BETTER MAN Starring: Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman, Kate Mulvany, Frazer Hadfield, Raechelle Banno, and Damon Herriman Director: Michael Gracey NICK I’ve long been a fan of Robbie Williams, so perhaps I enjoyed Better Man as much as I did because of my familiarity with everything. But, honestly, I just think it’s a great film. Whether it’s the stylistic decisions that realistically shouldn’t work but do, or the spectacle of all the musical numbers, everything succeeds because of Robbie. A supremely creative (and narcissistic) showman, the man shies away from nothing to tell his story, demons and all. It makes for a refreshing and relatable examination. I was thrilled, I was moved, and as Robbie would have wanted, I was entertained. Give this one a shot. ADRIANO My expectations for Better Man were really low, given that director/co-writer Michael Gracey's last film, The Greatest Showman , is one of my least favourite movies ever. So in that regard, I suppose Better Man surpassed my expectations. The CGI monkey looks amazing, and I do admire how unsanitized the approach to Robbie Williams’ life is. That said, while the movie tries throwing some flashing lights and gimmicks at us, it doesn't change the fact that it follows an uninteresting and basic biopic format. It certainly wasn't as bad as I feared, but I'll never see it again. AMARÚ Music biopics with unique deliveries are now two for two in 2024. Better Man is an unadulterated window into Robbie Williams’ soul, full of heart and heartbreaking emotional resonance. Williams and Jonno Davies’ joint mo-cap performance harnesses every inch of Robbie’s hardships and triumphs, with CGI matching Matt Reeves’ Planet of the Apes -level detail. Combined with Michael Gracey’s direction, which is as visually evocative as Williams is a cheeky bastard, you have a full-blown emotional knock out. It’s a bit long, but when you get to see that deep into someone’s heart, you’ll take the extra minutes of laughs, smiles, and tears. PAIGE Better Man is a traditional and ostentatious musical biopic, but despite its unique take on the genre, once you peel back the layers, it’s just another generic rags-to-riches story. Without the CGI monkey (which looks fantastic), the film doesn’t really make a compelling case for Robbie Williams to have his story told. Don’t get me wrong, the movie is certainly amusing, and director Michael Gracey directs some of the best musical sequences of the year, but the overall narrative feels drawn out at times. Maybe if I were a bigger fan of Williams, I’d value this outlandish story more. KATIE Better Man, a musical biopic about Robbie Williams, who is portrayed as a CGI ape amongst an otherwise human cast, is a creative gamble that pays off spectacularly. I didn’t expect to enjoy this as much as I did, and the addition of the CGI ape is wonderfully strange without distracting from the narrative, instead making it all the more captivating. Although it doesn’t stray from the usual rise-to-stardom biopic formula, the bold stylistic choices set it apart and enable a surprisingly emotionally engaging story that boasts immersive visuals and riotously entertaining musical setpieces. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

ENOLA HOLMES 2 Starring: Millie Bobby Brown, Henry Cavill, David Thewlis, Louis Partridge, Susan Wokoma, Adeel Akhtar, Sharon Duncan-Brewster, Hannah Dodd, and Helena Bonham Carter Director: Harry Bradbeer AMARÚ One cannot deny the charm of Millie Bobby Brown (Enola Holmes), nor can one deny that Henry Cavill (Sherlock Holmes) should be in all things. Their engaging chemistry epitomizes the captivating appeal of Enola Holmes 2 . Truthfully, the entire cast is chewing their scenes, milking every ounce of fun they can from the Holmes’ adventure. The sequel’s family-friendly motif slightly overshadows its mystery, so director Harry Bradbeer’s reliance on Guy Ritchie-style freneticism can feel out of place at times, but all-in-all, Enola Holmes 2 is a charming sequel that makes the prospect of a third movie a likable one. JACOB Enola Holmes 2 espouses much of the same fun as its predecessor, but it is less structurally sound. The central mystery is interesting until the viewer solves it about halfway through, and even though the journey is entertaining, arriving at its conclusion can sometimes feel tedious (especially as a separate mystery contains far more intrigue). Subplots appear and disappear at will, certain characters seem more like placeholders than people, and the ending drags on for far too long. I’d like to say this was an improvement, but truthfully, it’s just the same package as before but in a less impressive box.

THE LAST SHOWGIRL Starring: Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, and Billie Lourd Director: Gia Coppola NICK It’s clear The Last Showgirl was a labour of love for all involved, but for Pamela Anderson, in particular. Never accused of being a tremendous actress, she's great in a role that feels as if it was tailor-made for her. It's likely the best way to cap off her unique career too. She's also joined by a great supporting cast, so the acting is not the problem here. The issue is the story structure. Everything is a bit messy, and a few of the supporting characters could have used more fleshing out. Also, for a story about finality, the end should've landed better. ADRIANO The Last Showgirl just misses the mark for me. The performances are one of the obvious reasons you watch this movie, and they deliver. Pamela Anderson does something unlike anything you've ever seen from her, while Dave Bautista continues to show his range in a silent, nuanced role. Kiernan Shipka and Jamie Lee Curtis also are excellent. And admittedly, the movie is well shot and well paced, too; however, its story of re-discovering your purpose in the world felt pretty underdeveloped. It’s too rushed for its own good, ending up being ineffective. It might resonate with some, but I wanted more. QUENTIN As cliché as the story is, recalling The Wrestler and Crazy Heart , The Last Showgirl is generally effective because of the ensemble cast and fresh take of seeing this familiar tale told from a woman’s perspective. Pamela Anderson, though a bit uneven, still gives the best performance of her career as a character that perhaps she understands better than anyone else could, and she’s elevated by terrific supporting turns from Dave Bautista and Jamie Lee Curtis. Sure, some plot points could have been fleshed out much more, and I didn’t care for the multitude of literally out-of-focus camera shots, but Showgirl is more successful than not. PRESTON I grew up in the Phoenix area, and I would often join my truck-driving father on his weekly runs to Las Vegas. We would get a steak & eggs breakfast for $3.99 and circumnavigate the less glamorous areas of “The Strip.” The Last Showgirl perfectly captures the essence of the real backdrop of life in Vegas and those imperfectly fond memories. The gritty hand-held camerawork, lighting, and blurred edges inject just the right amount of grime to the glitz. The acting is terrific and I, for one, appreciate its minimalistic messaging and to-the-point storytelling. KATIE The Last Showgirl is a fleeting, poignant story of regret, nostalgia, and the impossible standards women are forced to grapple with. Pamela Anderson’s raw, honest performance as Shelly is extremely moving, and her character’s righteous anger at how women are discarded once deemed too old or not attractive enough is enhanced by Anderson’s real-life persona. She excels not only at exuding Shelly’s anger, but also her eccentricity and sense of hope, and the dreamy, soft-focus style combined with the unsteady handheld camerawork perfectly captures her nuanced character. The rest of the cast, particularly Dave Bautista (Eddie), is also fantastic, but ultimately this is Anderson’s film. PAIGE The Last Showgirl is a vulnerable film that allows Pamela Anderson to shine in her strongest performance to date. It's an intriguing character study that explores ageism in Vegas, but the overall film left me feeling a bit underwhelmed as it never quite measures up to Anderson's performance. The film relies more on montages and vibes than its actual story, so a lot of things feel underdeveloped by the time the closing credits roll since the script never delves deeply enough into its concepts or characters. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

CHA CHA REAL SMOOTH Starring: Cooper Raiff, Dakota Johnson, Leslie Mann, Brad Garrett, Vanessa Burghardt, Evan Assante, Raúl Castillo, and Odeya Rush Director: Cooper Raiff PAIGE Cooper Raiff’s ambition as a writer, director, and actor is breathtaking, and he is forging his own path as a filmmaker by focusing more on characters and their growth as people first and foremost. Cha Cha Real Smooth is “Exhibit A” by being more than a love story, and its themes go so much further. It’s charming, heart-warming, and grounded. The cast’s chemistry feels so authentic and real that I fell in love with these characters to the point that I didn’t want to leave them when the film was over. It proves Raiff is an exciting young filmmaker to be on the lookout for. AMARÚ Writer, director, and lead Cooper Raiff bodied everything about Cha Cha Real Smooth . His portrayal of Andrew is fully authentic, and his palpable chemistry with everyone is a testament to his direction. Whether sparks fly with Dakota Johnson (Domino), compassion brims with Vanessa Burghardt (Lola), or love overflows with his family (Evan Assante, Leslie Mann, and Brad Garrett), there isn’t one unfulfilled moment. While some scenes feel cut off due to budgetary restrictions, the film’s honest writing says the things in life we try to hide out of fear and elevates it to being one of this year’s most satisfying movies. NICK Cha Cha Real Smooth is a film that delivers a wonderfully authentic portrayal of autism through solid performances across the board. It also features a sweet, relatable story, regardless of faith. So, why didn’t I love it? I liked it, sure, but something kept it from reaching that next tier for me. It just felt like a lot of “good,” but not a lot of “great.” Based on the love it’s been getting both critically and by my peers, I’m clearly in the minority, but this one just didn’t do enough to warrant that praise from me. JACOB The sophomore effort of director Cooper Raiff, Cha Cha Real Smooth , finds its star in even finer form as a filmmaker. The Shithouse helmer possesses the uncanny ability to mimic the softer sides of Richard Linklater without losing his own voice in the process, navigating conflicts with permeating empathy and enveloping warmth. Whereas his previous film felt more like a chapter than a full story, Cha Cha takes that same formula and stretches it to its logical endpoints without outright villainizing anyone. Raiff and co-star Dakota Johnson have genuine chemistry, and their individual connections with scene-stealer Vanessa Burghardt are palpable. ADRIANO Cha Cha Real Smooth played with all of my feels. I watched this film soon after my 21st birthday, and as a result, it couldn’t have hit closer to home. The anxiety and fear that the lead character feels in this era of his life is accurately represented, but never in a purely negative manner. In fact, director/writer Cooper Raiff portrays these feelings honestly and in a light and hopeful way. The movie is extremely funny, even as it goes into serious territories, and I appreciated the film for that. This is a tender film that I can see myself watching again and again.

SISU Starring: Jorma Tommila, Aksel Hennie, Jack Doolan, Mimosa Willamo, and Onni Tommila Director: Jalmari Helander QUENTIN If I walked away from 2022’s Toronto International Film Festival with only one discovery that I needed to tell everyone about, it was Sisu . It’s an action-packed thrill-ride featuring over-the-top revenge violence directed towards everyone’s favorite villain, Nazis. Imagine John Wick meets Captain America: The First Avenger , as directed by Quentin Tarantino. Does that sound bonkers? It most certainly is. But it’s also one of the best times I’ve had in a movie theater in quite some time. It was easily one of TIFF’s best offerings, and is now one of 2023’s best movies. Plus, don’t be fooled by its foreignness - it’s in English. JACOB True to its premise, perhaps to a fault, Sisu is as simple as it sounds and as entertaining as its premise promises. About a former Finnish commander killing a bunch of Nazis in violent and brutally badass fashion, comparisons to the John Wick franchise are warranted, but director Jalmari Helander’s 90-minute actioner takes a more grounded approach to the mayhem as Jorma Tommila soldiers on through various perils to exact his vengeance. The film could have used a slightly more thorough emotional through-line (all we really get is one exposition scene), but beyond that, there’s very little not to enjoy here. ADRIANO Sisu is the kind of movie that falls apart if the director takes it too seriously, and thankfully, that’s not what happens here. While the story is paper-thin, the film is wholly watchable for the absurdity of it all. An old man expertly and gruesomely slaughtering Nazis left and right in a John Wick meets Quentin Tarantino fashion is a satisfying sight to behold. I wish the female prisoner storyline got a little more attention because I liked the potential of it much more than what we actually got; nevertheless, even if Sisu is really stupid, that’s why I enjoyed it. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

HEEL Starring: Stephen Graham, Anson Boon, Monika Frajczyk, Kit Rakusen, and Andrea Riseborough Director: Jan Komasa NICK With a unique premise and Stephen Graham coming off of Adolescence , Heel (originally titled Good Boy) was on my radar fairly early. Although it landed in the middle of the pack for my festival run, it’s not without its positives. Graham and Anson Boone are key among them, as their abilities to give their characters aspects of both villainy and humanity kept me engaged throughout the entire film. As great as both leads are, however, the film’s pacing often betrays them and limits the potential for powerful moments in this character study about rehabilitation. Much like its original title, this one is “good” not great. PAIGE Heel is one of those films where you have no idea what direction it’s going to go next. The film plays out like a car crash that you can’t look away from. And while it doesn’t fully commit to its insane premise, it’s unsettling nonetheless. The whole idea of thinking that you can try to train someone to become a better person is certainly uncomfortable, and the film isn’t afraid to lean into that tension. This Yorgos Lanthimos-like film isn’t as fleshed out as I hoped, but it's still a fascinating story led by great performances from Stephen Graham, Anson Boon, and Andrea Riseborough. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

M3GAN 2.0 Starring: Jenna Davis, Violet McGraw, Allison Williams, Amie Donald, Ivanna Sakhno, Brian Jordan Alvarez, Jen Van Epps, Aristotle Athari, and Jemaine Clement Director: Gerard Johnstone AMARÚ M3GAN 2.0 is a definite upgrade from M3GAN , vastly due to the massive improvements to the title character (Jenna Davis) in every way. M3GAN (physically played by Amie Donald) is hilarious, whip-smart, the perfect amount of petty, and Davis’ voice performance creates energy with every line she utters. When she is on screen, the action, comedy, and thrills deliver on the “knowing exactly what movie she’s in” fun you hope for. When she’s not on screen, the film is exposition-filled, predictable nonsense. Luckily, M3GAN is there 70% of the time, and 70% of her iconic energy outweighs 30% of stupidity. ADRIANO When I heard the sequel to M3GAN was going to shift tones entirely, opting for a more T2 -esque action feel instead of horror, I honestly thought that sounded hilarious. Unfortunately, M3GAN 2.0 takes itself way too seriously. It's at its silliest when the titular character is there, but she's barely in it. The performances aren't bad, but it focuses on these characters for so long that I eventually stopped caring about any of the emotional stakes. The action was fine I guess, but the M3GAN franchise needs to own its campiness, and this doesn’t own it at all. NICK What was viewed as a horror franchise has now turned into an action-comedy as M3GAN 2.0 goes the Happy Death Day route of genre-flipping the sequel. Despite that tonal shift, it still works about as well as the first film. As someone who thought M3GAN was fairly middle-of-the-road, this didn't change my opinion drastically in either direction. The laughs are more frequent, and M3GAN grows as a character, but the film suffers when she's off screen and it presents a very confusing stance on AI. This will still appease fans, but if you didn't love the first one, I don't expect this will change your mind. BODE I’d be lying if I said I was a huge fan of the first M3GAN , but I did still find it to be a decent enough horror comedy that crafted a memorable character and provided some undeniably meme-worthy moments. You’d think that creating a sequel to it - let alone one that pulls a Terminator 2 -style genre switch - wouldn’t be so difficult, but M3GAN 2.0 proves exactly the opposite. Its punchlines are barely funny, the action isn’t very exciting, and even its commentary on the threat posed by AI falls incredibly flat. It’s a downgrade in every way possible.

I'M STILL HERE Starring: Fernanda Torres, Fernanda Montenegro, and Selton Mello Director: Walter Salles ADRIANO I'm Still Here is a powerful history lesson and a tragic family drama wrapped into one wonderful film that sheds a devastating light on the Brazilian military dictatorship of the 70s and pays homage to those who resisted. While some of the images and details can be hard to watch, at the heart of the film is the impact on the central family, which makes way for some emotionally devastating and cathartic moments, led to perfection by Fernanda Torres. It goes on just a little too long, but I was fully enamoured by I'm Still Here . AMARÚ I’m Still Here is a tragic and heartfelt film that highlights the lesser examined side of when corrupt governments fracture families. Director Walter Salles focuses on the familial bonds before, during, and after the forced disappearance of the Paiva family patriarch, and when I say you couldn’t tell me that ensemble wasn’t actually related, I promise you it felt as if I was sitting at my own family’s dinner table. Led by Fernanda Torres’ commanding performance, each cast member does the real-life Paiva family justice, portraying them with authenticity, love, and a powerful connection that made this true-life story that much more devastating and hopeful. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

LATE NIGHT WITH THE DEVIL Starring: David Dastmalchian, Ingrid Torelli, Laura Gordon, Ian Bliss, Rhys Auteri, Georgina Haig, and Fayssal Bazzi Director: Colin Cairnes and Cameron Cairnes NICK Late Night with the Devil is an impressive feat. The film not only transports you back in time to the 1970s, but it does so while seamlessly blending its timeline into our actual past. This smart directorial decision makes everything feel authentic to the period. David Dastmalchian plays the host of the proceedings, and he channels the squeaky-clean cheese of yesteryear with an era-perfect performance. You feel as if you’re sitting in the audience of this supposed pivotal moment in time, and it makes for a special theatrical experience. KATIE Late Night with the Devil is a smart, satirical, stylish, and spine-chilling horror film. It convincingly emulates the style and texture of 1970s late-night television, but still feels very fresh, with an impressively engaging found-footage concept driven by David Dastmalchian’s charming yet creepy performance as TV host Jack Delroy, who is forced to face the consequences of his venality. If you begin to question some of the logic in the film, it begins to not make sense, but I didn’t mind as this is a punchy, well-executed retro-style horror with a creative approach and some great scares. PAIGE Late Night with the Devil is a campy yet eerie film that is atmospheric and stylish. The movie makes the most of its strengths, with David Dastmalchian playing a struggling talk show host against the backdrop of the 1970s, and its unique approach of mixing a live late night talk show with found footage. It's a brisk and creative horror film overall, even though its cautionary tale about the dangers of selling yourself for fame or prosperity could’ve gone further with its scares and ideas. QUENTIN *Sigh* Here we are again…another critically acclaimed horror movie that everyone seems to be raving about and another genre disappointment for ol’ Q. Maybe it was too overhyped, but despite my appreciation for the authentic 70s talk show vibe and David Dastmalchian’s terrific performance, there just isn’t a lot to grasp on to here. The story is somewhat disjointed, completely lacking in scares, suspense, and tension, while the ending feels unearned as certain revelations kinda come out of nowhere. I can’t deny the film’s successes on the technical front, but I remain on my years-long hunt for the next great horror film. CALEB For a found footage movie to work, it has to be immersive, and Late Night with the Devil is anything but. The wonky CGI, awkward exposition dumps, and terrible AI artwork made it impossible for me to lose myself in the 70s aesthetic. It didn’t help that the movie would occasionally forget it was found footage, and the characters would begin conversing privately as if they weren’t on camera. I could forgive the inattention to detail if it were more engaging, but the narrative moves at a snail's pace, and the “scares” are laughable. Unfortunately, the only frightening thing about Late Night is the horrific corner-cutting.

MR DRESSUP: THE MAGIC OF MAKE BELIEVE Starring: Eric McCormack, Paul Sun-Hyung Lee, Bif Naked, Michael J. Fox, Bruce McCulloch, Scott Thompson, Graham Greene, Andrew Phung, Fred Penner, Jonathan Torrens, Chris Coombs, Cathie LeFort, Judith Lawrence, Fred Penner, and Ernie Coombs Director: Robert McCallum NICK As with many Canadians, I grew up watching Mr. Dressup . He was our Mister Rogers, which is fitting as he began as Fred Rogers’ protégé. That is one of many things I learned about Ernie Coombs in this documentary. Told through numerous interviews with a Canadian Who’s Who, this walk down memory lane features the highs and lows of Coombs’s life, as well as exploring a little children’s show that became a juggernaut by amassing 4000 episodes. This terrific documentary makes for the perfect companion piece to Won’t You Be My Neighbor? , a spotlight put on another man who helped shape many generations. Have tissues nearby. CALEB I didn’t grow up watching Mr. Dressup , but The Magic of Make-Believe made me wish that I had. This charming documentary shares the wonderful story of Ernie Coombs, skillfully navigating the ups and downs of his life with the same warmth and tenderness that he so famously brought to the screen. I loved the story, but some of the film’s technical choices bothered me. The graphics were distracting, and the score felt slightly over-used. Despite those minor complaints, I’d still say that whether you’re a fan of Mr. Dressup , or simply interested in Canadian media history, Make-Believe is definitely worth a watch. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

APORIA Starring: Judy Greer, Edi Gathegi, Payman Maadi, and Faithe Herman Director: Jared Moshé This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. PAIGE Director Jared Moshé’s Aporia is thought-provoking as it explores the impacts of grief and morality. The genre-bending time-travel film is a risky and chilling tale that makes you ponder about the choices we are presented with in life and the impact of the decisions we make. However, due to its middling script, it falls a little flat. While Judy Greer, Edi Gathegi, and Payman Maadi deliver solid performances, the film lacks momentum and character depth. Aporia needed more build-up for the audience to care about these characters' journeys. QUENTIN If you’re a fan of 2004’s indie time-travel movie Primer or the films of Aaron Moorhead & Justin Benson (The Endless , Something in the Dirt ), Aporia is for you. It’s the kind of slow burn, cerebral sci-fi that asks important questions…in this case, about the ethical dilemma of using a time machine to change the past for personal reasons, as well as the unintended butterfly effects…but it fails to ask them in super interesting ways. As much as I love the premise, the truth is that the movie is fairly boring. But I also thought Primer was boring, and people love that movie, so… NICK Featuring a highly interesting premise and a solid lead performance from Judy Greer, Aporia is a film stuffed with potential for a unique sci-fi tale. Unfortunately, most of that potential is unrealized. It's certainly watchable, and the focus on the consequences of changing the past and the spiral effect of trying to amend those very consequences is well done. However, its slow pacing does it no favours, and the character logic can be beyond head-scratching at times. Again, this isn’t a bad film, but as it ended, I couldn’t help thinking about how much better it could have been.

GET AWAY Starring: Nick Frost, Sebastian Croft, Aisling Bea, Maisie Ayres, Eero Milonoff, Anitta Suikkari Director: Steffen Haars KATIE Get Away is a horror-comedy that presents an amusing twist on folk horror tropes, and I was immediately on board with the awkward humour and jabs taken at the family’s cringe-worthy attempts to respect the culture whilst being oblivious to their ignorance. Nick Frost excels in familiar horror-comedy territory, but Aisling Bea is the standout, nailing every line delivery. The unexpected twist is great when it's initially revealed, but I found the build-up was better. Plus, after the novelty wears off, it raises a lot of questions that go unanswered and the short runtime begins to drag. QUENTIN If not for an out-of-nowhere twist and tonal shift around the halfway point, Get Away wouldn’t have much going for it. Even as it is, the twist is so rushed and undeveloped that it can’t fully save the picture. Otherwise, this is a comedy-horror that is neither funny nor scary, and despite clocking in at only 80 minutes, it’s still too long. Granted, there is some gleeful carnage to be found in the final act, but it’s just carnage for carnage’s sake. That might be enough for some, and I can’t fault those people, but I need more.