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RAYA AND THE LAST DRAGON Starring: Kelly Marie Tran, Awkwafina, Gemma Chan, Izaac Wang, Daniel Dae Kim, Benedict Wong, Jona Xiao, Sandra Oh, Thalia Tran, Lucille Soong, and Alan Tudyk Directors: Don Hall, Carlos López Estrada, and Jon Ripa JAMES I wasn't prepared for how beautiful this film would be. Sporting some of the lushest artistry I've ever seen in a Disney movie, the stunning images are complimented by a soaring orchestral score that ranges from Southeast Asian drums to 90s synthesizers to transcendent choral arrangements. I was likewise blindsided by how relevant the story was: like our world, Raya's is divided by self-interest and powerplay, so trust has become the rarest of human qualities. I usually don't buy into stories where people overcome their tribalism, but this film earnestly sells its tale of teamwork amidst a damaged world. JACOB Raya and the Last Dragon is Disney’s most ambitious animated feature in years, with easily the most to say of any non-Pixar film (besides Zootopia ). The story's setting is similar to Black Panther , but with Southeast Asian mythos informing its characters and plot. The film makes short work of getting the viewer invested with beautiful animation and an incredible score by James Newton Howard. It does miss out on some opportunities to explore the more nuanced sides of trust and betrayal, but partly makes up for it through stellar action and genuine emotional depth.

SHELL Starring: Elisabeth Moss, Kate Hudson, Kaia Gerber, Arian Moayed, Este Haim, and Elizabeth Berkley Director: Max Minghella NICK Truth be told, I've never been a fan of Elisabeth Moss. I just don't usually connect with her roles. With Shell , that's not the case. Moss gives a performance that is both vulnerable and empowering while also balancing the film’s humour. That balance is needed because the humour permeates the entire film and is the main reason Shell is as enjoyable as it is. Things get progressively more ridiculous as the plot builds, and it finds itself on shaky footing for a bit, but because the entire cast buys in, you will as well. Based on my audience, this is sure to be a crowd pleaser. KATIE Shell sometimes feels like an inferior version of The Substance , which is a shame since Shell was actually released beforehand. Yet and still, it is very fun and entertaining overall. I often find that Elisabeth Moss resorts to very similar ways of emoting, which can lessen the impact of her performance. However, she is great in this role, even though she is overshadowed by Kate Hudson’s perfectly campy character, which better suits the tone of the film. I loved its retro-futuristic aesthetic, the sci-fi elements, and the squeamish body horror, but I just wish it didn’t spell out its point so literally. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival .

WE HAVE A GHOST Starring: Jahi Di'Allo Winston, Niles Fitch, Anthony Mackie, Erica Ash, David Harbour, Isabella Russo, and Tig Notaro Director: Christopher Landon AMARÚ There is a much better movie hiding somewhere in We Have a Ghost, but it never settles itself enough to find it. Whether it’s the intriguing family drama that isn’t fully explored, the tense mystery thriller that is sidelined for an oh-so-cliché government conspiracy, or the kooky supernatural family comedy with a cringeworthy social media side story, each section has merits amongst its flaws. The charming cast could’ve carried those flaws well if there was a consistent tone, but haphazardly stitching tonal shifts together every 30 minutes halts any momentum the cast generates, accentuating the messy script to the film’s detriment. JOSEPH Borrowing elements from other bizarre family films such as E.T. , Casper , and Beetlejuice , director Christopher Landon’s latest film, We Have a Ghost , treads no new water. While the cast is great, there are far too many ideas at play, never allowing this relatively straightforward tale to set a proper tone. Along with that, the film is far too safe, rarely leaning into its campier elements, nor does it feel like a true mystery. It’s a shame too because there are funny and surprising moments, but they’re just not consistent enough. Ultimately, it has some charm, but it's mostly forgettable. PAIGE Director Christopher Landon has stepped away from his horror comedy norm for a more lighthearted and family friendly ghost story with Netflix’s new original film We Have a Ghost . The flick is mostly a mix of Casper and The Haunted Mansion , with a dash of a modern twist, and while the film tries to conjure up some supernatural jokes and scares, they unfortunately fail miserably. The overall story just feels too weak, all the way down to its bones. I expected more of the witty writing Landon delivered with Happy Death Day and Freaky , but this is nothing more than a run-of-the-mill family haunting tale. NICK With two Happy Death Day movies and Freaky , director Christopher Landon has shown a knack for horror comedy. We Have a Ghost , however, isn't really either of those genres. It has hints of both, but the vibe is more akin to a family film with horror elements, like The Haunted Mansion or Monster House . It certainly takes a while to get going, and the tone changes with rapid succession, but it hits its stride in the latter hour to become a surprisingly moving film. Yes, there’s some modern cringe and things can be a tad ridiculous, but it is a ghost story after all. QUENTIN For what it is, We Have a Ghost isn’t terrible, but I’ve just outgrown this type of movie. At almost 42-years old, sanitized horror comedies with coming-of-age storylines just aren’t for me anymore. That said, I probably would have really dug this movie as a middle schooler, as it would sit comfortably on the shelf next to similar movies from my youth like Casper and Little Monsters . Everything about it – the humor, the scares, the action – is played too safely, which could make this a solid addition to Halloween movie night with the little ones, but it’s probably skippable for most adults.

TRANSFORMERS ONE Starring: Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, and Jon Hamm Director: Josh Cooley ADRIANO Never in a million years did I expect a Transformers movie to discuss themes of totalitarian leadership and a blind following of propaganda, but here we are. Transformers One starts as a pretty basic animated movie that struggled to hold my interest. However, through some rushed character progression, the movie eventually picks up in the back half with insanely fun Autobot action and effective character writing. I do kinda wish the movie was longer so it could've fleshed out its ideas further, but overall, this movie went way too hard for me not to forgive its shortcomings. AMARÚ We’ve waited 17 years for post-The Movie Transformers films to finally give fans what they want: actual Transformers. Without humans, Transformers One ’s action and world building is reminiscent of Bumblebee ’s outstanding first 20 minutes, and while the family-friendly plot points are predictable, they don't make the film any less entertaining. What takes it from a good film to a really good one, though, is the progressively intriguing story propelled by compelling characters, especially with Keegan-Micheal Key’s comedic timing as B-127 and Brian Tyree Henry’s villainous evolution as D-16. With this and the incoming G.I. Joe crossover (yes, I want that), I’m finally in on Transformers’ roll out.

THE BURIAL Starring: Tommy Lee Jones, Jamie Foxx, Mamoudou Athie, Jurnee Smollett, Alan Ruck, and Bill Camp Director: Maggie Betts NICK I’ve always been a sucker for a courtroom dramedy, so The Burial certainly had my interest. Plus, after Jamie Foxx’s resurgent turn in They Cloned Tyrone , I was curious to see if he was back -back. Oh, he’s BACK. Foxx is electrifying every second he’s on screen, which is only enhanced by the quiet demeanor of Tommy Lee Jones. Together, the pair had me fully invested in their case as it went through ups and downs. Yes, it’s a little formulaic, but that’s forgivable when bolstered by good performances and solid storytelling, which is exactly what The Burial supplies. ADRIANO I didn't fully know what I expected out of The Burial , but it wasn't this. I'm not saying it's unlike anything out there (believe me, that's not the case), but I wasn't expecting something this funny to hold this much weight. Tommy Lee Jones is mostly just being Tommy Lee Jones (not bad, just expected), but Jamie Foxx and Alan Ruck are particularly hard to keep my eyes off of. This is a breezy watch, for sure, but the dramatic depth this film had in its storytelling caught me off guard and left me emotionally satisfied. PRESTON The Burial makes sense as a straight-to-streaming release since it won’t blow your socks off while providing a feel-good win for the “little guy.” Tommy Lee Jones plays his role with a quiet assuredness that probably accurately reflects the affect of the real-life person he portrays, but still comes across as a little flat. The “inspired by true events'' story is already a win, but there was little added to bolster the appeal…except for the addition of Jamie Foxx. The talented actor is ELECTRIC, and his singular performance provides the emotional substance that makes the film a recommended watch. AMARÚ I went into The Burial anticipating a legal thriller, but left having experienced what wanted to be a feel-good dramedy. It has an unexpectedly charming energy that’s carried by Jamie Foxx’s second top-tier performance since June (They Cloned Tyrone being the other). However, while I enjoyed the film, it relies too heavily on that energy to the detriment of genuinely exploring any of its themes. From the courtroom battles to the racial undertones, many scenes and performances feel like shortcuts to the next applaud-worthy moment, and it’s a shame that much of this great cast and healthy story seem downsized to prop up emotional platitudes. QUENTIN If not for Jamie Foxx’s charismatic performance, I suspect that The Burial would be a serviceable but forgettable courtroom drama. Don’t get me wrong, Tommy Lee Jones is good too, especially as he plays the somber straight man to Foxx’s brilliant flamboyance, but the court case at the center of the film feels a little vanilla despite touching on weighty themes of race and one percenters v. the poor. It’s decent enough as a functional crowd-pleaser, but it could have used a bit more gravitas to make the messaging hit harder. Still, for a straight-to-streaming release, it’s worth watching, particularly for genre (or Foxx) fans. KATIE The Burial really surprised me. It’s feel-good and humorous, yet still an engaging and fast-paced courtroom drama with some timely and significant themes. I was fully invested in the relationship between the protagonists, Jeremiah O’Keefe, played by Tommy Lee Jones; and Willie E. Gary, portrayed by Jamie Foxx with an inspiring and electrifying performance. Their shared values and honourable fight against an unethical corporation are heart-warming and easy to root for, making for a crowd-pleasing and unquestionably entertaining film. PHILL The perfectly cast Jamie Foxx absolutely shines, commanding every scene and stealing the entire show in The Burial. Despite hitting the all-too-familiar story beats of a courtroom drama, there remains an undeniably wholesome charm to this film that you can’t help but root for the underdog as they take on the stereotypical super-rich one-dimensional villain. Granted, the pacing feels a little sluggish, and it could have probably dove a little deeper into some of the heavier subject matter; however, the courtroom scenes are always exceptionally engaging, as is the dynamic between Jamie Foxx and Tommy Lee Jones. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

BIRD Starring: Nykiya Adams, Franz Rogowski, Barry Keoghan, and James Nelson-Joyce Director: Andrea Arnold NICK The circumstances and events surrounding Bailey's (Nykiya Adams) upbringing is far from your typical coming-of-age story. In spite of that, something about Bird feels typical, and my investment levels were diminished because of the story’s focus on too many threads. Also, not that there are any issues with the cast, per se, but the film takes a big upturn whenever Barry Keoghan is on screen. He brings a magnetism unlike anyone else in the film, and more of his character (and the father/daughter story) would have been welcome. Still a worthwhile watch, but with a more deliberate focus, things could have been much improved. QUENTIN Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and sensitive realism than delivering an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances, but predict that others, particularly women, are likely to be more moved by this picture than I was. KATIE Andrea Arnold’s Bird feels typical of the director, but it also explores an ambitious visual style and injects a glimmer of magical realism into the otherwise gritty tale. Like Fishtank , Arnold casts a first-time actor in the leading role while following a young, working-class girl from difficult circumstances. Nykiya Adams is amazing as Bailey, and her heartbreaking innocence shines through her tough exterior. The innovative use of iPhone footage deepens our connection to her, and furthers Arnold’s unique ability to make the characters in her films feel so real. The fairytale quality feels true to Bailey’s journey, which finishes on a mercifully uplifting note. PAIGE Although writer/director Andrea Arnold succeeds in getting her actors to provide genuine and authentic performances, the overall plot of Bird is a little muddled, particularly at its most crucial points. It's a simplistic story of a young girl trying to pick up the pieces of her broken home and maturing too quickly, but it tries to balance too many themes at once. By the end, most of them are lost in the shuffle because of the film's meandering pacing. Despite the fact that Bird didn’t quite work for me, it is at least an honest and raw fable. This film was reviewed by Quentin, Nick, and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival, 2024 Toronto International Film Festival, and 2024 BFI London Film Festival respectively.

MY POLICEMAN Starring: Harry Styles, Emma Corrin, Gina McKee, Linus Roache, David Dawson and Rupert Everett Director: Michael Grandage JACOB Although My Policeman plays at being an important film, it doesn’t really have the heart to believe in its own narrative or the writing to keep it afloat. An overlong and supremely jumbled structure costs it emotional cohesion, forcing the viewer to half-care about three separate stories, only one of which occurs uninterrupted, and none of which produce characters we want to follow. Even the older counterparts don’t ultimately get much to do. Emma Corrin and David Dawson turn in decent performances, but it’s clear that Harry Styles isn’t where he needs to be to carry films such as this. ADRIANO My Policeman is a dud. From the start to the very end, I was just bored. Nothing interesting happens, and its script is just flat-out bad. That said, most of the performances are quite good, especially Emma Corrin. As for Harry Styles, he tries his best, but he should probably stick to music. Although he is fine in the smaller moments, he’s laughably bad in the bigger ones. I had to keep stopping myself from dozing off through the runtime because of how dull everything is (and I didn’t always succeed in staying awake). Overall, just a really terrible movie. PAIGE Let’s just say that My Policeman isn’t nearly as close to the level of prestige LBGTQ+ storytelling that Call Me By Your Name is. I will admit that it has something , but the pacing of the film tends to pull you in and out of two completely different movies, which left me wanting one over the other. It’s a dull and dry movie that should’ve made its primary focus on the injustice and freedom of what love presents us instead of just settling for a tragic romance story. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

AMBULANCE Starring: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza González, Garret Dillahunt, Keir O’Donnell, Jackson White, Olivia Stambouliah, and Cedric Sanders Director: Michael Bay JACOB Though far too long and marred by the director’s usual pitfalls, Ambulance might well be director Michael Bay’s best movie since 2007. Sleek, simple, and bound by unusual restraint for Bay, the hyper-edited thriller can occasionally be way too into itself, but it all balances out after a while. Jake Gyllenhaal’s over-the-top performance doesn’t quite work all the way, but thanks to a genuinely good Yahya Abdul Mateen-II and an underrated Eiza González, the film remains as engaging to watch as they are. Even if there are too many drone shots, I can see myself revisiting these kinetic action sequences again. ADRIANO Ambulance didn’t work for me at all. I am not exaggerating when I say this movie gave me a splitting headache. I’m generally not a fan of Michael Bay's style of filmmaking anyway, but his style is on overdrive here, from his obnoxious use of cuts making it hard to understand what is happening to the absurd amount of drone shots that definitely caused my headache. Top that with a nonsensical story, and I was sprinting out of the theatre when the credits rolled. People seem to like this though, so check it out if you want, but this wasn’t for me. QUENTIN Ambulance feels like a Michael Bay movie from the 90s. In fact, it seems directing this movie, only his fourth non-Transformers movie since 2005, has downright rejuvenated him. He even goes as far as to reference both The Rock and Bad Boys , as if to say “Watch out! I’m back on my bullshit.” That said, you know what you’re getting with Bay: loud, bombastic action that is light on story and even lighter on logic. But it works. It’s predictable and slightly too long, but it’s tense, well-acted, and action packed. For better or worse, it’s everything you want and expect from Bay.

THE BEAST WITHIN Starring: Kit Harington, Caoilinn Springall, Ashleigh Cummings, and James Cosmo Director: Alexander J. Farrell This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK As interesting as it is to see a werewolf story told through the eyes of a frightened daughter, the pacing of The Beast Within doesn’t do the film any favours, nor does its heavy-handed domestic abuse metaphor. Once the filmmakers decided that this wasn’t going to be a scary story, they should have either focused more on the internal struggle of Noah (Kit Harington) or the strained familial bond (much like 2015’s underrated Maggie ). Instead, you get a film that isn’t near as fleshed out as it needs to be in either direction, which amounts to a wearisome tale that underwhelms. PAIGE The Beast Within finds it difficult to connect its ideas and themes, even though Kit Harington's brute performance and the film's sound design do a fine job of creating an eerie atmosphere. On one hand, it attempts to be a mysterious werewolf movie; on the other, it aims to be a slow-burning family drama that delves into topics of domestic violence. In the end, filmmaker Alexander J. Farrell can't reconcile the two concepts, meaning the movie lacks substance as it skirts around the curse that this family must bear. Unfortunately, I don't think this movie will satisfy a lot of fans of werewolf movies. QUENTIN It’s been years, maybe decades, since I’ve seen a good werewolf movie. Sadly, The Beast Within does nothing to change that. In fact, this is barely even a werewolf movie. Yes, there is a werewolf in it, but it’s mostly only hinted at and used as a very forced metaphor for abusive husbands. It’s an interesting idea, but it never coalesces into an idea that fully works. The movie also is just a bit of a moody slog. On the plus side, the performances are good to great, and the cinematography is breathtaking. I just wish they were in service of a better story.

EVERY HEAVY THING Starring: Josh Fadem, James Urbaniak, Tipper Newton, Vera Drew, John Ennis, Kaylene Snarsky, and Barbara Crampton Director: Mickey Reece This film has been reviewed by Nick and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. BODE I’ll admit that before jumping into director Mickey Reese’s latest film Every Heavy Thing , while I knew of his reputation in the indie circuit, I hadn’t seen any of his previous work. I can honestly say that this made me curious. Reece takes the cat-and-mouse serial killer thriller and turns it on its head, using surrealist imagery and dry humour to explore themes of gendered violence, big tech, shame, and repression. It can get a bit lost (especially in the third act), but its strangeness is so compelling that I can’t help but respect it. Also, support your local alt-weekly! NICK Because Fantasia is a genre festival, there's always some surreal entries with unique and ambitious editing techniques. In the case of director Mickey Reese's Every Heavy Thing , he uses VHS videotape sheen and glitch art to tell the story of a man, Joe (Josh Fadem), confronted by a local serial killer. Although it doesn't get off to a strong start, as Joe becomes increasingly tormented, I became more engaged. It falls off again in its closing, as it stumbles towards an end. That said, the darkness in the visuals and comedy works, I just wish the film was bookended better.

DEAD OF WINTER Starring: Emma Thompson, Judy Greer, Marc Menchaca, Laurel Marsden, Gaia Wise, and Cúán Hosty-Blaney Director: Brian Kirk KATIE Dead of Winter is a solidly entertaining and straightforward thriller, with an unexpected performance from Emma Thompson. It’s really refreshing to see a woman in her mid-60s in a role like this, and Thompson makes a capable and compelling action hero. Co-star Judy Greer is excellent at playing crazy, and that’s exactly what she does in this role. Yet, although her performance is convincing, I found her character to be underdeveloped, which made her motivations confusing. The story is engaging overall, but the use of flashbacks, which felt disconnected from the narrative and Emma Thompson’s character in the present, is distracting. NICK Dead of Winter is an entirely new direction for Emma Thompson, and yet it works for her. Unlike many films where the reluctant hero is a surprise, elite asskicker, Thompson’s Barb is just an older civilian trying to do some good. It gives Winter a different complexion than similar films. As good as Thompson is (Judy Greer is also terrific), the story is filled with plot holes, an over use of flashbacks, and a surprising lack of urgency considering the situation at hand. An oddly beautiful ending aside, this is an average film elevated by some above average performances. ADRIANO In full honesty, Dead of Winter didn't seem like something I'd like, but Emma Thompson's involvement had me curious as to why she'd take on this thriller role. The film wound up being about what I expected, minus a rather touching, if not unearned, ending. Thompson and Judy Greer were great, but story-wise, it feels mostly pointless with minimal thrills. While none of the emotional stakes presented got much out of me, I wouldn't call this a waste of my time. Just... an okay movie.

THE RITUAL Starring: Al Pacino, Dan Stevens, Abigail Cowen, Ashley Greene, Patricia Heaton, and Patrick Fabian Director: David Midell KATIE The Ritual is, by and large, a typical exorcism film, full of tropes and familiar beats. The first half is actually quite strong, with jump scares and scary visuals that are effective. However, it then falls flat, and the repetitive plot begins to feel monotonous. I also don’t think the handheld camera style added to the story; if anything, it's sometimes distracting and feels cheap. Whenever it does work, it's because of the performances. I came for Pacino (Father Riesinger) and Dan Stevens (Father Steiger), but stayed for Abigail Cowen (Emma Schmidt) and Ashley Greene (Sister Rose). NICK Dan Stevens is one of those actors who always seems to be doing something interesting regardless of the project he’s in. Unfortunately, when it comes to The Ritual , there is nothing interesting here. From the retreaded story beats, to the bland writing and performances, to some of the worst cinematography I’ve seen in a theatrical release in some time, there’s nothing to salvage. I think director David Midell was aiming for something hyper-realistic, but what he wound up with was one of the dullest depictions of possession I’ve seen on screen. A truly painful 98 minutes to get through.