WHO KILLED THE MONTREAL EXPOS? Starring: Felipe Alou, Jeremy Filosa, Claude Brochu, David Samson, Vladimir Guerrero, Pedro Martinez, and Larry Walker Director: Jean-François Poisson NICK Although a definitive answer would have been great, Who Killed the Montreal Expos? is more about laying out the facts and letting all parties state their case. Unfortunately, most of the people involved aren't particularly engaging, with only the former players (Pedro Martinez, Larry Walker) holding my attention. The heartbreak of the city is evident, and you can't help but feel for the people of Montréal; not just because they lost their team but because their story is told in such a lacklustre documentary. If you don’t know the backstory, maybe you’ll find something here. If you do, don’t expect much. ROBERT After the success of The Last Dance during COVID, I assumed sports documentaries about 90s-era teams would air every other week, but it didn’t turn out that way. The plight of the Montreal Expos is often thought of by baseball fans, but it hardly ever comes up in mainstream discussions anymore. Being able to take a thoughtful look into all the reasons why the Expos had to move to Washington D.C., destroying the fan base in Montreal in the process, is fascinating, though its composition is a bit turbulent as it jumps back and forth in time. QUENTIN Have you seen the internet joke, “before memes, guys just sat around yelling the names of 90s baseball players at each other?” Who Killed the Montreal Expos? is basically a 90-minute documentary that offers little more than that. Sure, there’s a short love letter to the fans of Montreal, as well as some dry facts as to why the Expos relocated to Washington D.C. to become the Washington Nationals; however, most of my limited enjoyment simply came from watching old baseball highlights and doing Leo-pointing-meme at random players from my youth, like Marquis Grissom and, one of my all-time favorites, Larry Walker.

THE SUBSTANCE Starring: Demi Moore, Margaret Qualley, and Dennis Quaid Director: Coralie Fargeat QUENTIN If you get squeamish with gross body-horror imagery and flat-out disgusting noises, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. NICK The Substance is the latest film from director David Cronen... Psych! This feature is directed by Coralie Fargeat, and although there certainly is a Cronenberg feel at times, she makes it all her own. Exploring themes of mortality, self-confidence, and desperation, Fargeat tells a story that’s surprisingly relatable. Demi Moore is given a chance to strut her stuff for the first time in years, while Margaret Qualley lives up to exactly what her character needed to be. As for the body horror aspects, this still would have been a good movie without it, but it takes things to another level in the most wonderful ways. ADRIANO Dear God, Coralie Fargeat, you absolute mad woman. The Substance is insane. While the film features not one ounce of subtlety, its in-your-face approach winds up contributing to the primal enjoyment of this treat of a film. The execution is unique and fun as hell from the get-go, but towards the end, as it plunges itself deeper into madness, I couldn't keep my jaw off the floor because of the prosthetic work and overall insanity of the situation. It may not be the most effective message on beauty standards, but a one-of-a-kind blast nonetheless. PAIGE Coralie Fargeat’s The Substance may be one of the greatest body horror films I’ve ever seen! It’s an in-your-face type of movie that tackles Hollywood's beauty standards head-on. From a technical standpoint, this movie is flawless, featuring stellar sound design, fantastic practical makeup effects, and a unique framework, not to mention a career-best performance from Demi Moore. All in all, this satire is batshit crazy in the best way possible. The only thing holding this audacious piece of art back from being perfect is its over-the-top final act. PRESTON Have you ever seen videos of “The Hurricane Shot;” where the victim takes a shot, gets water thrown in their face, and is then slapped by some baddie bartender? Well, leaving The Substance felt like I did about five of those in a row. It is a masterfully daring film, featuring Demi Moore (Elisabeth Sparkle) and Margaret Qualley (Sue) on full, courageously brilliant display. The effects, makeup, and sound coalesce into a perfect symphony of grotesque horror. The film devolves in a tragic final act, but director Coralie Fargeat has earned, sight-unseen, must-watch status on her next effort. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

HOW TO TRAIN YOUR DRAGON Starring: Mason Thames, Gerard Butler, Nico Parker, Nick Frost, Gabriel Howell, Julian Dennison, Bronwyn James, and Harry Trevaldwyn Director: Dean DeBlois AMARÚ Having seen the original countless times, it’s hard to judge this remake strictly on its own merit since I knew what was coming. But I do envy those who haven’t seen the animated version, because they are in for a blast. The visuals are even more breathtaking in live-action, the story beats still hit hard, and it’s really good to see Gerard Butler embody Stoic as well as he voiced him. But truly, this film came down to whether Mason Thames could deliver his own version of Hiccup without feeling like a shell of Jay Baruchel. Well, kudos to him, because deliver he did. ADRIANO I'm sure I'd be hotter on How To Train Your Dragon if a much better version didn't already exist. The acting is serviceable, and the sets are solid recreations. Some of the cinematography looks rough, while some sequences look great. But this movie is more egregious than even Disney's live-action remakes (for the most part) with its shot-for-shot adaptation. Director Dean DeBlois returning does give it more heart and weight than, let’s say, Lilo & Stitch 's recent lifeless debacle. But I can't in good faith give this movie credit for what amounts to the strengths of another movie. NICK As someone who has never seen the original How to Train Your Dragon (I have a bit of a DreamWorks blind spot), I enjoyed my first trip to Berk. The world-building is fresh, the characters are endearing, and I liked its focus on various relationships (Hiccup and Toothless are the focus, but there are many others such as Hiccup/Astrid and Hiccup/Stoick). I'm not as negative on these "shot-for-shot" remakes in a new medium as others are, as I believe they help these stories reach new eyes. It’s just a matter of whether they maintain the soul of the original which this one seems to do.

THE ANGRY BLACK GIRL AND HER MONSTER Starring: Laya DeLeon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday, Amani Summer, and Edem Atsu-Swanzy Director: Bomani J. Story PAIGE The true horror of The Angry Black Girl and Her Monster is its tragic subject matter, and the film is at its best when it delivers on its raw and nuanced portrayal of the value of life. But it also delivers a fresh Frankenstein tale with some hard-hitting commentary on the cycle of inequality. That said, its third act decides to abandon its earlier themes to become just another run-of-the-mill, low-budget monster movie. Still, it’s an ambitious little film with a well-paced runtime that is worth the watch. QUENTIN I can’t be too critical of The Angry Black Girl and Her Monster because it does what it sets out to do fairly well despite facing several constraints. For example, it features a lead actress in her first starring role on the big screen, a first-time director, and it’s the production company’s first English-language feature film. Plus, it couldn’t have had a very big budget. You can feel all of that. Still, it generally works as a modern (and relevant) twist on Frankenstein , and all involved should be people to watch moving forward. It's a great resume builder, but do you need to watch it? Nah.

ISS Starring: Ariana DeBose, Chris Messina, Pilou Asbæk, John Gallagher Jr., Costa Ronin, and Maria Mashkova Director: Gabriela Cowperthwaite QUENTIN As far as B-movies go, especially those that get quietly dumped in theaters during the doldrums of January, I.S.S. offers enough tense astronaut-related thrills to keep one entertained for 95 minutes. Yeah, it’s predictable, and sure, it will remind you of everything from Gravity to Pandorum to Stowaway to even Alien , but still… Given the context of the release and dearth of expectations surrounding I.S.S. , it does a solid job of building the claustrophobic paranoia necessary to make this simple story work. Add in the fact that the story is plausible, not to mention the moral questions it asks, I’d call it a pleasant surprise. KATIE I.S.S. presents a simple yet compelling concept that makes the most of its unique setting. Exploring the dynamics of a group of astronauts amid mounting paranoia and distrust, it generates a sense of palpable tension that is emphasised by growing external threats. However, despite its strong start and impressive visuals on a limited budget, I found it lost some of its initial sense of dread while also lacking some of the excitement and heightened threat found in other space thrillers. That said, this is a fun watch that sustained my interest, and it’s elevated by engaging performances. PAIGE As opposed to aliens, the major threat in I.S.S. actually is the monster that exists inside of us. This gripping sci-fi thriller presents a clever concept, but unfortunately falls short due to its lack of stakes. Nevertheless, it's still captivating enough to hold viewers' attention. Plus, director Gabriela Cowperthwaite does a fine job of making the most of the claustrophobic tension inside the spaceship while also making sure that I.S.S. remains a character-driven drama despite the main action taking place on Earth. NICK With January being a bit of a down month for film quality, I wouldn’t be surprised to see I.S.S. gain a little traction. The unsettling premise survives on its frighteningly possible real-world implications (which dials the tension up to 11) and solid ensemble, featuring the burgeoning Ariana DeBose alongside a The Newsroom reunion of John Gallagher Jr. and Chris Messina. Although it doesn’t quite reach the heights it aims for, it’s never not engaging as it harkens back to the days of 1990s B-movies. It's not going to light the world on fire, but it’ll make for a more than serviceable movie night.

THANKSGIVING Starring: Nell Verlaque, Patrick Dempsey, Addison Rae, Jalen Thomas Brooks, Tomaso Sanelli, Milo Manheim, Gabriel Davenport, Jenna Warren, and Rick Hoffman Director: Eli Roth PAIGE While I was hoping Thanksgiving would have kept more with the grindhouse distortion style, I must admit this flick is still a bloody fun time. It’s stuffed with ridiculousness that will have you eating up its holiday-themed kills, and director Eli Roth seems to be having a blast crafting the creative mayhem. Even though this film is absurd and it doesn’t have the most compelling story, this B-horror movie knows it’s over-the-top, embracing every bit of it. If you're a sucker for cheesy slashers, this one's for you. Just don’t expect to care much about the one-dimensional characters. CALEB Director Eli Roth’s latest effort features everything you could possibly want from a great slasher flick. It’s got fun kills, an intimidating antagonist, and an engaging mystery. The whole Thanksgiving shtick is a lot of fun too. I love how they incorporate the holiday’s trademarks into the violence. The only real gripe I have with the film is its protagonist. Jessica (Nell Verlaque) isn’t necessarily a terrible character, but she’s pretty forgettable as far as final girls go. Outside of that, there’s barely anything to complain about. I went into Thanksgiving hoping for a good time, and that’s exactly what I got. ADRIANO I'm not a robot. I can even be a sicko sometimes, and Thanksgiving fulfilled my sicko needs. While lacking in substance, Eli Roth's latest slasher makes up for it with pure genre entertainment. The movie has kills for days; absolutely brutal ones too. Heads fall off, internal organs are exposed…it's a massacre, and I am here for it. I also love a horror flick like this one that is more dependent on the tense atmosphere than lazy jump scares. Its mystery can be interesting, though its reveal and explanation aren't very satisfying. Nonetheless, this film was a blast from start to finish. PRESTON I almost feel compelled to rate Thanksgiving slightly differently when compared to more “serious” films because director Eli Roth’s intention is perfectly met when one examines the final product. You know exactly what you’re going to get from a Thanksgiving-pilgrim-disguised-killer premise. In the end, you get a no-holds-barred slasher in all its gory glory that has surprising humor with some beautifully cheesy one-liners. For all you B-horror movie fans out there, this could be your chance to convert some of your more skeptical, highbrow friends. Go watch it together and have fun; you’ll be thankful you did!

ATROPIA Starring: Alia Shawkat, Callum Turner, Zahra Alzubaidi, Jane Levy, June Carryl, Shaholly Ayers, Tony Shawkat, Sal Lopez, Jamie McShane, Tim Heidecker, and Chloë Sevigny Director: Hailey Gates PAIGE While Atropia is a cool directorial debut by Hailey Gates with its absurd yet intriguing war simulation premise, the story takes a while to get going and feels directionless at times. The movie tries to balance too many tones at once; one minute it’s a comedic satire, next it’s a romance, and then it tries to take itself too seriously. I found Alia Shawkat, Callum Turner, and the rest of the cast to be great, but their characters are missing depth. It’s certainly a bold swing to appreciate, but its themes are too half-baked to make it something special. KATIE Hailey Gates' feature debut Atropia worked as a comedy, but less so as a critique of war and militarism. It focuses on fake Iraq towns that were built in the 2000s to train new soldiers and familiarise them with any number of situations they’ll encounter when deployed. It’s a compelling and odd premise, driven by a fantastic leading performance from Alia Shawkat. The satire isn't exactly cutting, and it flounders in its second half, focusing too much on a romantic subplot that doesn’t go anywhere, but it is funny and got more than a few laughs out of me.

BRIDGET JONES: MAD ABOUT THE BOY Starring: Renée Zellweger, Chiwetel Ejiofor, Leo Woodall, Hugh Grant, and Colin Firth Director: Michael Morris AMARÚ Bridget Jones: Mad About the Boy is a touching look at grief and a charming romantic-comedy. The former is excellent, and the latter is pretty standard (which is to say, still fairly excellent). The cast has evidently lived with these characters for years, especially Renée Zellweger in the titular role, and they naturally intermingle the whimsical romantic elements with the familial themes surrounding death, not to mention the ever-evolving internal conflicts that aging presents. Chiwetel Ejiofor’s addition also doesn’t hurt to present the humorous and the heavy in very endearing ways. Four entries in, and Bridget Jones still had plenty left to say. BODE Even if you’re not in Bridget Jones ’ target audience, you don’t have to be to enjoy this franchise for the witty and endearing rom-coms they are (minus The Edge of Reason , of course). This remains true of the series’ fourth entry, Mad About the Boy , which is additionally thoughtful in its exploration of rediscovering yourself after loss. Renée Zellweger and Hugh Grant remain as charming as ever, while new faces like Chiwetel Ejiofor and Leo Woodall also shine. As far as (possible) final chapters go, it’s one that should leave fans perfectly satisfied.

WALLACE & GROMIT: VENGEANCE MOST FOWL Starring: Ben Whitehead, Peter Kay, Lauren Patel, and Reece Shearsmith Directors: Nick Park and Merlin Crossingham ADRIANO Like all of the films, shorts, or series' in this franchise, Wallace & Gromit: Vengeance Most Fowl is just an utter delight. While I think its "we're dependent on technology" thing is fairly bare-bones, it's still a laugh-a-minute riot with plenty of heart and the ridiculous but fun plot at hand. The titular characters are as entertaining as ever, and there were moments when it kinda blew my mind that this movie was stop-motion animated (seriously, the craft is truly impressive). Nothing about this is mind-blowing, but I just couldn't help but love the hell out of it. KATIE Like all of Aardman Studio’s stop-motion offerings, Wallace & Gromit: Vengeance Most Foul is a comforting delight akin to a warm blanket and a hot cup of tea. It has impeccable comedic timing that will undoubtedly get better every viewing, with non-stop visual gags, cinematic references, niche British colloquialisms, and plenty of cheesy puns. As always, the titular pair are delightfully charming, the signature animation is spectacular, and the story manages to feel familiar and nostalgic yet refreshingly new as it incorporates AI tech into Wallace’s unruly inventions while ensuring their relationship is at the heart of the film. AMARÚ Wallace & Gromit: Vengeance Most Fowl continues the Aardman Animation tradition of me impatiently waiting for that dog to smack some sense into his naively incompetent owner. Funnily enough, it actually happens to a less-than-satisfying degree. What is most satisfying is the series’ other tradition of incredibly hilarious on-the-nose humor. Utilizing its satirical screenplay and beautiful stop-motion animation, Fowl intelligently mixes comedy, mystery, and horror tropes to let audiences in on every gratifyingly entertaining cliché for this iconic duo’s latest sharp, witty, and damn near perfectly executed adventure.

SAW X Starring: Tobin Bell, Shawnee Smith, Synnøve Macody Lund, Octavio Hinojosa, Paulette Hernández, Renata Vaca, Joshua Okamoto, Steven Brand, and Michael Beach Director: Kevin Greutert NICK Although I’m a fan of the Saw franchise’s earlier films (especially the debut), the focus turned away from story and towards the torture porn aspect, which wasn’t for me. Saw X tries to remedy this with a deeper focus on John Kramer, the man, which finally gives Tobin Bell a chance to flesh out the character. You still have all the trademarks of the series - gore, twists, and traps - but without the failure to remember that these films need more than that. I'm not saying it necessarily justifies a continuation of the series, but it at least shows there are signs of life. PHILL It’s hard to care about a franchise that has ended twice. The Saw saga very obviously regretted killing off John Kramer (Tobin Bell) in SAW III because, in the subsequent seven films, the writers have consistently found increasingly contrived ways to bring the character back, with Saw X lazily going for the midquel approach. There is not much new here in the tenth entry, though. It’s a Saw film; its only innovation is that it has more plot than its nine predecessors. However, it’s not very interesting, and it’s hard to sympathise with a serial killer.

MISSING Starring: Storm Reid, Nia Long, Joaquim de Almeida, Ken Leung, Amy Landecker, Daniel Henney, Megan Suri, Tim Griffin Directors: Nicholas D. Johnson and Will Merrick AMARÚ Missing ran the risk of being a lesser version of its predecessor, Searching , but its thrilling script and captivating leads quickly proved it to be an entertainingly distinctive sequel. The mystery as a whole is somewhat predictable, but only in hindsight, as the twists keep you focused on unraveling it alongside the characters in the present moment. Storm Reid carries the emotional weight of the film, but it’s her chemistry with standout Joaquim de Almeida that make both the heart and tension unique. If subsequent smart-device films are as gripping as Missing , I’ll be in the theater every single time. DARRYL Missing may be the film that kicks off 2023 in earnest. It’s a taut thriller that is well acted but even more impressively directed by Nicholas D. Johnson and Will Merrick, and the inventiveness that went into telling the story is a testament to their creativity. It’s a well-crafted story from a tight script that manages to weave in a number of surprises that don't feel cliché, demanding the audience pay attention to every detail. If you're itching to catch a movie in theaters but are hesitant due to the abysmal track record of January releases, this is one you won’t want to miss. JACOB Missing may not be as clean-cut or succinct as Searching , but it remains a worthy successor nonetheless. Missing persons films fit exceedingly well into these formats, and the trick has worked once more, this time thanks to an assured performance from Storm Reid. That said, there are issues with the film, namely that the underlying themes don't really get developed enough to feel like a genuine statement, but luckily, they’re overshadowed by an intriguing plot and a twist I honestly didn't see coming. If a third film also succeeds, we may have ourselves a solid "screen-cap trilogy."

THE DRAMA Starring: Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, and Hailey Benton Gates Director: Kristoffer Borgli NICK Far from your typical rom-com, The Drama is built around an early revelation and the effects it has on the relationship of Emma (Zendaya) and Charlie (Robert Pattinson). The first of their films together this year (before Dune: Part Three ), The Drama is a provocative dark comedy that poses questions bound to penetrate the public consciousness. Often an uncomfortable watch (by design), both leads fully commit and bring enough humour to offset the darker subject matter. This is a film that looks deeply at the strength of a relationship, especially when faced with pressure and adversity and it’s remarkably well told by director Kristoffer Borgli. ADRIANO Much will be said about the reveal early in The Drama , and I hope that doesn’t overshadow what the film does so well. I admire the stressful and extreme approach to writer/director Kristoffer Borgli’s relationship analysis, and while his characters can feel like human guinea pigs, they’re explored enough that the central romance feels so much like a ticking bomb that my engagement morphed into terror. A large part of this success comes from Zendaya and Robert Pattinson giving layered and expressive performances. The Drama is challenging in all the right ways, and I suspect further discussion will only enhance it. PAIGE Going into The Drama , all you really need to know is that it’s an A24 film, so you shouldn’t expect a typical romantic comedy. And it definitely isn’t, which is something I honestly appreciated. Its refreshing take on the genre is both intentionally cringey and uncomfortably funny. The story is enhanced by its chaotic yet rhythmic editing, along with strong performances from Zendaya and Robert Pattinson. The film’s subject matter will definitely spark a lot of conversation as it explores not just whether we truly know our partners, but also our capacity for empathy towards them when faced with the worst thing they may have done in their past. KATIE Going into The Drama , I knew there was some kind of significant reveal from the trailer, so I was braced to find out what it was, and yet it still surprised and intrigued me. The film presents a compelling look at a politically charged subject through a romantic relationship fraught with the potential implications of an act committed long in the past, but whose relevance has only increased in contemporary society. The cast is incredible, and Zendaya and Robert Pattinson’s performances are genuinely faultless, masterfully conveying every word left unsaid and awkward moment, underpinning the often excruciating atmosphere. AMARÚ I’ve always believed that any topic is comedic fair game if the comedy is actually funny. Well, writer/director Kristoffer Borgli risked nearly impossible odds to prove my mindset correct. The Drama is a nuanced, complex, and empathetic dive into what the horrible state of today’s world can do to people, and presents a brilliantly human mirror to it all. Borgli directs the hell out of the titular drama’s chaos, his editing evoking uncomfortable insight into Robert Pattinson and Zendaya’s sympathetic and excellently executed spiraling. The Drama brings an uneasy understanding and darkly humorous empathy into humanity’s flawed and resilient nature, something sorely needed nowadays. BODE Is The Drama simply just provocation? Without giving away the film’s big elephant in the room, it’d be easy to take it as such. But once you allow yourself to sit in its discomfort, you’ll find that writer-director Kristoffer Borgli isn’t really trolling. At least I certainly didn’t so. Amplified by great performances from Zendaya and Robert Pattinson, and breakneck editing that keeps you on your toes, The Drama is a darkly hilarious and genuinely thoughtful look at love, complexity, forgiveness, and who is allowed such things in this desensitized world that we occupy. I dug nearly every minute of it. Want to hear even more of our thoughts? Nick, Adriano, and Jeannine Brice join Amarú to take A Bigger Bite out of The Drama HERE .