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VENOM: LET THERE BE CARNAGE Starring: Tom Hardy, Woody Harrelson, Michelle Williams, Naomie Harris, and Reid Scott Director: Andy Serkis AMARÚ Venom: Let There Be Carnage is... not good. In fact, it’s so bad that it gains a designation I give very few movies: stupid. It relegates Oscar-nominated actors to one dimensional caricatures spewing awful puns (someone please save Naomie Harris), while portraying two of Marvel's most vicious villains as neutered parasites in nonsensical love stories (one of which is Eddie (Tom Hardy) and Venom (also Hardy)). Andy Serkis’ direction is a hodgepodge of chaos trying to find cohesion in a story without any. Aside from The Spirit , this may be the worst comic book movie I've ever seen. ADRIANO Though it's not saying much, Venom: Let There Be Carnage is at least better than the first one. It definitely amps up the silliness, making it feel a little more self-aware and, in the process, more enjoyable overall. The main reason is the hilarious back-and-forth between Venom and Eddie Brock (a fully committed Tom Hardy). Still, the movie isn't good. Its terrible script and mismatched tones make the film unjustifiably entertaining, but also very sloppy. To put it simply, the mid-credit scene is better than the movie itself. JACOB Perhaps I’m jaded when it comes to the Venom franchise, but I don't understand why this sequel is getting more love than its predecessor...Or any at all for that matter. Effects-wise, it's nothing special. Direction-wise, it's quite bad. Writing-wise, it often borders on abhorrent. It moves far too quickly with little rhyme or reason, and the good parts are over so quickly and are so inconsequential that it’s as if they were never there. Being self-aware is one thing, but using it in lieu of good storytelling is another thing entirely. Tom Hardy, Woody Harrelson, and Michelle Williams deserve better. QUENTIN Let There Be Carnage is bound to be divisive amongst fans of the comic versions of Venom and Carnage. Just so you know, you should go into this movie expecting a black comedy horror experience by way of the superhero genre because it has more in line with The Frighteners than any Marvel movie. Intentional or not, it’s downright hilarious. I laughed out loud at the Venom-Eddie Brock (Tom Hardy) repartee more than anything else I saw this year, and you will miss out on the bonkers fun to be had if you’re expecting a pseudo-serious take on the characters.

A REAL PAIN Starring: Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyiawan, Liza Sadovy, and Daniel Oreskes Director: Jesse Eisenberg KATIE A Real Pain is charmingly funny and artfully written, with a quick-witted script that is driven by the endearing dynamic between writer-director-star Jesse Eisenberg and Kieran Culkin, who brings his lovable, signature nervous energy to the role. They are a compelling double act with perfect comedic timing, but the film is also emotional and thought-provoking, exploring mental health, the weight of history, and the difficulties found in supporting and understanding those closest to us. Overall, A Real Pain is a tender, dryly funny, indie drama with a scene-stealing performance from Culkin. ADRIANO After his first film was a huge pretentious miss for me, writer/director/star Jesse Eisenberg steps up big time with A Real Pain . While his direction is nothing extraordinary, his writing gives way to a funny and emotionally cathartic odd-couple dramedy that gives us two very memorable characters and a beautiful examination of generational heritage and familial trauma. While Eisenberg's performance is excellent, Kieran Culkin gives a groundbreaking turn that plays to his strengths, hiding a deep and heartbreaking reality under the surface. Honestly, the more I digest A Real Pain , the more I fall for it. PAIGE A Real Pain is a significant improvement for Jesse Eisenberg’s second crack at the director’s chair. Although its screenplay tends to tell you how the characters are feeling instead of just showing you, at least Eisenberg’s words on the page and Kieran Culkin's tour de force performance capture a raw honesty about grief and how we carry our inner turmoil in such a humane way. Their (Eisenberg and Culkin) yin-and-yang character dynamic throughout this buddy road trip, while complicated, is endearing, and is what ends up truly holding the movie together. QUENTIN Considering I’ve never been a huge fan of Jesse Eisenberg’s schtick, I went into A Real Pain with meager expectations despite the awards buzz. With that in mind, I suppose it’s fine. Eisenberg does, in fact, do his typical thing on screen, and nothing about his direction is particularly ambitious. However, I will give him credit for the screenplay, which plays subtle-but-never-“hilarious” (as it has often been hailed) humor against melancholy sadness extraordinarily well. It’s just that watching this potentially great story being performed on screen by Eisenberg and Kieran Culkin (doing his typical thing, for which, mileage may vary) just didn’t move me. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.

THE FANTASTIC FOUR: FIRST STEPS Starring: Pedro Pascal, Vanessa Kirby, Joseph Quinn, Ebon Moss-Bachrach, Julia Garner, and Ralph Ineson Director: Matt Shakman NICK The Fantastic Four have always been a bigger deal in the comics than film, but Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn are here to change that. This cast brings new light and tremendous chemistry to the MCU as the definitive version of Marvel's first family. The visuals are on point - especially when the team uses their powers, which is smartly never overdone. Also, if I’m being honest, although the heavy focus on the themes of parenthood, companionship, and purpose masks a fairly simple story, it was just nice living in a world in peril with no Avengers to save it. AMARÚ First Steps blazes a breakneck pace, and ironically, it’s a beautifully turbulent second act action sequence that settles it into its heartfelt story. Marvel’s first family is introduced with a TV special cold open that never transitions out of montage-like editing, even after the special presentation ends. So many real-time scenes leave out crucial lived-in seconds between cuts, and make it hard to fully breathe in their lovely chemistry. Don’t worry, we finally have our family, as the foursome is portrayed magnificently grounded, especially an emotionally resonant Vanessa Kirby. But director Matt Shakman let down a fantastic film with his poor cutting room decisions. QUENTIN I’ll do my best not to make the obvious pun, but First Steps is the best “solo” MCU movie since Ragnarok . I base that on two main drivers: 1. the 60s retro-futuristic production design does a lot of heavy lifting, as it makes for perhaps the freshest experience of the entire MCU; and 2. I never read Fantastic Four comics, so it’s the first superhero movie, Marvel or otherwise, in a long while that created genuine suspense since I didn’t know exactly where the story was headed. Couple that with excellent casting and little-to-no fat in the script, and you’ve got something…uh…fantastic. Damn, almost made it. ROBERT People always complained that the Fantastic Four was a comic property not built for a live-action adaptation because the team was too weird. I mean, I ride for the Tim Story iterations, but they aren’t “good” by any stretch. However, Matt Shakman and Kevin Feige put forth a gorgeous effort with First Steps as it is visually breathtaking and emotionally grounded in the inner machinations of a family with cosmic abilities. Even at its cheesiest or most outrageous, I was never phased because the personal dynamics of the four leads were so strong, and the cool factor of our villains never waned. I cannot wait for their addition to the Avengers at large, or for another team endeavor. KATIE I found watching The Fantastic Four: First Steps to be a fruitless experience. The retrofuturistic style is fun, but it is overshadowed by the distracting CGI, which makes it murky and dulls the vibrancy overall. It lacks any tension, which I wouldn't have minded if the characters were compelling, the visuals were appealing, or the cast had any chemistry. At this point, I don’t know if I can truly enjoy Marvel films anymore, since I’m always aware that characters will return in future installments in the franchise, so it feels like they don’t even attempt to build suspense. ADRIANO As the resident Marvel detractor, I have mixed feelings about The Fantastic Four: First Steps , but I lean positive. The four main actors (Pedro Pascal, Vanessa Kirby, Joseph Quinn, and Ebon Moss-Bachrach) are great, and the retro aesthetic is visually pleasing. Yet right after a visually remarkable sequence, I noticed it all started to feel narratively chopped up. Plot lines and character beats set up in the first half were rushed to an unfulfilling conclusion, making it all feel like a wash. When it finished, despite some good elements sticking out, this was a case of been there, done that. BODE Everyone knows that the Fantastic Four have had a rough go when it comes to their big screen escapades, so the pressure was on for the MCU to deliver a version that would feel definitive to those who hold these characters dear. First Steps is certainly the best attempt, but that’s basically by default. While an Interstellar -inspired first half promises something bold and exciting, it later settles into a plot-driven rhythm that’s atypical of this franchise, lessening some of the fun that was initially present. It still passes the time decently enough, but not much more than that. Want to hear even more of our thoughts? Nick, Amarú, and guest Jeannine Brice join Matt to take A Bigger Bite out of The Fantastic Four: First Steps HERE .

SUZE Starring: Michaela Watkins, Charlie Gillespie, Sara Waisglass, Aaron Ashmore, and Rainbow Sun Francks Directors: Dane Clark and Linsey Stewart PAIGE Suze is a straightforward tale of personal growth, but it does a wonderful job of striking a balance between drama and humor. It glosses over some of its deeper emotional beats, but still manages to be a funny and somewhat unexpectedly touching movie, mostly because of the fantastic chemistry between our two leads, Charlie Gillespie and Michaela Watkins. The most delightful aspect of this film is their improbable friendship due to their ages. Suze is an all-around lighthearted and charming film that will warm your heart. KATIE I don’t think Suze is quite as wholesome as it thinks it is. The film relies on the dynamic between Suze (Michaela Watkins) and Gage (Charlie Gillespie), and whilst they each give good performances with a sufficient number of heartwarming moments between the two, I found that some of the emotional beats fell flat. I also struggled to empathise with Suze individually - let's just say I disagreed with her parenting style. Nonetheless, Suze is an easy watch with some funny and touching moments that luckily does not overstay its welcome.

FIRESTARTER Starring: Ryan Kiera Armstrong, Zac Efron, Gloria Reuben, and Kurtwood Smith Director: Keith Thomas PAIGE What’s the saying, “if you play with fire, you’ll get burned?” For the remake of Firestarter , that statement is very much true. It has no spark of life or purpose, failing to rise to even its moderate potential. The film needs more plot to give us just a sliver of an emotional connection to its characters, and don’t get me started on how poor the fire visual effects are. The only thrilling thing about this flick is John Carpenter's score, but not even that could save this movie from the flames. JACOB Despite an intriguing premise, Firestarter can’t be bothered to follow through on a single idea it presents across its 94-minute runtime. Each time the film finds a new direction to follow, it abruptly shifts in tone and cadence, trying to be everything but committing to nothing. Is it a superhero movie? A domestic thriller? A horror film? These questions are never answered, and poor Zac Efron can’t seem to catch a break as his tentpole hopes are once again dashed. Inconsistent characterizations and vague gestures at genre commitment can’t save something this underdeveloped.

VENOM: THE LAST DANCE Starring: Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Stephen Graham, Peggy Lu, Clark Backo, Alanna Ubach, and Andy Serkis Director: Kelly Marcel AMARÚ The Last Dance might be the best of the Venom trilogy, as easy as that is, but it’s still a predictably stupid, exposition-filled, macguffin-heavy, surface-level movie. Yet, even with all that…and I can’t believe I’m saying this…I kinda enjoyed it. The new cast members cared about their stereotypical roles (especially an always invested Chiwetel Ejiofor), there’s only one irredeemably dumb scene whereas the remaining silliness has some heart, and the action is surprisingly intense. Enough so, that even with its weirdly flat ending, I found the fun Tom Hardy seems to really have in making these films. ADRIANO While I was never a fan of the Venom movies, The Last Dance is a new low. The previous two films had an (almost) entertaining self-awareness, but aside from some silly bits from time to time, this movie takes itself bizarrely seriously. It tries to deepen the relationship of its central characters, but it falls flat with sloppy action and an exceptionally large amount of exposition. And the ending is laughably bad. You can say I don't know how to have fun all you want, but this is yet another soulless 2024 comic book movie that wound up a disaster. QUENTIN Objectively speaking, as a superhero movie, The Last Dance isn’t great. It’s bogged down with an absurd amount of exposition, plot holes you could drive a truck through, an in-name-only and mostly faceless villain, generic end-of-the-world stakes, and a CGI-laden finale that is so poorly done that it’s hard to see what is even happening. All that said, I would watch Venom and Eddie (Tom Hardy) bicker and banter for 10 more movies. Their dynamic makes for a delightful bromantic comedy, and I genuinely laughed out loud more watching this than I have at most every other comedy this year. It’s the definition of dumb fun.

THE KITCHEN Starring: Kane Robinson, Jedaiah Bannerman, Hope Ikpoku Jr., Teija Kabs, Demmy Ladipo, Cristale, BackRoad Gee, Rasaq Kukoyi, Reuben ‘Trizzy’ Nyamah, Henry Lawfull, Alan Asaad, and Ian Wright Directors: Kibwe Tavares and Daniel Kaluuya PAIGE While The Kitchen exposes the housing crisis and demonstrates the meaning of “found family” through community in a somewhat original manner, the actual narrative of this lo-fi, dystopian flick is presented in an uninteresting way. The grounded story is such a slow burn that it doesn’t do enough with its concept to allow it to come entirely to fruition. Overall, The Kitchen has potential and promise; its ideas just aren’t fully explored. I'm hoping co-director Daniel Kaluuya learns from the storytelling mistakes made here. QUENTIN While I want to give credit to first time feature directors Kibwe Tavares and Daniel Kaluuya, it’s a hard ask given how incredibly boring The Kitchen is. It’s the slowest of slow burns, and no amount of impressive world-building and timely themes can help a story that mostly meanders about for a very long 107 minutes. Also, Netflix is billing this movie as sci-fi, which…I guess, if only going by the very loosest of genre definitions. Tavares and Kaluuya show some technical promise behind the camera, for sure, but Kaluuya, who also co-wrote the script with Joe Murtagh, needs to work on his storytelling abilities. KATIE The Kitchen is less a sci-fi thriller and more of a social-realist dystopian drama that I nevertheless found emotionally engaging and exciting. The film paints a different but eerily similar portrait of a near-future Britain, like a chilling cautionary tale that highlights the issues already existing within the system, which is underscored by compelling emotional drama. Although the story gets lost at times, it is redeemed by impactful performances from Kane Robinson and Jedaiah Bannerman, as well as the impressive way in which co-directors Daniel Kaluuya and Kibwe Tavares portray the solidarity and vibrant energy of the close-knit community of The Kitchen.

THE PIANO LESSON Starring: Samuel L. Jackson, John David Washington, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith, Danielle Deadwyler, and Corey Hawkins Director: Malcolm Washington NICK What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers , Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue! ADRIANO The Piano Lesson sports an incredible ensemble of actors giving it their all, especially Danielle Deadwyler, who carries the movie every time she's on screen. Sadly, that ensemble is the film's brightest spot because, overall, I found the film to be pretty messy. It isn't awful, and unlike previous August Wilson adaptations (Fences and Ma Rainey's Black Bottom ), director Malcolm Washington gives this more liveliness than a stagey feel. However, its themes of legacy and family are so lost in the film's many subplots that once the film reached its resolution, I didn't feel anything. AMARÚ The Piano Lesson is an actor’s showcase that puts director Malcolm Washington’s visual eye on full display in his feature debut. His intimate use of lighting and framing takes another August Wilson play that slightly suffers from being acts put to screen instead of a cinematic screenplay, and keeps your eyes fully focused on the talent relaying those lines. Its strong themes of legacy, history, and family are carried by a forceful ensemble and a chilling score, and even though I watched a play inside a television set, I also saw great actors do what they do. That alone was worth the watch. KATIE I was not surprised to learn that The Piano Lesson is an adaptation of a play since it’s very stagey without feeling cinematic. I was painfully aware that it takes place in a singular setting, which was exacerbated by the uneven pacing, misplaced score, and many lengthy monologues. I find that John David Washington usually lacks emotional range, but here he is almost too animated, especially compared to the other, more grounded yet impactful performances. Together with the many competing subplots, The Piano Lesson succeeds in showcasing some great actors, but it failed to grip me in any meaningful way. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HOW TO BLOW UP A PIPELINE Starring: Ariela Barer, Kristine Froseth, Lukas Gage, Forrest Goodluck, Sasha Lane, Jayme Lawson, Marcus Scribner, Jake Weary, and Irene Bedard Director: Daniel Goldhaber NICK Every year, there is an underrated title that makes a name for itself during TIFF that was on relatively no one's radar beforehand. In 2022, that film had to be How to Blow Up a Pipeline . This is a heist film with a personalized feel, not just because of the motives, but the formatting and the way it follows each individual's story. Its grittiness makes it feel like a documentary, and it does an excellent job of building tension. This may have been an under-the-radar film entering the festival, but I think a lot more people are going to know of this film now. ADRIANO How to Blow Up a Pipeline was one of the best hidden gems I saw at TIFF last year, and it captivated me from the get-go with its engaging premise and tense tone. The characters are very well-written, with each actor playing their part perfectly. They work off each other excellently, which makes it hard for me to pick a standout. But what’s most striking is the film’s daring message: is civil disobedience okay when it comes to the pursuit of environmental justice? It’s something that has stuck with me long after the film’s credits rolled. QUENTIN I’ve seen a lot of descriptions for How to Blow Up a Pipeline include the word “heist.” While I guess I can see the similarities (ragtag group of people planning an operation), this is decidedly not a heist movie. Whether you believe in the characters’ cause or not, you’re essentially watching a terrorist attack come to fruition. For me, that made it hard to relate to or root for these characters, especially since it takes a very one-sided approach. I appreciate the gritty, almost documentary feel, but overall, this movie just didn’t resonate with me because I don’t support the general message. JACOB There isn’t likely to be a film released this spring that sparks more essential discussion amongst audiences than How to Blow Up a Pipeline . An incendiary thriller from its outset, the film immediately throws the viewer into the thick of a solid ensemble cast as it barrels full speed ahead, daring to posit that civil action does not yield true justice. The structure occasionally works against the film, and I wish the discussions of the central task’s potentially unintended consequences cropped up more, but beyond that and some further understanding of certain characters, there’s little else that doesn’t fully work. PAIGE How to Blow Up a Pipeline ’s screenplay is riveting, and it explodes with intriguing thoughts on taking matters of justice into your own hands; in this case, as it pertains to the surreal climate crisis we are actually facing. The film is beautifully shot in grainy 16mm, and it has a compelling ensemble cast that makes you feel fully invested in their cause, whether it’s right or wrong. The film’s subject matter is complex and messy, yet it still manages to feel poetic. It’s a lean and gripping indie film that shouldn’t fly under your radar. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE GARFIELD MOVIE Starring: Chris Pratt, Samuel L. Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillén, and Brett Goldstein Director: Mark Dindal AMARÚ The Garfield Movie is only a movie because it has “movie” in the title. Maybe they thought if they made us say “movie” enough, it would pass as one instead of the collection of montages, flashbacks, product placements, unfunny jokes with big words, and obligatory Snoop Dogg cameo in a cat “movie” that it is. I don’t even care if that’s a spoiler. You can’t spoil scenes, lines, and music you’ve seen in millions of other children’s movies. The montage of real cats and dogs in the credits was more enjoyable. Odie, however, is always a good boy. ADRIANO I'm tired of hearing the excuse "it's just a kid's movie" when it comes to films like The Garfield Movie . Yes, kids will enjoy this, but I've seen kids' movies with more to offer than many “adult movies.” The Garfield Movie reeks of studio-mandated slop that panders in many outdated ways, and if not for a couple of pretty funny visual gags, I would've been miserable the whole time. From the product placement to Chris Pratt being miscast to the nonsensical heist plot that Garfield becomes lost in, this feels like Sony Pictures Animation learned nothing from The Emoji Movie .

T BIRD Starring: Trevor Simms, Tom Sizemore, Andy Dick, Bas Rutten, Isabella Racco, Derek Warburton, Don Harvey, Mikaylah Jo-Mae, and Troy Rettino Director: Trevor Simms QUENTIN Although the pacing could have been better, T Bird proves to be a surprisingly effective redemption tale. The day-in-the-life approach to the drug-addled and discarded-by-society T Bird (a weirdly charismatic Trevor Simms) provides incredibly covert character development, so by the time the actual narrative kicks in, you’re fully invested. Simms, who also co-writes and directs, (seemingly) uses a shoestring budget and guerilla filmmaking tactics to portray Los Angeles’ homeless community in a way that is so grounded and grimy you can nearly smell the stench. It’s quite remarkable, and often reminiscent of director Harmony Korine, which means that Simms is a filmmaker to keep an eye on. KATIE T Bird is a wild ride. Featuring unpredictable violence, rampant crime, and vigilante justice, it stars (and is written and directed by) Trevor Simms, who plays a homeless man struggling with issues impacting the entire area, as well as his own past. He also is just as self-destructive and unhinged as he is compassionate and righteous. This deeply engaging character is more than meets the eye, taking us on a chaotic journey to get rid of the perpetrators of child exploitation. The film offers a starkly realistic representation of life on the streets of Los Angeles blended with glimpses of genuine human connection and empathy. PRESTON Bum fights, Bas Rutten, L.A. riots, gold teeth, Bruce Lee, and sweet justice. Now, if those words don’t motivate you to watch T Bird , then I’m not sure why you are reading my reviews. Trevor Simms writes, directs, and stars as a homeless street fighter who becomes an unlikely, self-sacrificing vigilante in order to crush a child trafficking operation. The film features a very realistic view of street life and the difficulties that permeate throughout the community that must endure it. Surprisingly, I found myself rooting for the troubled underdog as he faces his demons and, simultaneously…umm, saves the day?

HURRY UP TOMORROW Starring: Abel Tesfaye, Jenna Ortega, and Barry Keoghan Director: Trey Edward Shults ADRIANO After his performance in The Idol was destroyed, you'd think Abel Tesfaye would try to evolve; however, judging by the ego-fueled vanity project that he co-wrote, Hurry Up Tomorrow , he learned nothing. He's just awful, especially against Jenna Ortega, who's actually quite good. His performance aside, Tesfaye's narcissistic fingerprints are all over this, playing with psychedelic imagery and genre turns that feel purposeless and at odds with director Trey Edward Shults' previous use of those techniques. It feels like it exists mostly to sell an album, but also to fuel a self-image hidden by phony self-reflection. It's simply terrible. BODE On his album Hurry Up Tomorrow , Abel Tesfaye attempts to retire his alter ego, The Weeknd, for good, reflecting on his own fame, pain, and healing through vulnerable lyrics and blockbuster production. It’s effective, if a tad bloated. The same can’t be said about its companion film, where director Trey Edward Shults’ technical artistry can’t distract from its failure to add more context to its themes, especially when it devolves into Gen-Z Misery (with Jenna Ortega as an Annie Wilkes-type). It’s not a total dumpster fire, but I don’t think that even the most hardcore Weeknd fan will get much out of it.