JACKASS: BEST AND LAST Starring: Johnny Knoxville, Steve-O, Jason “Wee Man” Acuña, Chris Pontius, Dave England, “Danger” Ehren McGhehey, Preston Lacy, Sean “Poopies” McInerney, Zach Holmes, Rachel Wolfson, Davon “Jasper” Wilson, Eric Manaka, and Compston “Darkshark” Wilson Director: Jeff Tremaine ADRIANO You know exactly what you’re getting into with Jackass: Best and Last, and it’s as hysterical and bizarrely endearing as ever. The undercurrent of melancholy about this being the final ride, especially in the few moments Johnny Knoxville gets emotional, made me emotional. Admittedly, the fact that a large chunk of the footage comes from past movies is disappointing, but Jackass is Jackass at the end of the day. It’s gross and wholesome, and with the right crowd, it’s hard to fail. These guys got the last hurrah they’ve earned, and I’ll miss them dearly. QUENTIN That perfect rating may shock you, but it’s very specific to the context of what Jackass is. For me, it's the epitome of a “hangout show,” and Best and Last delivers everything a final Jackass movie should. There are new stunts, unseen footage from as far back as 1998, and classic clips from the franchise and its spinoffs, some of which I hadn’t seen in almost two decades. And, of course, there is the tear-creating laughter, gross-out cringe, genuine emotion, and nostalgic feeling of attending a class reunion. All that is to say, it’s not a perfect movie writ large, but it is a perfect Jackass finale. NICK Considering Johnny Knoxville, Steve-O, and the rest of the original gang are in their fifties, I knew Jackass: Best and Last wouldn’t be all new material. That said, there are enough fresh stunts to satisfy fans of the franchise between moments of reminiscing about the past 25+ years. You get plenty of laughs, shocking moments, and a fair amount of disgust, but you also get to see what it all meant to these guys. It’s oddly emotional, and while this final film may not be the series’ best, it's clearly the last as we come to the end of an era that I still can’t fully explain. AMARÚ Man, did I grow up at the best time in history because the 90s and 2000s were an absolutely hilarious and wild time. Jackass: Best and Last epitomizes the fearlessness, creativity, camaraderie, and idiocy that every nostalgia-bait reboot, remake, sequel, and re-quel has been looking to capture for the past 15 years. It’s a great combination of tribute and sendoff, with an emotional core that roots itself in friendship. And what else is friendship than getting together with your besties and doing dumb shit?! That was Johnny Knoxville and the crew, and a big salute to Jackass . BODE By the design of the film itself, Jackass: Best and Last feels less like a proper mainline entry in the franchise and more like a “.5” that snuck its way into theatres, with half of it being a glorified clip show (hence the “Best” of its subtitle). But those classic bits are classic for a reason, so I certainly wasn’t upset seeing them on a big screen. And luckily, there’s enough solid new stuff and unaired footage that makes hanging out with these guys one last time worthwhile. It’s an endlessly funny, genuinely shocking, and sweet sendoff. KATIE My rating may seem generous for Jackass: Best and Last , but it undeniably delivered everything I could possibly want from the final Jackass movie. With a mix of new stunts and never-before-seen archival footage together with the gang reminiscing about old times and getting emotional at the prospect of it coming to an end, it is the perfect finale for the franchise. It's genuinely wholesome and heartwarming, but doesn't scrimp on being impressively disgusting. It was fantastic to see some of their most insane stunts on the big screen, and despite being in their 50s, the new ones are just as gross and hilarious, and I laughed pretty much throughout.

THE WONDERFUL STORY OF HENRY SUGAR Starring: Benedict Cumberbatch, Ralph Fiennes, Dev Patel, Ben Kingsley, Rupert Friend, and Richard Ayoade Director: Wes Anderson QUENTIN Full disclosure: I’m not a Wes Anderson fan. I find his work to be style over substance, resting entirely on his personal brand of twee whimsy, candy-colored pastels, and hipster aesthetics. So, it should come as no surprise when I say that I hated The Wonderful Story of Henry Sugar . Even at just 38 minutes, it was painful to endure. The actors don’t so much give performances as they are reading Roald Dahl’s story to you, complete with fourth-wall breaks, acting it out in the way you might act out a bedtime story for your kids. Meanwhile, Anderson bludgeons you to death with his trademark style. KATIE The Wonderful Story of Henry Sugar is director Wes Anderson doing what he does best for just shy of 40 minutes. It’s sharp, meticulously designed, and the starry cast perfectly delivers the dry, witty dialogue in Anderson’s signature style. Roald Dahl’s distinctive authorial voice, alongside the fact that the source material is about storytelling, marries perfectly with Anderson’s unique aesthetic and habit of drawing attention to the artifice of filmmaking. Whereas I found this approach irritating in some of his previous films, mostly in The French Dispatch , it’s delightful in this case, emphasizing the quirky, whimsical nature of the story. PHILL Wes Anderson films often feel akin to watching a stage play as opposed to more conventional films, and The Wonderful Story of Henry Sugar takes that idea even further. This is almost like watching a picture book come to life. The dialogue is rapid even by Anderson standards, and the movie is filled with his usual thematic fashion of pastel-coloured symmetrical shots, not to mention the entertaining performances. Still, whilst very enjoyable, it’s a far cry from being Wes Anderson’s best work. It’s too fast and too quirky for its own good, often feeling like it is trying to speedrun the Roald Dahl story. CALEB The Wonderful Story of Henry Sugar is a delightful way to spend forty minutes. Unsurprisingly, director Wes Anderson and author Roald Dahl are a match made in heaven. Nearly everything about Anderson’s signature style compliments the fantastical source material: the dry wit, the whimsy, the dollhouse aesthetic…it all works perfectly in tandem with Dahl’s story. The whole cast does a good job too, but Dev Patel particularly stands out, easily providing the most entertaining performance here. Henry Sugar is a fun, thoughtful little story, and an easy recommendation for Wes Anderson and Roald Dahl fans alike. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

THE SURVIVOR Starring: Ben Foster, Peter Sarsgaard, Vicky Krieps, John Leguizamo, and Danny DeVito Director: Barry Levinson QUENTIN Structurally speaking, The Survivor is a mess. The non-linear storytelling throws the pacing and narrative momentum way off, while the third act feels like it was added from an entirely different movie. The echoes of Schindler’s List don’t make it a pleasant watch either, even as it sprinkles in some uplifting elements too. The film is just really disjointed, all around. That said, the perpetually underrated Ben Foster gives an excellent performance, maybe the best of his career, as both the emaciated Auschwitz prisoner and beefy professional boxer that was Harry Haft (complete with a Raging Bull -esque physical transformation). He deserves some recognition. JOSEPH We rarely see the lives of Holocaust survivors on film, but The Survivor changes that. In an Oscar-worthy performance, Ben Foster portrays real-life survivor Harry Haft through multiple decades of his life. The horrors experienced by Haft are shot in black & white and give context to his post-Holocaust struggles in the United States. He’s a broken man, suffering from PTSD and unable to truly speak about it or move forward. The film can feel a bit long, but I think the back-and-forth between time periods helped maintain my interest. It’s a heavy film that hopefully will not be forgotten come awards season.

SONIC THE HEDGEHOG 2 Starring: James Marsden, Ben Schwartz, Tika Sumpter, Natasha Rothwell, Adam Pally, Shemar Moore, Colleen O’Shaughnessey, Lee Majdoub, Idris Elba and Jim Carrey Director: Jeff Fowler AMARÚ Like the first one, Sonic the Hedgehog 2 delivers something that movie-going parents have always wanted: a light, brightly colored popcorn movie for the kids that won’t make Mom & Dad want to kill themselves. Equal parts silly and charming, each and every performer is committed to the good times, especially Natasha Rothwell and Idris Elba (voice of fan-favorite Knuckles). There are some plot lines that are overdrawn, but adult viewers will feel 10 years old again while watching this film. If you can, try to catch it in a child-filled theater because the cheers will have you thinking you’re watching Avengers: Endgame . ADRIANO If you liked the first one, you’ll like Sonic the Hedgehog 2 . It has a lot of the same charm and fun times that the franchise starter had, yet takes them up a notch. Jim Carrey is, once again, a delight, although he does sometimes go into “How do you do, fellow kids?” territory. Ben Schwartz is still a great voice for Sonic too, but Idris Elba is flat-out hysterical as Knuckles. Some of the human elements are pretty laughable (there’s a plot twist in the movie that’s actually atrocious) and it shouldn’t have been this long, but overall, it’s pure dumb fun. JACOB While I’m still unsure whether I would call it a “good” movie, Sonic the Hedgehog 2 is better than the grossly overrated mess that preceded it. The action is more coherent, the last 20 minutes work pretty well for fans, and it’s visually far more interesting. Unfortunately, it’s still plagued by the things that didn’t work last time, and they work even less here. No human characters actually do anything interesting, but the movie insists on spending way too much time on their terrible subplot. And none of the jokes land either. It’s definitely an improvement, but it’s marginal at best.

RED ROCKET Starring: Simon Rex, Bree Elrod, Suzanna Son, Ethan Darbone, Brenda Deiss, and Judy Hill Director: Sean Baker ADRIANO Red Rocket is easily one of my favorite movies of the year. Co-writer/director Sean Baker continues his wonderful winning streak of making compelling and nuanced examinations of lower-class America, this time including a very funny character study and some genuinely unexpected turns. Simon Rex is remarkably good in this, nailing every single beat of his character perfectly, which allows the viewer to root for him despite his flaws. While Baker’s slow-moving nature can be tedious for some, the movie is entertaining enough that I can see most everyone having a fun time with this at the very least. JACOB Relative to talent, co-writer/director Sean Baker is perhaps the most undervalued indie filmmaker working today, and Red Rocket only further confirms that notion. This tale of a down-and-out pornstar wreaking havoc on the lives of those around him is one of the year’s best films and perhaps a personal best for Baker himself. An absorbing embodiment of charming toxicity and unbridled ambition, Simon Rex’s lead performance as an asshole one can’t help but love is electrifying. Special attention should also be paid to Suzanna Son’s excellent supporting turn in her feature film debut - that kid is going places.

ELEANOR THE GREAT Starring: June Squibb, Erin Kellyman, Chiwetel Ejiofor, Jessica Hecht, Will Price, and Rita Zohar Director: Scarlett Johansson AMARÚ If we can keep having June Squibb-led, first-name-titled films for as many years as possible, I wouldn’t mind. After 2024’s action-packed nonagenarian romp Thelma , Eleanor the Great shifts gears for Squibb in a touching look at friendship, grief, and aging that showcases how her impeccable range can tackle multiple genres without missing a beat. She’s sassy, funny, and quick-witted while presenting a vulnerability accentuated by great chemistry with an equally touching Erin Kellyman. Hasty editing and abrupt tonal shifts sometimes dampen the desired emotional impact of this unique story, but its heartfelt performances still make this a solid directorial debut for Scarlett Johansson. ADRIANO How does Scarlett Johansson fare in her directorial debut? Considering Eleanor the Great is mostly directed like a sitcom, I'd say she has some wrinkles to iron out. That said, it's watchable. June Squibb keeps this afloat with a charming and emotionally effective performance. The writing I have mixed feelings about. In some moments, I found it funny and endearing; however, I don't know if writer Tory Kamen found the correct balance of moral ambiguity and charming crowd-pleaser. I don't think Eleanor the Great hit the marks it was striving for, but I was still left somewhat happy with it.

HOW TO HAVE SEX Starring: Mia McKenna-Bruce, Laura Ambler, Enva Lewis, Samuel Bottomley, and Shaun Thomas Director: Molly Manning Walker ADRIANO In the beginning, How to Have Sex presents us with a lucid and fun coming-of-age sex comedy, and a very energetic one at that. Eventually, however, the film takes a drastic turn into a fascinating study of modern hook-up culture and the dynamic young women have when approaching it. In her feature debut, writer/director Molly Manning Walker announces her arrival to the scene with devastating nuance and astounding visuals. The film also features a performance that I hope turns Mia McKenna-Bruce into a star. How to Have Sex is a stomach-turning accomplishment that must be seen to believe. PAIGE How to Have Sex is one of the most honest and accurate depictions of young adult rebellion, the impacts of peer pressure, and the blurred lines of sexual consent that I’ve seen. This evocative coming-of-age tale surprised me by being incredibly relatable and genuine. I attribute this to director Molly Manning Walker and the cast's authentic performances, especially that of Mia McKenna-Bruce, who is definitely someone to watch. And while the film overall would have benefited from better writing, its realistic portrayal is what will draw you into this story. KATIE How to Have Sex is a powerfully raw film, driven by the extraordinary turns from its young cast. Director Molly Manning Walker explores the nature of consent, complicity, and societal pressures on young girls without ever treading into exploitative territory, and sensitively yet realistically tackles the issues from the protagonist Tara’s (Mia McKenna-Bruce) perspective. Despite Tara’s inability to articulate her experiences, her emotional battle is shown through her impeccable performance as well as the amazing use of sound, lighting, and poignant cinematography. After this triumph and having been the cinematographer for last year's Scrapper , I cannot wait to see what Walker does next. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

DESPICABLE ME 4 Starring: Steve Carell, Kristen Wiig, Pierre Coffin, Joey King, Miranda Cosgrove, Stephen Colbert, Sofía Vergara, Steve Coogan, Chris Renaud, Madison Polan, Dana Gaier, Chloe Fineman, and Will Ferrell Director: Chris Renaud AMARÚ Despicable Me 4 has some of the best animation Illumination Studios has released to date. After that, it’s the silliness you’d expect: Minions, memes, and lots of bodily function jokes. Gru’s (Steve Carell) three kids (now four) are still adorable, and the Minions are still fun mayhem, but this is the first time a franchise entry has felt more like an amalgamation of a bunch of TV episodes than a movie. Towards the end, one plotline takes center stage, allowing the film’s heart to shine a bit more, but make no mistake…this is a fourth-time diluted version of a just-ok animated series. ADRIANO Despicable Me 4 is another Despicable Me movie. Take that as you will. If you liked the other three, you'll be into this one. Me? I enjoy it as a shut-your-brain-off kind of movie, well aware that it's made for literal babies. It's got some funny slapstick and heart, but most of the jokes are pretty obvious. Plot-wise, for a 90-minute movie, there is a wild amount of time fodder and non-sequiturs that amount to not much. Kids are gonna fall in love, and adults won't hate it, but they won't think anything of it either.

CAUGHT STEALING Starring: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, and Carol Kane Director: Darren Aronofsky ADRIANO I don't know what happened to Darren Aronofsky, but this is not the guy who directed Requiem for a Dream . With Caught Stealing , Aronofsky ditches his typical dourness for a wild crime comedy akin to After Hours . I wish the story wasn't as messy as it is and that it didn't try to juggle so much, but the camera and sound work give this a unique kind of energy. Meanwhile, Austin Butler shows a new and interesting side to his leading-man abilities. Caught Stealing kept me on my toes for the most part, and that's the mark of any good thriller. AMARÚ Caught Stealing is a quick and dirty chaos cluster. It's quick with energetic pacing, not in its slightly overwrought runtime, but in the tenor and editing that paints the film as director Darren Aronofsky’s version of a Guy Ritchie crime caper. While Ritchie’s romps are fun and rewatchable, Aronofsky’s dark overtones rapidly turn the string of unfortunate events that intertwine the multitude of players surrounding Austin Butler’s Hank into a hard look into the mistakes people try to outrun. So, while the largely talented ensemble is great to watch, the story’s harsh realities make its 107 minutes play like a harrowing, yet entertaining, one-time 2+ hour watch. PAIGE Caught Stealing certainly feels like a throwback to 90s crime thrillers, in that it's occasionally gripping and fun but oddly lacking in stakes. This movie is director Darren Aronofsky’s most accessible and conventional to date, but it’s weightless and uneven, at its best when it drops both the audience and Austin Butler’s (who is great in this, delivering my favorite performance of his yet) character into a tangled web of screwball characters. Overall, Aronofsky’s film delivers when it comes to the entertainment factor, but falls short of having a compelling script. ROBERT The main focus on Caught Stealing is how unlike a typical Darren Aronofsky movie it is; however, while the packaging is different, the heart of it still resembles the core experience: chaos, turmoil, and a sense that everyone’s lives have reached their lowest point. Plus, setting it as a late 1990s caper creates a rich environment of nostalgia without it feeling out-of-time. I have never been an Austin Butler fan, but this film showcases a vulnerability and every man quality that I wasn’t aware was in his arsenal. The cast, while underutilized on occasion, shaded a very colorful world worth exploring. QUENTIN Caught Stealing , easily director Darren Aronofsky’s most fun film, is a shaggy dog crime thriller that falls in line with True Romance , Inherent Vice , and (to a lesser extent) The Big Lebowski . Austin Butler and the sprawling supporting cast do excellent work, and their performances are only enhanced by Aronofsky’s proven eye and high-energy editing. Admittedly, the broad brushes of the story are predictable, but there are smaller, almost superficial twists that are unexpected, which helps to keep viewers on their toes amidst the bloody violence, exciting action, and effective drama. Overall, this is just a damn good time, rooted in rowdy griminess and punk-rock swagger. BODE It seemed shocking that the Guy Ritchie-esque crime caper Caught Stealing would come from Darren Aronofsky, a very different kind of filmmaker. However, looks can be deceiving, and what should be as fun as one of Ritchie’s romps is anything but. Unfortunately, it's never convincingly fun, and the energy is almost non-existent. And since Aronofsky can’t fully escape his dour tendencies, its heavier moments only create tonal whiplash. Austin Butler carries the material as best he can, and the score from composers Rob Simonsen and Idles is a highlight, but otherwise, this is a poor man’s After Hours . KATIE Caught Stealing is an unexpectedly fun crime-thriller that doesn’t pull its punches. It’s exciting, darkly comedic, and full of dynamic camerawork, with a grungy 90s setting that adds a nostalgic vibe. It has a fantastic cast, especially a magnetic central performance from Austin Butler, whose star power shines. However, although it's fast-paced and entertaining, the plot is initially too busy, and later skims over some events a little too quickly without addressing them. I also found some of the violence a little too gratuitous. But, overall, Caught Stealing is easy-to-enjoy entertainment.

PRACTICAL MAGIC 2 Starring: Nicole Kidman, Sandra Bullock, Maisie Williams, Joey King, Lee Pace, Stockard Channing, Dianne Wiest, Xolo Maridueña, and Solly McLeod Director: Susanne Bier KATIE Practical Magic 2 is a predictably disappointing and unnecessary sequel that’s lucky enough to have star talent literally at its disposal. Sandra Bullock and Nicole Kidman are always compelling screen presences, and although their performances are enjoyable, even they struggle to work with what little the script gives them. It’s mechanical, full of contrivances and humour that never quite lands, and the overstuffed plot borders on being boring at times. Plus, there is the audaciously drawn-out ending that proves the runtime does not justify itself. It also does that annoying thing of portraying England and its residents as impossibly quaint and charming. PAIGE The first film holds a special place in my heart, so seeing Sandra Bullock and Nicole Kidman back on screen together — with their chemistry continuing to glow — was lovely to witness. Unfortunately, this sequel is lacking the original's magic. The power of sisterhood takes a back seat to focus more on romantic love and mother/daughter dynamics. That isn’t necessarily a bad thing, but the overall story is a bit overstuffed while also being hollow. Plus, the magic on display is very gimmicky and over the top, leaving the film lacking the original charm the 1998 film had.

HOUSE OF SPOILS Starring: Ariana DeBose, Barbie Ferreira, Arian Moayed, Marton Csokas, Mikkel Bratt Silset, and Amara Karan Directors: Bridget Savage Cole and Danielle Krudy QUENTIN While I find the idea behind House of Spoils intriguing — combining a haunted house story with an exploration of the pressures inherent to running a fine-dining kitchen — writer-directors Bridget Savage Cole and Danielle Krudy fail to intertwine the two concepts effectively. As a culinary drama, its seriousness is undermined by the undercooked horror elements, while as a horror movie, it’s just not scary (not that it tries and fails, it barely tries at all). None of this falls at the feet of Ariana DeBose, though, who gives the best performance she probably could given the script, but this dish should be sent back to the chef. PRESTON House of Spoils did the unthinkable: turned me off of a culinary film. Its half-cooked plot plays out as entirely forced without inducing even the smallest hint of fear. The pacing is excruciatingly slow, the dialogue is stilted, and the acting isn’t great; blame the writing all you want, but it isn’t. Speaking of writing, the bewildering decisions made by our chef (Ariana DeBose) are altogether frustrating and only add to a general sense of confusion surrounding what is going on and why am I still watching? I wish we could have just stayed with Chef Marcello (Marton Csokas), but alas.

MICHAEL Starring: Jaafar Jackson, Colman Domingo, Nia Long, Miles Teller, Juliano Valdi, Kendrick Sampson, Laura Harrier, Larenz Tate and KeiLyn Durrel Jones Director: Antoine Fuqua AMARÚ There’s no denying Michael Jackson’s star-power (Mr. Obvious over here) because even with a cookie-cutter film like Michael , I couldn’t help but get goosebumps watching this slew of greatest hits. Antoine Fuqua’s grand, music-video like direction weirdly mixes well with what’s normally uncanny-valley CGI to enhance the fairytale aesthetic of Mike’s (Jaafar Jackson) world. The casting is outstanding, with Colman Domingo and Nia Long delivering wonderfully, but it’s Jackson who disappears into his uncle. The voice, the moves, the demeanor are all wildly perfect. Too bad the emotional beats were barely grazed in favor of music montages. Maybe the sequel, though. NICK Michael is a coming-of-age story instead of one that spans Michael Jackson’s (Jaafar Jackson) lifetime, focusing heavily on his relationship with his overbearing father (Colman Domingo). The film avoids many of his controversial moments, eschewing that to focus on Michael's rise and undeniable talent. Jaafar Jackson disappears into Michael, not just on stage, but also through showcasing his child-like personality. Yet with no depth in the storytelling and an abundance of musical re-creations, the dramatic moments never hit their desired level. As a celebration of one of the greatest artists of all time, however, it does its job… even if it is a puff piece. ADRIANO In the wave of musical biopics, Michael Jackson was inevitably going to get his story told. Michael is the worst case scenario of safe and generic storytelling. Excising all of the interesting dynamics of Jackson’s life (played to an occasionally reincarnated degree by Jaafar Jackson), the film is dumbed down to an oversimplified victim narrative and a stakeless greatest hits album. None of this surprised me. What did surprise me was how dull it was. From the baffling direction choices of Antoine Fuqua to the sanitized portrayal of a wild personality, Michael is bad… really, really bad. PAIGE While Michael is certainly a crowd pleaser with entertaining concert sequences, its narrative is as cookie-cutter as they come. This paint-by-numbers biopic only scratches the surface of Michael’s (Jaafar Jackson) early years and his desire to break free as a solo artist. It skims through the biggest moments of his career. The film’s script is extremely thin, jumping from one event to the next without diving deep into anything. Jackson strongly embodies his uncle’s mannerisms and dance moves, but the supporting characters are either one note or given little to do. In the end, the movie plays more like a greatest hits concert than an insightful biopic of Michael’s early years. KATIE Going into Michael , I didn’t expect a candid exploration of the most controversial moments of Michael Jackson’s life and career, at least not anything that would cast him in a negative light. What I wanted were excellent musical set pieces and a great leading performance, and it delivers on that. Jaafar Jackson is amazing as Michael, perfectly embodying his mannerisms and movements. Michael is cliché, the characters are barely developed, and it plays it very safe, but I was so entertained by the music and pitch-perfect recreations of some of Michael Jackson’s best performances that I didn’t really mind. Want to hear even more of our thoughts? Nick and Shak join Matt to take A Bigger Bite out of Michael HERE .