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IT LIVES INSIDE Starring: Megan Suri, Neeru Bajwa, Mohana Krishnan, Vik Sahay, Gage Marsh, Beatrice Kitsos, and Betty Gabriel Director: Bishal Dutta This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN While the story of It Lives Inside is a fairly typical possession tale, using the demon to touch on ideas of teen depression and divided cultural identity, it remains a solid addition to the subgenre. The way director Bishal Dutta uses minimalist techniques, toying with light and shadows to create tension, not to mention the Indian folklore aspect, is very reminiscent of The Vigil (a terrific horror movie based on Jewish demonology), and the final creature design is impressive, especially considering the film couldn’t have had a sizeable budget. It’s not groundbreaking, but it succeeds, nonetheless (particularly if you watch in the darkest room possible). NICK It Lives Inside is a tale of two plotlines: First, there's a coming-of-age story about individuality and maintaining your cultural connection throughout your formative years; second, there's a demonic tale based in Hindu folklore. Both feature aspects that work, and both are bogged down by tropes from their respective genres. It’s their intersection, however, that is unable to elevate things. This leaves a relatively new story devolving into something that feels familiar. Having said that, it’s not a lost cause. There are some genuine scares and the creature design is certainly unsettling. It Lives Inside isn’t revolutionary, but it’s still serviceable mid-tier horror.

I LIKE MOVIES Starring: Isaiah Lehtinen, Krista Bridges, Percy Hynes White, Romina D'Ugo, and Eden Cupid Director: Chandler Levack NICK Meet Lawrence (Isaiah Lehtinen) - he’s self-centered, pretentious, sexist, and terrible to the people around him. You hate him pretty much every second he’s on screen, and that’s a testament to the performance of Lehtinen. This very Canadian indie is a refreshing take on the coming-of-age story, told through an unabashedly unlikable protagonist. There’s a great mix of humour and drama, along with some solid supporting performances, particularly by Romina D'Ugo as the Sequels Video manager. I Like Movies is a welcome feature debut from director Chandler Levack, and it will be interesting to see where she goes from here. QUENTIN The main character of I Like Movies is so unlikable that it makes it really hard to enjoy the movie. He’s a combination of the worst parts of Napoleon Dynamite and Jonah Hill’s character in Superbad . Isaiah Lehtinen does a great job of bringing this little asshole to life, but despite the film’s best efforts to make you empathize with him, he’s just so hard to root for (let alone spend 90 minutes with). Now, maybe, with time, I Like Movies will develop a love/hate cult following much like Napoleon Dynamite has, but I will fall firmly on the hate side of that coin. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

SUPERMAN Starring: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Wendell Pierce, Skyler Gisondo, María Gabriela de Faría, and Sara Sampaio Director: James Gunn QUENTIN Superman features awe-inspiring sequences and a production design that harkens back to the Golden Age of Comics, with some scenes looking like they were ripped directly from the page. However, the story is thin, overstuffed, rushed, predictable, and trying too hard to be topical. While David Corenswet was a knockout choice for Supes (Edi Gathegi also is excellent as Mr. Terrific, the low-key MVP), Nicholas Hoult was a misfire, playing Lex Luthor as a whiny Gen-Zer rather than a diabolical genius. Then there’s Krypto – a sure-to-be fan favorite – but also a crutch leaned on far too often. Overall, Superman flies, but fails to soar because of the little things. AMARÚ Superman is weird as hell, making it the most interesting iteration of the superhero to date. Attuning the Man of Steel to director James Gunn’s freaky sensibilities finally gives Superman/Clark Kent (David Corenswet) some personality to chew on. The action is frenetic, the story is unafraid to embrace DC’s more mind-bending aspects, the actors fall full force into Gunn’s quirks, and all of it is wrapped in a heart that’s worn enthusiastically on its sleeve. The tone won’t work for everyone, and some emotional beats land softer than expected, but there’s no denying the hopeful essence that permeates throughout. ADRIANO For a cinematic universe starter, writer/director James Gunn mistakenly shoves us into this one as if it's a continuation. A universe that already has superheroes isn't a bad idea, but with Superman it felt bloated and messy. Yet somehow, it filled me with a joy I haven't felt from superheroes in a while. Gunn's earnestness shines through even the clunkiest parts, with a perfectly balanced corny tone that makes Superman (David Corenswet) feel like the hope-inspiring hero he's supposed to be. So while there are things that needed fixing, I'll admit this DC Universe is off to a good start. ROBERT It is quite a magic trick to bring classic sensibility to a popular character, thrust him into a contemporary landscape and not have it feel tonally awkward. I think James Gunn pulls this off with Superman , where the hopefulness of the character bleeds into his surrounding environment and into the future of the DCU. The castings of David Corenswet and Rachel Brosnahan as Clark Kent/Superman and Lois Lane end up more inspired than initially thought, and while there are wacky and ham-fisted aspects of Lex Luthor, Nicholas Hoult portrays his spitefulness ferociously. I didn’t think I would see a consequential Superman film in my lifetime, but I am happy to be proven wrong. BODE It seems jarring initially when writer-director James Gunn opens Superman in the middle of the action. No origin. No hand-holding whatsoever. It’s in that sense - and more, from its rapid tonal shifts, to its bevy of characters - that it feels like a random Golden Age issue come to life. It put a smile on my face almost immediately, and that feeling stayed throughout this modern iteration. It’s not without its faults, but it’s so unabashedly sincere, breathlessly energetic, and perfectly cast that I had a great time regardless. If the new DCU continues like this, sign me up. KATIE I didn’t expect to enjoy Superman as much as I did, and I was happily surprised by James Gunn’s sincere iteration of the hero. I’m personally glad it moves away from the forced grittiness and cynicism of recent superhero films, and is instead charming and hopeful, striking a great balance between silliness and seriousness. I was also moved by the rousing message, and although some characters were underwritten, it makes up for it with emotional moments and warm humour. It’s a simple narrative, but well-paced and driven by compelling performances, especially David Corenswet’s charming Superman, and some fantastic action sequences. NICK Although I like what Superman (David Corenswet) represents, he often comes across as slightly simple minded and kind of a dork (Man of Steel being the exception). That’s definitely present at times in director James Gunn’s adaptation, but that’s not all Supes is in this iteration. Corenswet gives a layered performance as he reintroduces the character, and although it doesn’t all work (it’s a messy film in general), he reaffirms that he was the right casting. I wish the story was a little more grounded, but the seeds have been planted for a new DC Universe, and I have… hope. Want to hear even more of our thoughts? Amarú, Shak, and guest Winston A. Marshall join Matt to take A Bigger Bite out of Superman HERE .

LOVE HURTS Starring: Ke Huy Quan, Ariana DeBose, Daniel Wu, Marshawn “Beastmode” Lynch, Mustafa Shakir, Lio Tipton, Rhys Darby, André Eriksen, and Sean Astin Director: Jonathan Eusebio ADRIANO There's something shamefully enjoyable about Love Hurts despite me being able to acknowledge that it's a terrible movie…and this movie is horrible. The story is needlessly convoluted, the action (while well-choreographed) is poorly filmed, it's way too short to feel anything, and I didn't buy a second of the film's central romance. If it wasn't for Ke Huy Quan's charm, this might have been unwatchable; however, he almost single handedly reminded me of the action films I loved as a kid that I'm sure I'd now think suck if I watched them today. For that, it gets brownie points from me. BODE The concept of Ke Huy Quan getting his own John Wick -style action vehicle (courtesy of the 87North team) is an exciting one on paper, which is why it’s disappointing that Love Hurts doesn’t fully live up to its potential. Despite some well-choreographed action sequences (first-time director Jonathan Eusebio comes from the world of stunts), a few genuinely funny moments, and the best efforts of Quan and his co-stars, none of these aspects are able to properly mask how sloppily assembled the film is, script-wise. The fact that it’s only 83 minutes, however, means the heartbreak is at least short-term. BRYAN Despite a charming Ke Huy Quan at the forefront, Love Hurts fails to deliver on all fronts. The film fails to present a compelling romance, exciting action set pieces or gut-busting humor - the things we are searching for in an action romantic comedy. With 83 minutes under its belt, the momentum was lost in the sauce and by the time any ounce of it appeared, the film was already over. A massive disappointment, especially with this being Quan’s first leading role in his 40-year long career. There’s definitely an enjoyable film here, but it struggles to give that to its audience. AMARÚ After both of their Oscar winning performances, Ke Huy Quan and Ariana DeBose’s joint follow-up, Love Hurts , left me wondering why they even took this film. It’s too serious to have the self-referential fun both actors are trying to have, but too poorly written and haphazardly edited to be taken seriously. Every scene plays like a throwaway from better R-rated action comedies, either moving the plot forward with no explanation or being exposition-riddled for no reason. The only people who knew what kind of movie this should have been are André Eriksen and Marshawn Lynch. By the end, I only watched so I wouldn’t get fined.

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.

LOU Starring: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Asha Bateman, and Matt Craven Director: Anna Foerster JOSEPH Assassin revenge films aren’t really my thing, but I get why they appeal to so many. Lou should attract the die-hard fans of the sub-genre since it has many of the popular tropes while offering up a few surprises of its own. Logan Marshall-Green and Allison Janney even give strong performances, though Jurnee Smollett is a bit uneven, unfortunately. That said, Lou is very derivative, just another rogue military assassin tale from Netflix. Ultimately, even with decent acting and cinematography, the end result is still middling and forgettable. QUENTIN Lou is a shabby entry in the already tired genre of “unsuspecting old person is secretly a badass.” In this instance, said old person is the usually excellent Allison Janney, who seems to want her Neeson Moment. It does not work in her favor. Be it typecasting or just her general look and demeanor (both in real life and on screen), I can’t buy the 62-year-old Janney as a grizzled ass-kicker. Throw in some barely workmanlike supporting performances and a few lazy twists, and Lou ends up being one of the most uninspired revenge action thrillers in quite some time.

A HOUSE OF DYNAMITE Starring: Idris Elba, Rebecca Ferguson, Jared Harris, Gabriel Basso, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke Director: Kathryn Bigelow AMARÚ Kathryn Bigelow knows how to stress you the hell out. She’s masterful at directing subtle intensity out of commonly mundane happenings until, seemingly out of nowhere, that build up grabs you by the throat. A House of Dynamite does that three times over, with Rashomon -style storytelling retreading a ticking-clock political timeline, and a huge ensemble of game performers, especially standout Gabriel Basso. He alone saves act two from feeling redundant after an explosive first, and helps maintain enough tension to make up for a flat final act. Even with its soft landing, Dynamite is another successfully gripping anti-war introspective for Bigelow. ADRIANO I love seeing director Kathryn Bigelow back in her wheelhouse of tense political thrillers, but A House of Dynamite was depressingly pointless. As well-researched as it seemed in its dissection of the US Government's response to an attack, I was waiting for the film to reach a purpose beyond bleak doom. But the ending is so abrupt that the rest of the film is one big waste of time, especially considering the utter lack of characters to emotionally latch onto (aside from maybe Jared Harris). So, suffice to say, this was an intense but disappointing return for Bigelow. QUENTIN A House of Dynamite starts off with a bang, a perfectly constructed first act that is taut and tense in all the best ways. However, acts two and three are presented in a nesting-doll structure that repeats itself, which results in diminishing returns as you see several scenes multiple times. Even through that repetition, there is almost zero character development, including some characters that serve no purpose whatsoever. Furthermore, the ending is so unsatisfyingly abrupt that you might think director Kathryn Bigelow forgot to shoot the script’s final pages. That first act, though… It’s too bad the rest of the movie couldn’t match its greatness. NICK A House of Dynamite is a film that could desperately use tension, which makes it hard to believe that Kathryn Bigelow – who is typically great at creating tension – directed this. Aside from a lack of urgency, the film features fairly bland characters that don't warrant any attachment (save, perhaps, Idris Elba's President of the United States). Then there's the editing... content wise, this is practically a short film on a loop from different perspectives. It may have worked if not for the above issues, but instead, it magnifies the film’s shortcomings. As for the end… oh, it seems I’ve hit my word limit. ROBERT Kathryn Bigelow is at a place where every time she releases a movie, it is a huge deal, magnified by the eight years since her last directing effort. Unfortunately, the wait was met with a paper tiger in the form of A House of Dynamite . The cast, the story structure, the score, and sound are all reminiscent of a prestige titan seen in Bigelow’s history, but as the plot unfurls, it becomes a word soup of acronyms, safety protocols, and on-the-nose metaphors. In 2025, for films in which Idris Elba plays a world leader, it is a true toss-up which is more logical. KATIE A House of Dynamite begins with an excellent first act, full of tension and expertly built suspense, and introducing us to interesting characters and a compelling, dread-inducing scenario. I didn’t mind the second time it takes us through the same events from a different perspective, but by the third, I was slightly frustrated, noticing the repetitiveness and that many of the characters didn’t seem to matter. The score is fantastic, and the performances are solid, but not enough new information is revealed over the three perspectives. The ending, which I was looking forward to after very nearly losing interest, is abrupt and unsatisfying. BODE It’s clear that director Kathryn Bigelow will forever be committed to holding a mirror up to America’s political landscape. A House of Dynamite continues that very mission by bringing a Rashomon -style approach to a doomsday scenario. On a moment-to-moment basis, it’s certainly watchable, even though the structure doesn’t entirely work, Bigelow still knows how to create tension, and she has formed an undeniably strong ensemble; however, in its repetition, the film fails to make a larger point about the severity of the situation, which isn’t helped by its total non-ending. It's pretty frustrating all around.

LISA FRANKENSTEIN Starring: Kathryn Newton, Cole Sprouse, Liza Soberano, Carla Gugino, Joe Chrest, and Henry Eikenberry Director: Zelda Williams PRESTON Lisa Frankenstein is like a necrophiliac mashup of Encino Man and Hocus Pocus , with Tim Burton-esque potential and an appropriate tone, but none of the charm. Maybe I am a generation removed from the target audience, but why is apathy somehow a complete substitute for humor?! The main characters end up being assholes who I couldn’t care less about, and the only good news is that you get to enjoy the first 30 minutes in a state of ignorance about its unworthiness. That’s like 30ish percent of the total runtime, so this seems like an appropriate rating… PAIGE Despite its messiness, Lisa Frankenstein is an absurdist horror comedy that is a freakin’ delight. The film occasionally falters with the basics of its own structure, but Diablo Cody's killer, zinger-filled script keeps it afloat. Kathryn Newton plays the unhinged Lisa Swallows perfectly, and there's no denying the chemistry between her and Cole Sprouse. Overall, the movie is a bloody good time, and is an entertaining experience from beginning to end. This gothic teen drama is so nostalgic for the 80s that I can't help but think it will become a cult classic. ADRIANO Lisa Frankenstein has tremendous cult film potential, but I did not find much enjoyment in this movie. I laughed a bit towards the end, but director Zelda Williams ultimately couldn't balance the tone between dark and endearing. The script progresses at an unnatural pace too. On the flip of a dime, the protagonist is a completely different person with not much reason to root for her. Cole Sprouse shows off some great physical comedy, but it's now clear to me that Kathryn Newton can't act. I won't take away the fun others will have, but I just didn't have fun myself. CALEB It brings me no joy criticizing Lisa Frankenstein , but Zelda Williams' directorial debut is a total misfire. I appreciated the campy aesthetic, and certain sequences look great; however, the energetic visuals only ever lend the film the illusion of fun since the actual script is so boring . The characters are inconsistent and unlikable, the plot is bone thin, and the “jokes” primarily consist of tired 80s references. Maybe with a charismatic lead this could’ve been salvageable, but Kathryn Newton’s floaty performance doesn’t do the material any favours. I was hoping for a good time, but Lisa Frankenstein never really comes to life.

ORIGIN Starring: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, Emily Yancy, Vera Farmiga, Audra McDonald, Finn Wittrock, Victoria Pedretti, Jasmine Cephas Jones, and Isha Carlos Blaaker Director: Ava DuVernay QUENTIN Despite being well acted and delivering thoughtful commentaries on racism, caste systems, and personal grief, Origin is as dry as a college lecture. Nothing about Ava DuVernay’s direction is bad, but it’s not particularly dynamic either. It’s not all her fault, though. The message is certainly important and, from a scholarly perspective, incredibly fascinating, but it’s not built for a feature length narrative. This would have been much better and perhaps more impactful as a documentary because, as is, it’s like watching someone act out a doctoral thesis paper. Personally, I can’t say I enjoy movies that feel like homework. NICK The story of Origin is one of importance, but it’s hidden inside a very tedious film. Director Ava DuVernay brings us something that feels more like a college lecture than a concise and interesting narrative. This has nothing to do with the performances, but in the way the subject matter is approached in such a dry manner. It truly felt like I was watching The History Channel at times, and although I sympathize with the trauma Isabel Wilkerson (Aunjanue Ellis-Taylor) faced, everything surrounding her is lethargic. Wilkerson writes “a world without caste would set everyone free;” a lasting message that deserved a better film. AMARÚ I can’t exactly explain how director Ava DuVernay shoots Origin , but the camera work placed it somewhere between narrative and documentary. It’s like she said, “y’all not gon’ watch a documentary? Okay, imma make sure you get this information anyway!” And damn if I didn’t get that info. In the film, Aunjanue Ellis-Taylor’s Isabel is trying to find connection between seemingly unconnected concepts, and DuVernay connects the narrative with the history lessons through the same ideals Isabel does: love, grief, trauma, and compassion. This delivery method masked the triggers similar movies often elicit, and it results in a powerfully engrossing, expertly written film. ADRIANO There is an old rule in storytelling: Show, don't tell. Origin largely abandons that rule. Instead of delivering what should have been a documentary on the caste system, writer/director Ava DuVernay opts for an aggressively unsubtle and borderline Hallmark approach to the narrative form. Aunjanue Ellis-Taylor is terrific, and she could gain something from this, but the way in which the message is presented is flatly directed, a structural disaster, and full of moments that are emotionally manipulative. The final thirty minutes, in particular…I'm not gonna lie…were horrendous. I had high hopes for this one, but I was very disappointed. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 Toronto International Film Festival, respectively.

ROOFMAN Starring: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Uzo Aduba, Lily Collias, Dee Wainscott, and Peter Dinklage Director: Derek Cianfrance NICK There’s no doubt that Roofman is the strongest performance of Channing Tatum’s career. In fact, this is likely the mold for his ideal leading-man role. There’s comedy, romance, goofiness, a hint of toughness, and tons of heart. Think Tom Hanks in the 90s but more of a badass. A lesser performance would’ve made Jeffrey Manchester (Tatum) hard to root for, but with the heart Tatum infuses into this real life story, you can’t help but want to see him succeed in some way. Add in solid supporting performances (Kirsten Dunst, Peter Dinklage), and this film ends up better than it has any right to be. ADRIANO Based on the trailer for Roofman , I was afraid director/co-writer Derek Cianfrance was gonna ditch his knack for emotionally driven character stories for a more studio-driven comedy. While the film doesn't shy away from the absurdity of this true story, mainly due in part to Channing Tatum's charming goofiness, what grabbed me the hardest about Roofman was Cianfrance's writing that mixes weirdness with true humanity. Even when it leans into the "criminal with a heart of gold" idea, the empathy it decides to focus on in regards to Jeffrey Manchester (Tatum) leads to effective emotional beats. AMARÚ Roofman epitomizes what it means to be solid. It harkens back to the ‘90s classics of my childhood that were no flash, fully grounded, endearing stories with substantial performances. I can’t say I’ve ever been more attuned to a non-sci-fi Kirsten Dunst role, but I can say that this is arguably Channing Tatum’s best work. Whether you agree will come down to your comedy or drama preference, but either way, he succeeds in making me root for a character who deserved no such appraisal. He humanizes the good, bad, and ugly of his real-life counterpart, and both actors are a huge reason Roofman is undeniably rewatchable. QUENTIN Roofman is a charming love story featuring charming performances that surely will charm a non-discerning couple on date night. No, it’s not particularly memorable, but it’s a highly rewatchable blend of comedy, heart, and 90s nostalgia. Yet, I was left wondering why I was rooting for this dirtbag. Because he’s polite? All of Jeffrey Manchester’s (Channing Tatum) rough edges have been sanded down to create an almost algorithm-generated leading man that ladies may fawn over. That’s fine, I suppose, but it makes for an overly sugarcoated, crowd-pleasing movie seemingly afraid to explore the more complicated themes present in fear of losing general audiences (and box office revenue). PAIGE Derek Cianfrance’s Roofman is a surprisingly endearing ride that takes a bizarre true story and turns it into a funny, heartwarming, yet somewhat sad tale. Channing Tatum delivers some of his best work too, demonstrating a great chemistry with Kirsten Dunst. Overall, there really is a lot to truly enjoy, whether it’s the crime elements, the outlandish comedy, or the lighthearted family affair. However, with everything crammed into its plot, the movie does spread itself a bit too thin. As the film goes on, you can feel it lose momentum during the periods when not much happens. BODE I’ve long found Derek Cianfrance to be an underrated filmmaker, as he has an innate ability to infuse the most tragic stories with open-hearted empathy without ever being manipulative. Roofman keeps to that very standard, even while changing gears creatively, as this is, refreshingly, much lighter than his previous projects. Cianfrance tackles the numerous contradictions of its real-life subject with a mostly successful balance of humour and melancholy, one that plays to Channing Tatum’s strengths as a performer, both internally and physically. Add in some solid chemistry with Kirsten Dunst (always great), and you’ve got a low-key charmer. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

CYRANO Starring: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., and Ben Mendelsohn Director: Joe Wright JACOB Director Joe Wright’s take on Cyrano de Bergerac may not exactly sweep the Oscars, but Cyrano is an admirable and general success nonetheless. Led by an accomplished performance from the great Peter Dinklage, this musical adaptation does about as well as it can do despite the reservations present in the craft of it. Almost everyone sings well enough for their own part, though the music itself is not especially great. However, there is much bravado in the filmmaking, so we’re left with something engaging but largely unremarkable. That said, this may be the best Haley Bennett has ever been. ADRIANO Cyrano is excellent, except when it isn’t. There are definitely moments of excellence. The “Overcome'' musical number is genuinely jaw dropping, and I did enjoy the film’s love story (Peter Dinklage is an absolute marvel). That said, while it does pick up in the second act, the first act drags. A lot of the time, the script gets in its own way in terms of telling a cohesive narrative. Much of the music is kinda bland too (though, not all of it). Overall, not bad, but not great either.

NEW LIFE Starring: Sonya Walger, Hayley Erin, Tony Amendola, Ayanna Berkshire, Nick George, Blaine Palmer, and Betty Moyer Director: John Rosman QUENTIN Knowing nothing more about New Life than it’s a “horror thriller,” the first 45 minutes of this 83-minute indie left me wondering, “how is this horror?” In the early goings, it’s a fairly standard manhunt movie with few thrills and no attempts at scares. Frankly, I was starting to mentally check out, which is when the horror elements finally kicked in. They are, admittedly, visceral and well done, but it was hard for me to re-engage after my interest had already waned. I’m somewhat curious if it would be better on the rewatch, knowing what I know now, but not curious enough to find out. KATIE After being initially intrigued by the premise, I was ultimately disappointed by New Life . It is not so much a “slow burn” as it is boring with odd pacing, and although the sudden switch to horror in the second half has good practical effects and re-engaged my attention, it is quite jarring. I didn’t find the performances convincing, nor did I understand or emotionally resonate with the point it is trying to make, which I assume is something about facing adversity or accepting the inevitable. Overall, the film had a lot of potential that it didn’t deliver on. PAIGE Although the first half of New Life plays out like a mysterious manhunt, the movie has an unexpected and surprisingly intriguing twist that switches the tone of the movie from thriller to something entirely different. Even though those modifications make the story slightly more entertaining, they don’t elevate the underwhelming narrative. I had already checked out by the time the twist occurred, and the story just never accumulated enough momentum to satisfy my interest. However, I will admit that its practical effects are pretty terrifying for an indie movie on a shoestring budget.