sequel. Smile 2 is even bigger, better, and bloodier, full of disturbingly well-executed gore and frequent, but not cheap, jump scares that left me in excruciating suspense right from the powerful opening. Naomi Scott’s performance is spectacular and likely one of my new favourites of the year, and I was glued to her expressive face the entire runtime, which flew by. AMARÚ I watched Smile 2 strictly off word-of-mouth, and I’m glad I did, because now I want to see the first one you KNOW I haven’t seen. An intense opening catapults this chilling thriller into its creepy and heart-pounding story, elevated by writer/director Parker Finn’s crazy good camera work, a forceful score and sound design, and Naomi Scott’s star-making performance. The slow evisceration of her psyche kept me locked in, even through some commonplace horror tropes. I just wish it was shorter, because to spend that long just to leave the theater with the type of questions that make me avoid horror… oooh, slightly frustrating. QUENTIN If you recall, I didn’t care for Smile , generally referring to it as a rip-off of It Follows and Fallen while maintaining a modicum of hope for the teased sequel starring Kyle Gallner. However, the sequel teased isn’t the sequel delivered, which was a brilliant adjustment on writer-director Parker Finn’s part. Smile 2 expands on the themes of personal trauma to include takes on celebrity and addiction, and it does so with effective jump scares, nerve-rattling sound design, white-knuckle tension, buckets of visceral gore, and a star-making turn from Naomi Scott. It’s an unrelenting horror thrill-ride that has made me surprisingly reverse course on this franchise.

BRUISER Starring: Jalyn Hall, Trevante Rhodes, Shamier Anderson, and Shinelle Azoroh Director: Miles Warren JOSEPH My expectations for Bruiser were low considering how little buzz it has received, but this sleeper hit is fantastic. Rarely do coming-of-age films force us to reflect on the actions of our parents in the way that Bruiser does. While the side characters are relegated to being plot devices, the four main characters are incredibly well developed. Jalyn Hall, in particular, gives a powerful and nuanced performance as Darious, effectively communicating the character’s internal struggles. It’s a different kind of coming-of-age story with real characters and engaging visuals. JACOB A better-than-good debut feature for director Miles Warren, Bruiser carefully treads on themes of possessive fatherhood and adolescent aimlessness without resorting to overwrought dramatics…until it resorts to slightly overwrought dramatics. While everything leading up to the finale is well realized and the performances are as good as they can be (especially from Shamier Anderson and Jalyn Hall), the film’s finale ultimately undoes just enough of that goodwill to make this indie blend in amongst its peers rather than stand out. That said, it is nice to see Trevante Rhodes getting more work, and those first two acts are great. QUENTIN Bruiser , a film I wanted to see but missed at Toronto International Film Festival, is a small, beautiful film that packs a thoughtful punch. It uses a somewhat fresh coming-of-age story to raise compelling questions about masculinity, fatherhood, nature v. nurture, inner demons, past mistakes, and the idea of whether people can change. While I’m sure some people can relate to the story far more than I can, I still found some easy parallels to my own life. A loose mix between Moonlight and Mud , the film also is another showcase for Trevante Rhodes, who seems poised to take the next step in his career.

THE COLOR PURPLE Starring: Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, Gabriella Wilson ‘H.E.R.’, Halle Bailey, Phylicia Pearl Mpasi, and Fantasia Barrino Director: Blitz Bazawule ADRIANO As a lover of musicals, I really liked The Color Purple despite its flaws. The writing is the film's weakest link, leaving me feeling an emotional disconnect when I really shouldn't have. Plus, the arcs of all the characters except the lead feel rushed. Thankfully, the ensemble cast and Blitz Bazawule's direction do some heavy lifting. The performers are all great (Danielle Brooks is the definition of a scene-stealer), and the musical numbers, while not always super innovative, are well-lit, energetic, and incredibly well-choreographed. The ending honestly got me too. It's a mixed bag, but a rousing crowd-pleaser in the end. AMARÚ I was initially worried that The Color Purple ’s masterful musical numbers were going to make the film nothing more than a greatest hits version of the 1985 classic. It has the unenviable task of comparing to the original, and quick jumps from one recognizable plot point to another made some dramatic weight fall short. But as the film progressed, it found its own path to pay homage instead of play mimic. The beautiful sets, amazing songs, and dazzling choreography cements its musical leanings, and once it begins fully being its own movie, the talented cast takes the reins of this entertaining recreation. PRESTON It becomes quite obvious, very early, that this latest adaptation of The Color Purple is based on the stage musical rather than the previous film. While its style allows for the choreography, costume design, and vocals to shine, the opportunity cost for its constant musical numbers is that of developing the characters, which takes away from what should be a very deep and emotional connection to a tragic but inspiring story. The ensemble cast is particularly terrific, and there are a few goosebump-inducing moments, but too much was left on the table to make this a musical that I would revisit.

IF Starring: Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, Phoebe Waller-Bridge, Louis Gossett Jr., and Steve Carell Director: John Krasinski AMARÚ There has to be something said about the legend that is composer Michael Giacchino. It’s his outstanding score that allows IF to be so wondrous. I love me a great family film, and this one has magic that filled every part of my soul, and poured freely out of my tear ducts. With Giacchino’s Oscar-worthy score, John Krasinski’s whimsical direction, and imaginatively heartfelt performances (especially from its tremendous voice-cast), IF reminds us all of the importance of one’s inner-child, and leaves you feeling warm and cuddly, looking around for your long-forgotten imaginary friend. ADRIANO IF has a handful of unavoidable flaws, namely the script and its wonky structure, its predictable story beats, and foreseeable twists. That all said, writer/director John Krasinski's heart is so in the right place, it's hard not to fall for the film's pure and admittedly corny ambitions. Mix Michael Giacchino's magical score with some impressive cinematography from Janusz Kamiński, and Krasinski was able to pull off something sweet. A film that'll be a blast for kids and a heartfelt reminder to adults of the importance of retaining a childhood spirit. Not a great film, but one I couldn't help but enjoy. PRESTON If IF was intended for the littles, then it missed the mark, as it was more of a love letter to the littles inside each of us adults. The problem here may be one of expectations; for a film made by and starring John Krasinski, Steve Carell, and Ryan Reynolds, there is surprisingly little to laugh at in a very one-note story. Yet and still, it is impossible to include a cast like this without it being at least slightly above-average, which is where it can be safely categorized. Incidentally, with a script re-work this could’ve qualified as an incredibly terrifying horror film.

BEAST OF WAR Starring: Mark Coles Smith, Joel Nankervis, Sam Delich, Lee Tiger Halley, Sam Parsonson, Maximillian Johnann, and Tristan McKinnon Director: Kiah Roache-Turner This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Much like Overlord did with the undead, director Kiah Roache-Turner attempts to rejuvenate shark films by having Beast of War take place during World War II. It’s a smart way to work around having the shark on screen as the crew works within a seemingly limited budget. The other workaround is the surprisingly well fleshed-out characters in this. With only an 87 minute runtime, it’s impressive how invested I became in them. It’s not without its issues (it can be a touch repetitive, and it’s visually underwhelming) but considering the constraints, it’s hard to complain too much. QUENTIN There are several reasons why Beast of War absolutely shouldn’t work, but it might be the best movie I saw at Fantastic Fest this year. Writer-director Kiah Roache-Turner makes the most of his seemingly limited resources to craft a tense and gory survival film that works both as a World War II movie and a shark movie. By deftly balancing typical tropes with subverted expectations, all with Australia’s twisted sense of humor, Roache-Turner keeps the audience fully invested. Most impressive, though, is the way he successfully develops multiple characters to carry a complete, no-nonsense story in just 87 minutes. This is a lean and mean surprise.