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.

THE MAGIC FARAWAY TREE Starring: Andrew Garfield, Claire Foy, Nonso Anozie, Billie Gadsdon, Phoenix Laroche, Delilah Bennett-Cardy, Nicola Coughlan, and Rebecca Ferguson Director: Ben Gregor AMARÚ Andrew Garfield is such a charming actor, and kicking off The Magic Faraway Tree with his wondrous charisma gets you invested in the whimsical family adventure to come. The magic of imagination is on high display, creating some cool, fantastical lands and teaching impactful lessons about family and connection. There’s plenty of silliness to go around, so if that’s not for you, then neither is this film; however, the entire cast is all-in on the fun and fantasy, making for a heartfelt film for all ages to enjoy. Faraway Tree is a cute watch that I’d gladly show to the little one in my life. ROBERT The template for the ideal film is fluid, dependent on the genre it occupies. I think of the family films I grew up with, and those that resonated had a layer of darkness wedged in between the lighter themes. The Magic Faraway Tree lives in a land of blissful wonder, which may be fun for some but is rather goofy for me. I couldn’t help looking at Andrew Garfield, Claire Foy, and especially Rebecca Ferguson and thinking that it was a waste of their talents and charisma. The message of “kids should use their imaginations more” wasn’t conveyed uniquely enough to not seem trite and, frankly, wooden.

TOW Starring: Rose Byrne, Dominic Sessa, Octavia Spencer, Elsie Fisher, Simon Rex, Ariana DeBose, Demi Lovato, and Corbin Bernsen Director: Stephanie Laing AMARÚ How can a recently Oscar-nominated actress feel like she’s underrated and under-appreciated? Somehow, that’s Rose Byrne every time she appears on screen, and in Tow, she reminds you that she should have been recognized for her talents years ago. Her strong performance propels a maddeningly frustrating real-life look at how government systems are designed to hurt more than help, and how pride doesn’t improve the circumstances of those who it aggrieves. But amongst all the aggravating red tape, ego, and on-the-nose messaging, stubbornly hopeful individuals shine a light through the bullshit. Tow is exasperating, honest, vexing, and inspiring, and it’s a great watch. KATIE Stephanie Laing's directorial debut Tow features a moving performance from the criminally underrated Rose Byrne, but I found it inconsistent overall. Byrne, playing Amanda Ogle, presents an authentic representation of someone who is victim to the injustices perpetuated by the justice system. The film engages empathetically with Amanda’s struggle and pride, without being condescending or exploitative. However, it struggles to settle on a tone, and sometimes transitions uncomfortably from hard-hitting realism to more light-hearted comedy. Despite its tonal inconsistencies, Tow tells an incredible true story driven by Byrne’s strong performance.

A THOUSAND AND ONE Starring: Teyana Taylor, William Catlett, Josiah Cross, Aven Courtney, and Aaron Kingsley Adetola Director: A.V. Rockwell ADRIANO In the beginning, this film felt overly familiar, but A Thousand And One wound up affecting me on a strong emotional level. The entire ensemble is great, with Teyana Taylor being exceptional from the start and Josiah Cross doing an astounding job in the film’s final act, which offers up an emotional gut punch as we follow this woman from one obstacle to the next. Sadly, there are a few moments when it’s clear that this is director A.V. Rockwell’s debut, namely in the editing, but I dare someone to watch this and not feel something. JACOB There has not been a more punishing watch this year, tonally speaking, than A.V. Rockwell’s devastating gentrification drama A Thousand and One . Although the film is certainly worth watching for the performances alone, especially that of Teyana Taylor, its bleakness throughout can be tough for audiences to want to sit through. It feels a bit long, there’s very little humor, and it could have used at least a few more wide shots instead of mediums. That said, the unique lensing style, as well as Josiah Cross and William Catlett’s truly great supporting turns, are worthwhile for those willing to endure. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

SEPTEMBER 5 Starring: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, and Zinedine Soualem Director: Tim Fehlbaum QUENTIN Seemingly out of nowhere (it didn’t play at Sundance, Toronto, Cannes, or Venice), September 5 is a dark horse contender for Best Picture. Admittedly, I’m a sucker for journalism movies, but this one is driven by the narrative’s “as-it-unfolds” propulsiveness, which creates an electric, suspenseful, and thrilling look at news media doing live coverage of a terrorist attack for the first time. On top of that, with what is currently happening with Israel and Gaza, it’s as timely and relevant now as the real-life events were in 1972. Add in terrific performances from the entire ensemble, and you’ve got one of the year’s very best. AMARÚ There is a calm to September 5 that initially feels too indifferent to the hostage situation ABC Sports reported on during the 1972 Munich Olympics, but you slowly realize, as the film simmers towards its climax, that a quiet intensity is exactly the mood a news crew would have breaking one of the most important events in history. Then you realize, as the movie ends with an almost unceremonious finish, that with 900 million people watching the first ever live televised terror attack, director Tim Fehlbaum just carbon dated the world’s descent into desensitization. It’s chilling. ADRIANO I left September 5 feeling that what I had just watched was fake, but not in the sense that the movie's real story was fictionalized. In fact, I felt the gravity of the actual situation quite heavily, as the movie is a well-paced and effective thriller with great performances. That said, the film's wider implications and intentions feel insincere. It tries to point out the moral grey areas of these journalists, but those attempts just didn’t resonate with me. A lot of the writing contributes to that feeling, but I ultimately left the movie not thinking it was bad, just empty. NICK I enjoy a good "moment in time" film as much as anyone, but September 5 just seems to be missing something. Although the true story is enthralling (I can't believe much of my generation is unaware of it), its film counterpart is merely fine. I have no outward complaints with the direction or the performances, but no overwhelming praise either. The subject matter also begs for comparison to the current political climate, which definitely colours the film. However, I will give director Tim Fehlbaum his flowers for maintaining objectivity and refraining from turning this into a hero piece. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival.

THE FABELMANS Starring: Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, and Judd Hirsch Director: Steven Spielberg NICK It's been awhile since we've had a great Steven Spielberg film, but that wait is over. The Fabelmans is a film about the art of filmmaking wrapped in a coming-of-age story. Based on the childhood of Spielberg, you can feel the emotion he poured into the script and its direction. It's a wonderful effort from the director, underlined by yet another whimsical score by a 90-year-old John Williams. The cast is solid across the board too, and Gabriel LaBelle is one to look out for, but all the credit for this film deserves to go to Mr. Spielberg. QUENTIN While I respect what director Steven Spielberg has created with The Fabelmans , it’s not at all what I expected, and because of that, I wasn’t enthralled with it. It’s expertly made across the board, of course, but I wanted to see how Spielberg’s childhood love of movies blossomed to create the respected filmmaker we know today. Instead, this is a movie about how he kinda-sorta used movies to escape typical family problems and bullying. It’s likely to win several major awards, and it’s not unworthy (Michelle Williams, especially), but I may enjoy it more the second time when my expectations don’t get in the way. ADRIANO The Fabelmans is not director Steven Spielberg’s best. It’s not even close, truth be told. That said, it is his most personal offering. It definitely has heart, but, more importantly, this film is about love. Not just the love amongst Lil’ Spielberg’s family, but the love of film. Overall, it’s not necessarily groundbreaking, but the technical aspects are really great. It’s well-shot and put together well, with every actor doing a great job, especially Michelle Williams and Judd Hirsch in a brilliant, glorified cameo. But still, while the story may not be coherent, per se, it’s a beautiful Spielberg film nonetheless. JTE The Fabelmans is a film from the Greatest Director of All Time, in which he explores his obsession with filmmaking and how it ties into his family life. While I enjoyed the film as a window into Spielberg's upbringing and how the events of his youth shaped the themes of his filmography, I couldn't help but feel a bit of distance from the characters and subject matter. The film is so well made on a production level that it almost makes the film feel somewhat artificial. It would have been better had the approach felt more intimate and less polished. JACOB While it’s unlikely to join the all-time greats in Steven Spielberg’s prolific directing career, The Fabelmans is nonetheless one of the best movies about making movies to come along in a long time. It may not reach its full potential moment to moment, but the whole of it is a step above most other films of its kind, unlocking the psyche of Spielberg for those most interested in the “why” of his love of moviemaking. Gabriel LaBelle holds his own as the ostensible lead of the film, with a great supporting cast to bounce off of, including a show-stealing Chloe East. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

I USED TO BE FUNNY Starring: Rachel Sennott, Olga Petsa, Sabrina Jalees, Caleb Hearon, Ennis Esmer, and Jason Jones Director: Ally Pankiw PAIGE I Used to Be Funny is a devastatingly funny movie that deftly finds the right mix between comedy and melancholy. It manages to capture the highs and lows of overcoming a terrible experience with its use of flashbacks and flashforwards to offer its audience more insight into the lives of these characters. This movie isn’t afraid to utilize humor in grim situations, and all of this is possible because writer/director Ally Pankiw gave her actors, Rachel Sennott and Olga Petsa in particular, the freedom to feel real and empathetic. KATIE I Used to Be Funny is one of the most honest and authentic depictions of the impact of sexual trauma that I’ve ever seen. Considering the dark subject matter, the tone is sharply funny and satirical in a very timely way, yet does not undercut the protagonist's struggle and is deeply empathetic and compassionate. The way the narrative explores the past and present highlights how the aftermath of these experiences can fundamentally change a person, and Rachel Sennott masterfully balances comedy and the sharp wit she is known for with pained smiles and a deep vulnerability.

EXIT 8 Starring: Kazunari Ninomiya, Yamato Kôchi, Naru Asanuma, Kotone Hanase, and Nana Komatsu Director: Genki Kawamura ADRIANO As someone who has never played the game on which it's based, I think Exit 8 works because it's completely unashamed of its video game origins. The film's weird escape room concept feels like it's operating under the mechanics of a video game, giving us a fun escape thriller that works on incredible levels... when it's a thriller . Whenever it leans into the metaphor about fatherhood, it isn't effective, taking me out of an otherwise very engaging film. That, unfortunately, did affect my overall enjoyment of Exit 8 , but it was still a fascinating experience nonetheless. QUENTIN Unbeknownst to me, Exit 8 is based on a video game. I can 100 percent see how the game — a psychological horror walking simulator — would be equally addictive and frustrating, especially in VR. In fact, the movie adaptation does a great job of capturing the overall feeling of a VR game, particularly with the shot framing. However, as a non-participatory viewer, it becomes monotonous rather quickly despite director Genki Kawamura doing his best to switch things up around the halfway point. Still, Exit 8 is mostly effective, flaws and all, but it might have been better as an episode of an anthology series. ROBERT Full disclosure, I am a sucker for looping Hell/purgatory plot devices where someone must grow or discover something about themselves they never knew existed to escape. Exit 8 rendered this concept beautifully into a 90-minute thriller where stories and characters overlapped unexpectedly. The use of camera angles and lighting changes to account for upheaval in the main storyline kept me locked in while the set never changed. The emotional story beats about not being a slave to indecision and family worked for me. If the last castle in the NES version of Super Mario Bros. was a cinematic experience, it would be Exit 8 . KATIE Exit 8’s straightforward but compelling premise follows a commuter (Kazunari Ninomiya) who becomes stuck in the maddeningly sterile, endlessly looping hallway of a subway, forced to spot anomalies to escape. I was immediately on board with how it begins with a POV shot, truly recreating the feeling of playing a video game, and although I was worried the simple concept couldn’t sustain its intrigue over a feature-length runtime, it remains surprisingly effective. It has some delightfully chilling moments, and as the viewer, I was also obsessively looking for anomalies in the unnervingly fluorescent hallways. This film was reviewed by Adriano and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and Fantasy Filmfest 2025 , respectively .

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.

THEY WILL KILL YOU Starring: Zazie Beetz, Myha’la, Patricia Arquette, Tom Felton, Paterson Joseph, Angus Sampson, and Heather Graham Director: Kirill Sokolov AMARÚ After an obligatory backstory scene, They Will Kill You director Kirill Sokolov combines swooping cinematography and exaggerated sound design to make this action horror comedy worthy of your favorite campy martial arts films. And even then, you have no clue the zany shenanigans the film is about to evolve into. Once the entire conceit reveals itself, this absurdist gorefest goes from bloody awesome to grotesquely magnificent. The story is simple, ridiculous, and nonsensical, but with Zazie Beetz, Patricia Arquette, and Tom Felton leading an all-in cast through gorgeous stunt choreography, this is the epitome of kick back and enjoy the fuckin’ show. ROBERT Nothing bad can come from Hollywood wanting to expand the action genre with more female-led efforts. With They Will Kill You , you have a simple premise, a likeable actor at the center in Zazie Beetz, and fun set pieces; the formula is there. Unfortunately, it does end up being somewhat of a twin movie to Ready or Not 2 and thus shares the same corner, so it loses out in the greater cinema landscape. The premier supporting actors were not utilized properly, and the performances overall were hokey, but you can turn your brain off and revel in the satanic carnage. ADRIANO Describing movies as “boring” is reductive most of the time, but with a film like They Will Kill You , where the intention is to maximize on mayhem, it’s worth acknowledging that it bored me after a while. Zazie Beets going full Kill Bill mode is fun in the first sequence, but they quickly diminish the stakes from there. After that, director Kirill Sokolov just regurgitates the gory styles of Quentin Tarantino and Sam Raimi, and granted, he’s not hiding that. However, it lends the film’s repetition an extra level of familiarity that reminded me of better exploitation films like this. KATIE Director Kirill Sokolov is not shy about relying on his influences in They Will Kill You , and he’s clearly inspired by the likes of Quentin Tarantino, Park Chan-wook, Sam Raimi, Edgar Wright, and Wes Anderson, to name a few. It’s also narratively similar to Ready or Not , and this prevents it from feeling fresh and consistently interesting. Still, it has very entertaining fight sequences with creative cinematography, it's intensely gory and absurdly violent, and has some fun use of practical effects. Zazie Beats is also formidable in the leading role and makes a magnetic action hero.

WEIRD: THE AL YANKOVIC STORY Starring: Daniel Radcliffe, Evan Rachel Wood, Rainn Wilson, Toby Huss, and Julianne Nicholson Director: Eric Appel NICK More satire than straight biopic, Weird is certainly one of the more outlandish film ideas I’ve seen in recent memory. Comedy is the focus here, and it works to varying degrees throughout the film. Unfortunately, the shtick director Eric Appel is going for gets a little tiresome, while the plot feels like it's missing parts. That said, it’s a fun watch. The cast is entertaining and there is an abundance of cameos, but overall, it all feels a little disjointed. It would have been better served were it a little more fleshed out. QUENTIN As a Weird Al fan, I had high hopes for Weird , and generally speaking, it’s a fun ride. The concept is befitting the parody king (if a bit derivative of Walk Hard ), but the movie’s runtime (108 minutes) outlasts the hilarity of the premise. It’s a one-note joke that delivers diminishing returns the longer it goes on. Daniel Radcliffe and Evan Rachel Wood seem to be having a blast, and the never-ending string of cameos and references to 80s personalities keep the movie humming along, but you can feel that this was an online short stretched into a feature length movie. ADRIANO Weird: The Al Yankovic Story will hopefully do to musical biopics what Walk Hard: The Dewey Cox Story has done to them for more than a decade. This is a flawless parody that starts off lampooning genre tropes wonderfully and hysterically before going so far off the rails that I was almost shell-shocked. Daniel Radcliffe needs to keep doing these kinds of roles because he is hilarious in this movie. This is a film that truly succeeds every step of the way, and it’s the only way you could have truly done a Weird Al “biopic.” AMARÚ Weird: The Al Yankovic Story is as hilarious and entertaining as one of Al’s multi-platinum hits, delivered in the only way a biopic of the parody master should be delivered. It’s clever, satirical, over-dramatic, and irreverently serious in all the best ways. Daniel Radcliffe has the perfect kind of weirdness needed to pull off Weird Al, and pull it off he does, excelling at taking the delightfully unserious seriously. Between his fantastic performance, numerous pitch-perfect cameos, and the paradoxical fake story of Weird Al’s real life, there was no better way to give this unique icon his flowers. JACOB An absolute blast in all the best ways, Weird: The Al Yankovic Story is one of the best parody films in years, breathing new life into the genre with every absurdity it creates. Daniel Radcliffe is excellent as Yankovic, matched against some great comic actors that bring to life one of the funniest scripts of the year. Fittingly, the film parodies its own genre as much as Weird Al has parodied music, refusing to take itself seriously yet never letting the audience get bored. Some jokes work better than others, but there’s hardly a moment I didn’t genuinely enjoy. PAIGE Weird: The Al Yankovic Story is one of the most bizarre movies I’ve ever seen. This ridiculousness may be the dumbest movie of the year, while somehow possibly being one of the funniest too. If you don’t understand Weird Al's sense of humor, then this flick may not be for you; however, if you do, get ready to enjoy this bold-as-hell music biopic. It’s loads of fun, especially with Daniel Radcliffe fully embracing the wackiness of it all. It’s a parody of parodies, and the perfect biopic for Weird Al. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

WILDCAT Starring: Maya Hawke, Laura Linney, Philip Ettinger, Rafael Casal, Cooper Hoffman, and Steve Zahn Director: Ethan Hawke NICK To make a good biopic, you need to leave the audience caring about the focal point of the film. Sadly, Wildcat did nothing to make me care about Flannery O’Connor (Maya Hawke). Although this is a subject both Hawkes (Ethan and Maya) are passionate about, that passion never translates to the screen. Instead, we have a film bogged down by religious undertones (and overtones) that ramble on in aggressive southern accents without saying anything particularly concise. The Hawkes are both clearly committed in their roles, but aside from a surprise cameo, they fail to turn that into an entertaining watch. ADRIANO I still don't believe that Wildcat is a movie and not a bizarre fever dream. The way the movie begins, I was into it; however, it collapses from there. Maya Hawke does some heavy lifting, but her father? Not so much. Co-writer/director Ethan Hawke's storytelling abilities reek of pretentiousness without giving reason to care about the subject. On top of that, there are countless baffling creative decisions that had me holding back laughter; not to mention, sadly, a horrible Laura Linney performance. For what it's worth, Wildcat is a very funny movie, but not intentionally. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.