MASTER GARDENER Starring: Joel Edgerton, Sigourney Weaver, Quintessa Swindell, and Esai Morales Director: Paul Schrader JACOB Paul Schrader rounds out his trilogy of broken men sitting at desks with single lamps and a glass of whiskey in what’s likely to be one of his more underrated films. Yet another story of self-redemption, Master Gardener isn’t perfect; it is, however, an improvement over Schrader’s The Card Counter , and the gardens it explores are immaculately rendered. Joel Edgerton and Quintessa Swindell both give excellent performances, but it’s Sigourney Weaver who steals the show any time she’s on screen. That said, this brand of Schrader is subject to diminishing returns, and although I enjoyed it, it’s no First Reformed . ADRIANO I have a weird relationship with Paul Schrader’s directorial efforts. While I loved First Reformed , I found The Card Counter to be much weaker; I find myself smack dab in the middle with Master Gardener . Schrader clearly has a knack for moral complexities in his characters, but, powerful performances aside, the film doesn’t always feel engaging enough. That said, there is a silent beauty hidden under the surface that caught me by surprise given the film’s cold exterior, and that made it a worthwhile experience even if I’ll probably never watch it again. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

CHEVALIER Starring: Kelvin Harrison Jr., Samara Weaving, Lucy Boynton, Ronke Adekoluejo, Marton Csokas, Sian Clifford, Minnie Driver, and Alex Fitzalan Director: Stephen Williams ADRIANO Chevalier can often feel familiar in its approach, but it’s such a fascinating true story, told with such conviction and power, that I couldn’t help but revel at it. The aesthetic is something to behold, with its production and costume design going beyond just a typical period piece. There is genuine flair and pizzazz to be found here. Samara Weaving is delightful, and Kelvin Harrison Jr. soars with his performance as Joseph Bologne. He displays so much charm and humanity into this forgotten figure. A more nuanced look at Bologne’s life would have been nice, but it’s still a riveting tale, nonetheless. AMARÚ The opening of Chevalier plays like a rap battle, and it’s with that sort of relentlessness in which Kelvin Harrison Jr. attacks the title role. His unabating strength and insatiable charm is matched by director Stephen Williams’ use of tracking shots personably focused on foreground characters. This pushes an unwavering pace that initially highlights heavy-handed racial themes and an otherwise magnificent Samara Weaving’s spotty accent. But as these flaws are evened out further into the fierce narrative, the juxtaposition of Harrison and Williams’ brute force with touching points of tender subtext made for a thrilling retelling of lesser known portions of world history. JACOB For all of its posturing regarding how legendary Joseph Bologne was as a classical composer and virtuoso violinist, it is a bit disappointing that Chevalier only seems to want to play the most basic notes of his story. Don’t get me wrong, the movie works overall, standing squarely on the strength of Kelvin Harrison Jr.’s lead performance, but it also moves through most of the story without actually exploring the nuances of various situations, instead simply presenting them as being. That said, the first and last five minutes of the film are equally thrilling, and the music itself is beautiful. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

FURIOSA: A MAD MAX SAGA Starring: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme, Nathan Jones, and Josh Helman Director: George Miller QUENTIN Given the (unexpected?) modern-day masterpiece that is Fury Road , there was some concern on my end that returning with a prequel would result in a disappointing cash-grab of a movie. Thankfully, Furiosa is anything but. It might be a bit too long, but you hardly care when the acting (Chris Hemsworth, especially), action, and writing are this good and compelling. It’s the rare prequel that stands on its own merits while expanding on the lore of everything that came before it and improving the depth of its immediate predecessor. Only time will tell if it’s better than Fury Road , but it deserves genuine consideration. AMARÚ Furiosa is a wondrous journey that ebbs and flows beautifully between heart-pounding action and thrilling character moments. Director George Miller’s master craftwork flawlessly bends magnificent set pieces to the furious will of Anya Taylor-Joy and the demented id of a career-defining Chris Hemsworth performance. It works both as a stand-alone singular epic and a world-building companion piece that enhances on the only thing Fury Road was missing: a discernible plot. Making a fantastic film that improves on a damn-near perfect one is a feat that few others than Miller could accomplish. ADRIANO Following up Fury Road is no simple task, yet Furiosa does so in glorious fashion. Director/co-writer George Miller returns to the wasteland in a similarly gritty and action-packed style, but what separates this from the previous Mad Max films is the way Miller builds and uses the world to enrich the character of Furiosa (Anya Taylor-Joy). What could've easily been a lazy prequel winds up being a necessary companion piece that stands on its own while also enhancing its predecessor. Furiosa was my most anticipated movie of 2024, and it did not disappoint. PAIGE With Furiosa , director George Miller embarks on yet another extraordinary journey through the wasteland. Even though this origin prequel may not be as heavy metal as Fury Road , it’s still just as epic in scale. The jaw-dropping set pieces remain untarnished, although there are glaringly clumsy visual effects on occasion. Chris Hemsworth may have given his best performance to date, and Anya Taylor-Joy honors the legendary Furiosa. Furthermore, this coming-of-age revenge movie does a fine job of expanding the lore of the Mad Max world and reminding us why we root for this badass. KATIE Furiosa is a worthy follow-up to Fury Road , delivering everything that makes the original great and more, whilst working equally as well as a stand-alone thriller. The sprawling, action-packed epic is a non-stop thrill ride with jaw-dropping set pieces, breathtaking stunts, a fantastic cast (particularly Anya Taylor-Joy as Furiosa), and a delightfully unhinged performance from Chris Hemsworth. The film is long, but takes the time to deepen our understanding of the character and, ultimately, every second spent in George Miller’s brutal wasteland is a pleasure. See it on the biggest screen possible and enjoy the carnage. PRESTON Supposedly, the Furiosa script was done prior to the filming of its predecessor (Fury Road ), but still somehow comes across as something very much forced. The five sections of the film accurately recount the corresponding important plot points while the rest of the film meanders its way from here to there through a somewhat muddled storyline that includes some, admittedly, sweet action and stunt sequences. The green-screening fits with prior installments, but takes some grit to accept its ridiculousness at times. Overall, it's good, but much longer than it needs to be and not nearly as good as Fury Road . CALEB Furiosa isn’t as intense as Fury Road , but it’s still a wild ride; the action sequences aren’t as frequent this time around, but they’re just as ingenious. The high-octane set-pieces are giddily chaotic, and it’s clear that director George Miller is still at the top of his game. I was expecting fantastic action from a Mad Max film, but the great world-building caught me off guard. This prequel expands upon the wasteland in fascinating ways, fleshing out the warring factions and adding some standout new characters. Max may be absent from this entry, but Furiosa proves that this franchise is still plenty badass without him. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

WICKED: FOR GOOD Starring: Ariana Grande, Cynthia Erivo, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Colman Domingo, Michelle Yeoh, and Jeff Goldblum Director: Jon M. Chu AMARÚ I’ve been told the second act of Wicked ’s stage play is the inferior one, and if true, I wish director Jon M. Chu would’ve extended Wicked: For Good ’s runtime to add new depth to this conclusion. Complex characters are still performed wonderfully by an excellent cast, and the darker tones create compelling scenes. But whereas Wicked was an original story (within the world of Oz) fleshed out over a long runtime, For Good was rushed, weighed down, and sometimes downright boring due to its mandate to connect to legacy characters. I ultimately enjoyed the film, but I won’t remember any songs this time round. ADRIANO Wicked: For Good concludes this two-part film event with a disappointing finale. Cynthia Erivo and Ariana Grande still do their damnedest to elevate Jon M. Chu's flat musical direction that makes even the most stunning set designs look ugly. However, unlike last year's Wicked , this one lacks great storytelling, as much of the emotional stakes don't land, the connections to The Wizard of Oz are clumsy, and the arcs aren't satisfying. Granted, I've heard the play has these issues as well, but if you can't elevate the flaws of the source material, that's a failed adaptation in my eyes. KATIE Wicked: For Good is a moving and satisfying conclusion to this two-part musical extravaganza. Whilst it does suffer some of the same issues as the first film, namely the oddly flat colour palette and sometimes uncanny CGI, I preferred For Good and its somewhat darker tone. Ariana Grande and Cynthia Erivo’s lead performances as Glinda and Elphaba are simply magnificent. I enjoyed how it approaches the characters’ from The Wizard of Oz ’s involvement in the story, which doesn’t take focus away from the relationship between Glinda and Elphaba. I laughed, shed a tear, and most importantly, was entertained. PAIGE Once again, Cynthia Erivo and Ariana Grande are powerhouses and their chemistry is truly magical in this concluding adaptation. This time around, the film’s crafts, particularly the visuals and the fantastical production design, are even more dazzling and immersive. I must admit though, Wicked: For Good doesn’t quite soar to the heights of its predecessor. The choppy editing and messy plot points keep the film from fully enhancing the material that many already consider the weaker half of the Broadway musical. Still, despite its flaws, I found its narrative to be more emotionally impactful. Want to hear even more of our thoughts? Adriano and Amanda join Amarú to take A Bigger Bite out of Wicked: For Good HERE .

HONEY DON'T Starring: Margaret Qualley, Aubrey Plaza, Charlie Day, and Chris Evans Director: Ethan Coen ADRIANO In director/co-writer Ethan Coen's second lesbian crime B-movie, he might have lost the plot entirely. Despite a well-rounded and committed cast, Honey Don't! flip-flops through plot points, starting something interesting before pivoting to something else entirely, sometimes with little to no payoff, all in service of gags. In theory, this isn't an issue; it is a comedy after all. The problem? The gags are rarely ever funny. And as good as it looks, it's stylistically flat, especially compared to Drive-Away Dolls , making a film so forgettable that you can't help but hope Ethan will reunite with his brother soon. NICK Honey Don’t! is a step down from Drive Away Dolls in every way. While Margaret Qualley is fine as the lead, the story she’s given is a mess. The longer the film went, the more it became a parade of plot threads being introduced while others were dropped without justification. Even fleshed out ideas featured nonsensical and questionable character motivations or silly twists. It’s as if Ethan Coen and Trisha Cooke would write an idea, only to become distracted and abandon it. After this unfocused effort, I’m about done with this trilogy and ready for Ethan to find his way back to his brother Joel. PAIGE Honey Don't! is a pulpy, dry attempt at a comedic detective movie that is not only extremely dull but also quite a mess. It’s lacking that typical (Ethan) Coen-aesthetic we’re used to getting on the big screen, which is usually paired with sharp writing and character depth. Don’t get me wrong, the ensemble is great, really doing the best they can with what they are given. However, unfortunately, they just aren’t given much because the script is filled with blatant plot holes while lacking any sort of direction. Honestly, Honey Don’t! is a prime example of why the Coen Brothers need to reconnect and make another movie together.

SELF RELIANCE Starring: Jake Johnson, Anna Kendrick, Andy Samberg, Bill Wiff, Emily Hampshire, Natalie Morales, Mary Holland, Daryl J. Johnson, and Nancy Lenehan Director: Jake Johnson PRESTON Self Reliance is a comedy “thriller” (kind of) that can be almost exclusively attributed to Jake Johnson as writer, director, producer, and lead actor. When he isn’t carrying the film as the hilariously hapless protagonist, the chemistry between him and the perfectly cast Anna Kendrick is quite heart-warming. It’s what you might expect from the likes of a Lonely Island production, with its absurdist humor that will either endear or disenchant its audience (myself being the former). Ultimately, its message is quite lovely, with our need for human connection and the seeming difficulty inherent in achieving it. KATIE Self Reliance is entertaining, but far tamer than I expected. Jake Johnson’s directorial debut puts forward an intriguing concept that promises more thrills than it can deliver, never going far enough with its premise or pushing it to the level of absurdity that would have made it more engaging. Anna Kendrick and Johnson have great chemistry, and I found their relationship to be the most interesting part of the story, so since the film shies away from anything too excessive, I would have preferred it if it leaned into the quirky rom-com vibe. QUENTIN Aside from an ending that I wish had more…uh…something, Self Reliance delivers everything I could want from a Hulu comedy-thriller unceremoniously released in January. The infinitely watchable Jake Johnson being as affable as ever? Check. The incredibly charming Anna Kendrick being as adorable as ever? Double check. A steady stream of randomly absurd side characters and non sequiturs? Triple check. Hell, even the score is great, carrying a surprising amount of tension amongst all the levity. Plus, the message advocating for living life to the fullest should be relatable to all. It’s early, but this likely will be one of my Top Hidden Gems for 2024. CALEB A comedy about a down-on-his-luck loser being hunted for sport sounds like a solid pitch, but Self Reliance doesn’t go far enough with its own wacky premise. I was hoping for an unhinged action-comedy, but what I got was a mildly amusing, faux-psychological character-study with some annoyingly vague takes on mental health. I was excited to see how Jake Johnson would handle himself as a writer/director, but he played it disappointingly safe. The jokes aren't very funny, and the ending is absolutely spineless. Thankfully, Johnson's still a pretty likable lead, so at least Self Reliance has that going for it. PAIGE Unfortunately, the fascinating premise of Self Reliance is never fully realized or thrilling. Sure, it features endearing performances, an admirable directorial debut from Jake Johnson, and some humor, but I was hoping for more of a payoff from this concept. The film is most effective when it focuses on Jake Johnson and Anna Kendrick’s chemistry, and it is least effective when it attempts to convey its overarching themes of living life to the fullest. That said, even though the film ends abruptly and leaves a feeling of unfulfilled expectations, it's still an enjoyable ride.

GAZER Starring: Ariella Mastroianni, Renee Gagner, Marcia DeBonis, Grant Schumacher, and Emma Pearson Director: Ryan J. Sloan BODE If you mixed the general concepts of Christopher Nolan’s Following and Memento , filtered it through the eyes of the Safdies, and added just a dash of Cronenbergian body horror, you’d get an idea of what director Ryan J. Sloan has to offer with his self-financed debut feature, Gazer . I found much to appreciate in how effectively it pulled off its neo-noir homage, from its gritty 16mm cinematography, to its hauntingly jazzy score. It would have benefitted from a tighter runtime, as it feels overlong at nearly two hours, but there’s enough vision that I’m intrigued to see where everyone involved goes next. KATIE Gazer is a promising, if not tonally accomplished, debut feature. Director Ryan J. Sloan draws inspiration from Alfred Hitchcock, David Lynch, and David Cronenberg in this noir-style, paranoid thriller, but style and atmosphere are prioritised over narrative, which feels forgotten. This lack of momentum makes the nearly two-hour runtime feel challenging, especially in the long, quiet scenes that wander through dark streets. Plus, the constraints of the protagonist’s disorder were confusing and distracting, like her being unable to look at screens but being able to drive. The Memento -esque concept is initially compelling, but it contributes to the film’s aimlessness rather than engaging me in the story.

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SR. Starring: Robert Downey Jr. and Robert Downey Sr. Director: Chris Smith JACOB Chris Smith’s Sr. is a wonderful, heartfelt tribute to one of cinema’s most beloved icons and a fitting, bittersweet farewell to the great Robert Downey. Shot in crisp black-and-white and running at just 89 minutes, the film moves at such a clip that it barely registers movement at all before the credits roll. As the audience is treated to both Downey Jr. and Sr.’s process of making this film, we also get to hang out with two of the most insightful and irreverently funny storytellers on the planet, and get a small glimpse into the fatherhood legacies of both men. NICK Sr . sets out to do a lot of things. On one hand, it celebrates the work of Robert Downey Sr., works that I was relatively unfamiliar with. On the other hand, it acts as a vehicle for Robert Downey Jr. to come to terms with the end of his father's life. It's not always an easy watch, and it illuminates some of the reasons Jr. had the challenges he did early in his life; however, more than anything, it allows him to find a sense of closure as he says goodbye. Shot in beautiful black-and-white, this film is a touching memorial, to be sure. JOSEPH Much like what Robert Downey Jr. says towards the end of the film, I don’t quite understand what the point of Sr. was. It was clearly a final project between father and son so that they could bond over their love of cinema, but more so, it feels very personal. The Downeys are letting us into a memory that they’ve created for themselves, and for that reason, I’m sure it was deeply fulfilling for them; however, as a viewer, I felt far too detached from the subjects. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

A DISTURBANCE IN THE FORCE Starring: Kevin Smith, Seth Green ‘Weird Al’ Yankovic, Gilbert Gottfried, Taran Killam, Paul Scheer, and Donny Osmond Directors: Jeremy Coon and Steve Kozak This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. NICK The almost mythic Star Wars Holiday Special has long been discussed as the worst piece of Star Wars content ever created. Unfortunately, this documentary shows there really isn’t much more to say beyond that. Notable names such as Kevin Smith, Seth Green, the late Gilbert Gottfried, and more are interviewed, but they’re almost there to mask the lack of story there is to tell. It was a variety special featuring the original cast doing musical numbers, numerous Golden Age TV guest stars, and a whole bunch of Wookies (some doing questionable things). No big conspiracy here, just a bad decision everyone involved wishes never happened. PAIGE Even though A Disturbance in the Force tries to dive further into the reasons why the Star Wars Holiday Special was created and why it was such a hot mess of a disaster without saying anything new, this documentary is actually more of a celebration of the pop culture phenomenon through interviews and archival footage. This hilarious and entertaining doc caters to die-hard Star Wars fans. While it feels like a time capsule for this fandom, it’s an intriguing study on this bizarre case that occurred in entertainment.

A NICE INDIAN BOY Starring: Karan Soni, Jonathan Groff, Sunita Mani, Harish Patel, Zarna Garg, and Peter S. Kim Director: Roshan Sethi KATIE A Nice Indian Boy is a sweet, feel-good film that presents the classic meet-the-parents rom-com with a twist. It's not a particularly original concept, as it reminded me a lot of East is East , but audiences rarely get to see gay characters in these cliché romantic scenarios. In that sense, it's refreshing and very moving. The leads, Karan Soni playing Naveen, and Jonathan Groff playing Jay, have great chemistry, but I would have loved a little more exploration of Jay’s character. Overall, A Nice Indian Boy is a heart-warming, comforting watch with genuine laughs and maybe a few tears. AMARÚ A Nice Indian Boy is a sweet romantic-comedy of old with touching modern day flourishes. The comedic timing coming from Karan Soni’s awkward energy makes for big laughs and palpable opposites-attract chemistry between him and Jonathan Groff, the latter whose charm pops off the screen. Soni, on the other hand, might portray one of the most irritating, self-deprecating rom-com characters I’ve ever come across, but the honest emotions their relationship forcefully uncovers makes for sincere familial drama amongst the typical romance beats. I said it already, but no other word works so fittingly than calling A Nice Indian Boy tremendously sweet.

TRIANGLE OF SADNESS Starring: Harris Dickinson, Charlbi Dean, Zlatko Buric, Vicki Berlin, Dolly De Leon, Henrik Dorsin, and Woody Harrelson Director: Ruben Östlund QUENTIN Triangle of Sadness is a lot, and it most certainly will not be for everybody. It effectively straddles the line between the biting satire of Armando Iannucci (Veep , The Death of Stalin ) and the scatological humor of The Farrelly Brothers (Dumb & Dumber especially comes to mind). It’s about 40 minutes too long, and maybe a tad too smart for its own good, but there is no denying that it takes down its targets – the obscenely wealthy, influencer culture, and class politics - with marked precision. That said, is it a movie I’ll ever watch again? Probably not. JACOB Triangle of Sadness is likely to go down as one of the funniest movies of 2022, a true crowd movie that should be seen in a packed theater. The rich make their own dooms in Ruben Östlund’s biting, but slightly overlong, satire, which has as much to say about class, power, and privilege as most good movies of this kind. There are scene-stealing supporting players a plenty – including a hilarious Woody Harrelson and Zlatko Buric – but the MVP award is undoubtedly Dolly de Leon’s. Once she takes over the silver screen, all else fades in the shadow of her brilliant performance. NICK This magnifying glass on the entitled upper class is one of the wildest and funniest films I’ve seen this year. The teardown of differing societal viewpoints and the spoils of the rich are something director Ruben Östlund makes a meal of. However, though the jokes don’t dissipate, the film’s length is really felt in the latter acts. Standouts Harris Dickinson, Zlatko Buric, and the late Charlbi Dean do what they can to keep the momentum, but the film is never able to reach the heights of the early goings. Certainly an entertaining watch, but another example of a film with an unnecessarily bloated runtime. PAIGE If Gilligan's Island and The White Lotus were to have a movie baby, it would be Triangle of Sadness . Director Ruben Östlund sets sail into new waters with this bold, black comedy satire about class and privilege. It’s certainly an entertaining voyage, but the film could have been a wee bit shorter to not overstay its welcome. Still, I promise you this: Triangle Of Sadness will make you seasick from laughing so much, from beginning to end, due to its fantastic ensemble cast. ADRIANO I liked Triangle Of Sadness more than I didn’t, but it was still disappointing. It’s one of the funniest movies I’ve seen in a while, and I was hooting and hollering for the majority of the film because its takedown of the super wealthy does make for entertaining satire. Sadly, the film’s length doesn't do it any favors, especially in the third act. You can feel the film’s 2.5 hour runtime. Plus, the plot and structure aren’t entirely clear, which makes it a little jarring. I can’t in good conscience call it a bad movie, but it didn’t live up to my high hopes. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.