Search Results

THE RUNNING MAN Starring: Glen Powell, Josh Brolin, Colman Domingo, Jayme Lawson, Lee Pace, Katy O’Brian, Michael Cera, William H. Macy, Daniel Ezra, and Emilia Jones Director: Edgar Wright AMARÚ For a movie tailor-made to fit Edgar Wright’s stylish directorial flair, The Running Man is surprisingly muted. That’s probably because it vacillated tones so often that the visuals could never settle into any kind of groove, and that’s the film's biggest issue. While Glen Powell goes full ham-fisted fuck the system, the story turns from schlock to serious and back so quickly that characters, plot points, and action bits arrive and disappear in a flash. If we’re going to pay homage to 80s camp, then stick to it; otherwise, what’s left is a lot of false starts to fun ideas that often fizzle out. ADRIANO The Running Man is the most disappointed I've been this year. That's not to say it's bad; it has some fun energy and entertainment value, thanks in part to Glen Powell's movie-star charisma, alongside Colman Domingo chewing the hell out of his scenes. However, Edgar Wright's signature freneticism is oddly absent, aside from a few split-second moments, making the action uncharacteristically flat. It's a serviceable action-comedy at worst, but with an extra dose of punches being pulled with its totalitarianism messaging. I wouldn't be this upset had it not been Wright, but it's too forgettable for such an amazing filmmaker. PAIGE For most of the runtime of The Running Man, I was quite entertained. The cat and mouse chases and action sequences were fun as hell throughout, and Glen Powell proves he has the charisma to be an action star. Where the movie goes off the rails for me is in its third act. By that point it becomes tiresome, as it continuously beats you over the head with its themes, and the story has nowhere near the depth needed to make me fully care about what it’s trying to say. Overall, it has a lot of ingredients to be a great action movie, but it’s missing the impact needed to leave a lasting impression. BODE I’ll probably always have some affection for director Edgar Wright given that he’s made some of my favourite movies ever. But between Last Night in Soho and, now, The Running Man , he’s on an alarming trend of being unable to stick the landing after promising starts. Though it lacks his signature style and its cultural commentary isn’t particularly insightful, the first two-thirds of this are still pretty fun, thanks to some solid setpieces and a game cast. However, the third act becomes so overstuffed that it practically runs out of steam before its conclusion. It’s serviceable as is, but I had hoped for more. ROBERT It is interesting how “fun,” in terms of a movie-watching experience, can span the spectrum of positive to negative based on our expectations. For Edgar Wright and The Running Man , given the climate of 2025 action movies, fun shouldn’t just be written off; however, given our history with this filmmaker, it is. The practicality of the action setpieces and the bombast are worthy of Wright’s imagination, but the inability to thread the tonal needle keeps everything off kilter. Confusion abounds, especially in the third act when the plot is dragged out illogically and without purpose. Cool film, but it lacks a binding agent. QUENTIN Given director Edgar Wright’s reputation, it’s surprising The Running Man is so flat. On paper, it has all the elements of an adrenaline-fueled thrill ride: a fun premise, excellent source material, rich and timely themes, a skilled filmmaker in Wright, and Glen Powell’s roguish charisma. However, in execution, those elements come together to generate dispassionate indifference. It boasts a fast-paced glossiness that sublimates a fun time at the movies, but that shine is a superficial shell covering for a rushed story, complete lack of character depth, and action scenes that barely get the blood pumping. Overall, The Running Man is forgettably fine, but ultimately disappointing. Want to hear even more of our thoughts? Nick, Adriano, and Amarú join Matt to take A Bigger Bite out of The Running Man HERE .

THE BUBBLE Starring: Karen Gillan, Iris Apatow, Fred Armisen, Maria Bakalova, David Duchovny, Keegan-Michael Key, Leslie Mann, Kate McKinnon, Pedro Pascal, Peter Serafinowicz, and Guz Khan Director: Judd Apatow ADRIANO As an avid admirer of writer/director Judd Apatow, I was disappointed by The Bubble . This film is just such a departure from Apatow's other works. While he excels in relatable and accurate relationship dramedies, this is a failed attempt at meta absurdism comedy with outdated themes and an unfocused plot. It’s not all terrible though, as the cast is fully committed (particularly a hilarious Pedro Pascal) and there are some jokes that had me howling; However, the jokes missed more than they hit. The only thing that truly made this feel like an Apatow film is the overlong runtime. JOSEPH It’s hard to imagine how a Judd Apatow film could be so bad. Maybe it's too timely or maybe it thinks it's more clever than it is, but all in all, The Bubble is just a snooze fest. It’s forgettable, it’s dumb, and while certain parts will make you laugh, it doesn’t make up for the movie as a whole. This feels like a student improv workshop that somehow got turned into a script. I am saddened that I ever wasted time on it. QUENTIN I think director/co-writer Judd Apatow had a decent idea with The Bubble , which is akin to Tropic Thunder: Pandemic ; However, in 2022, I can’t tell if it’s too soon or too late. Either way, it’s a complete misfire. Social distancing, quarantine, and testing jokes feel both too dated and still too much of a sore subject to be funny. On top of that, it feels very inside baseball, like it was made only for people who shot a movie during the pandemic. Admittedly, there are a couple funny one-liners because a cast this talented can’t be held down forever, but, otherwise, oof.

TWINLESS Starring: Dylan O’Brien, James Sweeney, Lauren Graham, and Aisling Franciosi Director: James Sweeney AMARÚ Twinless features a moving dual performance from Dylan O’Brien and a breakout turn from director/co-lead James Sweeney. They’re stirring in their roles, which helps a story that wavers from slightly sluggish to extremely interesting. Before the totality of the plot clicks into place, the dour tone weighs heavily on the pacing, but once you see the lengths that Sweeney’s Dennis goes to fill voids in his life, you’re locked into how his desperation counterbalances O’Brien’s depression. While the rest of the film still ebbs and flows, the parallel unfolding of the leads’ respective traumas is relatable enough to keep this movie going. QUENTIN At its core, Twinless is a standard bromantic comedy. Sure, writer-director (and co-lead) James Sweeney adds his own nuanced flavor and brand of melodrama, but the tropes are all the same. That’s not to say it’s bad, as it easily coasts on the heartfelt chemistry between Sweeney and Dylan O’Brien, the latter of whom gives a tremendous dual performance as the confidently charismatic Rocky and emotionally vulnerable Roman. Still, window dressing aside, from Wedding Crashers to You’ve Got Mail , you’ve seen the basic bones of this story structure before, which keeps it from becoming something special even though it’s a pretty decent movie in its own right.

CIVIL WAR Starring: Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson, and Nick Offerman Director: Alex Garland ADRIANO With a number of people calling Civil War a masterpiece while others call it an utter disaster, I was expecting something much more challenging. That said, I'm a little confused by the divisiveness because I found Civil War a little too safe, at least politically. However, as an action-thriller, I was enthralled. Writer/director Alex Garland's epic on how desensitized to war we've become is thrilling as we follow our protagonist across this baron, smartly developed hellscape. What surprised me most, though, was the amount of emotional depth found within the characters. Watch this on an IMAX screen, it's worth it. NICK Alex Garland was showcasing “event director” potential until the mixed and divisive Men . Well, consider that film a blip because he's back in full force with Civil War . I'm not typically a fan of war films, but this thing is pretty impressive. It's beautifully shot, featuring some flat-out breathtaking moments and unorthodox yet perfectly placed music, but its real triumph is just how immersive it feels. Be it fear, tension, or adrenaline…if the characters feel it, so does the viewer; that’s due to Garland's approach. It’s a spectacular feat by the director, and one that has me once again anticipating his next project. AMARÚ Even before frame one, Civil War is extravagantly disorienting, using stunning imagery and outstanding performances (especially the always brilliant Stephen McKinley Henderson) to immerse you in every aspect of war. From nerve-wracking silence before the harrowing atrocities of battle, to the calm of humanitarian work and complacency of ignorance, director Alex Garland masterfully puts you in the passenger seat to witness unbiased truth through a journalistic lens. But it’s his use of humor and sound, contrasting an upbeat soundtrack and authentic levity with a haunting score and shocking sound design, that truly uplifts this to the best film of 2024. QUENTIN Civil War is the first movie of 2024 that you’ll likely see on my “Best Of…” list come year’s end. It’s incredibly immersive, from the way it’s shot to the sound design, featuring a palpable undercurrent of tension running throughout. It genuinely captures what a modern-day American civil war might look and feel like, which is maybe the highest compliment I can deliver — it’s so frighteningly plausible, possible, and realistic. I have a few minor quibbles…Cailee Spaeny looks too young for her role, and the ambiguity and lack of context in the world-building is ever-so-slightly frustrating at times…but the movie remains a winner. PAIGE Civil War is a nerve-wracking experience with a distinctive and potent quality derived from its unclear storyline. The thing I most valued is that it's not overbearing in the slightest. It's about experiencing the civil war through the lens of photojournalists, not about the reasons behind it or which side you should support. Director Alex Garland manages to fully submerge you in this tense environment despite the film's absence of an overarching motivation, and this is made possible by the film's stunning cinematography, great sound design, and exceptional performances, especially from Kirsten Dunst and Cailee Spaeny. KATIE Civil War is not as politically charged as I expected, avoiding contemporary political tensions or taking sides while instead focusing on the extraordinary role journalists play in our world today. The result is incredible. Every moment is permeated by a menacing tone and unbearable sense of tension, and the intense scenes of senseless violence paired with the unconventional soundtrack are equally as terrifying as they are exhilarating. The performances are gripping, particularly Kirsten Dunst as the stony-faced photojournalist, and the emotional bonds between the characters are the beating heart of a film set in a world where brutality and death become commonplace. PRESTON Just so you know, Civil War happened to be one of my most anticipated films of the first half of 2024. I must admit that my enthusiasm was initially tempered as I was expecting a full-on dystopian war epic that foretells the impending fall of western civilization, something closer to Red Dawn than a movie about war correspondents. In the end, though, it matters little as the haunting cinematography, next-level acting, and pulse-quickening sound tell a story that is well worth reflecting on. If you know what you are in for, this may qualify as one of the best offerings of the year so far. CALEB Civil War is a visceral, terrifying exploration of societal collapse. Director Alex Garland paints a bleak portrait of an America that’s well past the point of political discourse — left and right, good and evil. This film isn’t trying to lecture you, pat you on the back, or shove an ideology down your throat. Instead, Civil War makes the case that no matter what side of the political spectrum you’re on, we’re all headed in the wrong direction. It’s an extremely effective cautionary tale with stellar visual effects, breathtaking cinematography, and outstanding sound design. This may just be Garland’s magnum opus.

BORDERLINE Starring: Samara Weaving, Ray Nicholson, Alba Baptista, Eric Dane, and Jimmie Fails Director: Jimmy Warden KATIE Borderline is sporadically funny and entertaining, but its uneven tone and performances mean it never reaches its full potential. Ray Nicholson as the stalker Paul and Samara Weaving as pop icon Sophia should’ve been the stars of the show, but the film is oversaturated with supporting characters, not to mention that Eric Dane’s flat performance dissipates any tension building. Nicholson also tries too hard to conjure his family resemblance. I enjoyed some of the unique editing choices and grittier moments, but they’re too few and far between. I’m interested to see what writer-director Jimmy Warden does next, but I was disappointed by Borderline . BODE Cocaine Bear made Jimmy Warden a screenwriter to watch, and now he makes his directorial debut with Borderline , another attempt to depict violent situations with plenty of humour. It never digs very deep character- or story-wise, which makes it puzzling that it takes so long to set things up, but once it does, it kicks into high gear. This is thanks to some inspired direction, consistent laughs, and game performances from the likes of Samara Weaving, Ray Nicholson, and Alba Baptista. It likely won’t linger in the memory for long, but at 94 minutes, Borderline is a fun enough watch. QUENTIN Truth be told, Borderline has a lot going for it, including some genuine laugh-out-loud moments, a game cast (Ray Nicholson, who seems to be everywhere recently, is especially great), and scenes that are just fun to watch. However, those positives are somewhat wasted in a movie that sees first-time director Jimmy Warden trying to do too much. The tonal inconsistency is the most obvious flaw, with Warden struggling to balance the horror and comedy, but small non sequitur tangents also highlight how scattershot it all is. For a 90-minute one-off, there is enough to have fun with, but the lack of cohesiveness really holds it back.

PARTHENOPE Starring: Celeste Dalla Porta, Stefania Sandrelli, Silvio Orlando, Gary Oldman, Luisa Ranieri, Peppe Lanzetta, and Isabella Ferrari Director: Paolo Sorrentino QUENTIN The great irony of Parthenope is that, at its core, it’s an exploration of beauty and the superficiality that lies therein, yet it remains as shallow as a Calvin Klein ad. Yes, it’s beautifully shot, with beautiful people doing beautiful things in beautiful locations, but that’s about it. There is little in the way of emotional depth or resonant meaning, and it plays out just as one might expect. Gary Oldman does solid work in a small role as John Cheever, but sadly, he just made me long to watch the 1992 Seinfeld episode “The Cheever Letters.” KATIE Parthenope gestures towards themes surrounding the burden of beauty and feeling alienated from others, but I ultimately only enjoyed it because it's so gorgeous to look at. It resembles a perfume advert, with characters always posing like they’re being painted against the stunning backdrop of the sun-soaked Italian coast. The titular character, played by Celeste Dalla Porta, is a walking male fantasy: impossibly beautiful, mysterious, and willing to sleep with them. In this sense, the film offers no emotional engagement, and I felt distanced from all the characters, although this could be intentional considering its focus on Parthenope’s enchanting yet elusive beauty. PAIGE What director Paolo Sorrentino does so well with Parthenope is give the film a timeless feel even though it takes place over several decades. Plus, it’s a visually stunning piece of cinema that truly shows, not only the beauty of this woman, but the burdens that come with it. With that said, beauty is in the eye of the beholder, and this movie is very much style over substance. The overall story we receive is overflowing with sweet nothings, which is unfortunate since I was otherwise mesmerized by the visual voyage the film takes its viewers on. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

HIM Starring: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, and Jim Jefferies Director: Justin Tipping NICK I think if Him was content with just being a story about the lengths one will go for greatness, it could have worked better. Instead, it’s a film that feels compelled to touch on things like race and religion without the depth to handle either. It’s too bad, too, because Marlon Wayans is actually quite entertaining, and there are some solid visuals throughout the film. It just all feels so hollow. It’s undone by striving to be more than it is, which is often the downfall of many pro athletes. Unfortunately, that parallel was unintentional. ADRIANO Much like the protagonist in the film (played well by Tyriq Withers, admittedly), Him has sincere hidden greatness. Maybe this is my anticipation talking, but I saw the potential even in the worst moments of the empty style that only distracted from the empty messaging. Too much of Him baffles more than frightens, but even at the lowest points of extreme confusion and disappointment, I was optimistic that it would redeem itself. And then the third act came, eradicating any potential it had to come back around and truly proving that Him has nothing to say. AMARÚ Him has everything necessary for a harrowing tale about athlete commoditization and the dangerous sacrifices of obsession. Director Justin Tipping’s visuals are hauntingly captivating, and Marlon Wayans’ mad-eyed intensity is perfect as the wayward mentor to Tyriq Withers’ doe-eyed naivety. You can see greatness in individual scenes, but the screenplay lacks absolutely any amount of tension. Instead of the ebbs and flows of a full-fledged story with rising actions climaxing to an anxiety alleviating resolution, it’s an outline of spectacle put on film. Montages, music, and motivational phrases aren’t enough to capture audiences’ attention. They’re only enough to waste the potential of this film’s talent.

IF I HAD LEGS I'D KICK YOU Starring: Rose Byrne, A$AP Rocky, Conan O’Brien, Mary Bronstein, Danielle Macdonald, and Christian Slater Director: Mary Bronstein ADRIANO If I Had Legs I'd Kick You is likely to be a very alienating film for many people, but I can't stress enough how worth it this experience is, if not just for the tour-de-force performance from Rose Byrne. She guides this stressful, at times excruciating (by design) exercise in maternal frustration, as we follow Byrne's character through some of the most aggravating series of events, told with expert tension and visual splendour by director/writer Mary Bronstein. I have mixed feelings about how it wraps up, but the way Byrne guides this difficult experience is a sight to behold. NICK Even as a childless man, I found If I Had Legs I'd Kick You quite emotionally exhausting; I can only imagine how this film would make a mother feel. Director Mary Bronstein has created an immersive character study that suffocates you as you watch it. Her direction is deliberate, creative, and unafraid to take risks. If that wasn't good enough, it's all anchored by a tremendous performance from Rose Byrne. She has never been better as the overwhelmed, beaten down, and frankly, defeated Linda. It may be heavy, and not always the easiest watch, but Bronstein just jumped onto the scene in a big way. BODE If, like me, you watched Nightbitch and thought it neutered its portrayal of the difficulties of motherhood, you might get a kick out of If I Had Legs I’d Kick You . Writer-director Mary Bronstein fearlessly comes at the same themes with disorienting cinematography, overwhelming sound design, and jarring editing – all of which accentuate its nightmarish surrealism and dark humour. And Rose Byrne immerses herself in the exhaustion of the film’s protagonist, delivering a career-defining performance in the process. It’s definitely not for the faint of heart, but if you’re willing, you’ll witness something major. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival .

SICK Starring: Gideon Adlon, Bethlehem Milton, and Dylan Sprayberry Director: John Hyams QUENTIN As slashers go, Sick works well enough to satisfy the genre itch. It doesn’t do anything groundbreaking – I mean, what slashers do, anymore? – but it serves its purpose. Given that it shares the same writer as Scream , the similarities between the two practically smack you in the face. It manages to lightly subvert a few expectations, but not to the degree of the 1996 classic. The COVID aspect is a bit too obvious and already feels a little dated, but it’s fine, whatever. Either way, if you’re in the market for an old-fashioned slasher that doesn’t require much effort, Sick has you covered. NICK I hope we’re coming to the end of COVID films, but Sick at least tries to incorporate it into the story in a unique way. In fact, it’s the only thing that really makes the film stand out. Beyond that, it’s your average home invasion horror, featuring some fun kills and story beats that are homages to several films that came before it. The cast is serviceable if unspectacular, and the script, as written by Scream scribe Kevin Williamson, does what it needs to do. It’s a solid shut-your-brain-off-and-have-fun film, and there is nothing wrong with that. PAIGE Sick is sharp like a butcher’s knife, and with only an 80-minute runtime, it’s a fast-paced thriller that delivers in the kills department. Writer Kevin Williamson is sick in all the right ways for crafting up another cat-and-mouse slasher (this time with a deadly pandemic twist) that is perfect for all you sickos out there craving a good, old-fashioned killfest. Admittedly, the third act kinda takes an interesting approach, one that doesn’t have enough gravitas to stick the landing, but it does have some of the most exhilarating chase sequences I’ve seen in a while. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

DEAD MAIL Starring: Sterling Macer Jr., John Fleck, Tomas Boykin, and Susan Priver Directors: Joe DeBoer and Kyle McConaghy NICK Dead Mail is exactly what you should be looking for from an indie horror. It’s got a grainy shooting style that gives a grimy feel on top of an engaging story to work with. The reason it works as well as it does, however, is the traumatized performance from John Fleck. Although Trent (Fleck) begins with sympathetic motivations, he soon turns sinister, and his descent into madness is the highlight of the film. Sure, you could shave a little off the runtime (there's a bit of a drag in the middle), but Dead Mail feels destined to do well on Shudder. KATIE Dead Mail is an odd little film. Initially, I struggled with the oppressive, almost dingy atmosphere, but as the narrative progressed, I appreciated the impressive lo-fi visuals and distinct 1980s aesthetic. Directors Joe DeBoer and Kyle McConaghy present a bizarre world drained of colour and vibrancy, inhabited by lonely characters; however, despite this bleakness, it's still very compelling, thanks to the understated yet impactful central performances of John Fleck and Sterling Macer Jr. Overall, Dead Mail is a quietly gripping experience for anyone willing to embrace its strangeness. ADRIANO Warts and all, there was a sicko smile on my face for the majority of Dead Mail 's runtime. Its 80s aesthetic could've easily resorted to a gimmick, but writer/directors Joe DeBoer and Kyle McConaghy play within the confines of this idea to create something truly maddening. I'll admit, I think the pacing sometimes clashes with the mayhem, but the performances and score are enough to bring me back into the bizarre nature of the film as it takes one unpredictable turn after another, culminating in a bonkers final act. Suffice to say, I had a lot of fun here. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

MOVING ON Starring: Jane Fonda, Lily Tomlin, Malcolm McDowell, Richard Roundtree, Sarah Burns, Marcel Nahapetian Director: Paul Weitz NICK Although I haven’t seen Grace and Frankie , I knew of the chemistry between Jane Fonda and Lily Tomlin going into Moving On . As delightful as they are together, it’s the stories within the stories where the film really thrives. There are tales of revenge, tales of love, and tales of loss; sometimes they even intersect. It tackles some sensitive subject matter at times, but always makes a point to handle it in a delicate manner. Moving On is one part Grumpy Old Men and one part 9 to 5 , and while it may not be revolutionary, they hired the right women for the job. JACOB Moving On is what you get when you have several themes in a script but try to put them all together without prioritizing what story you’re telling. That phrasing may sound harsher than I ultimately am on the film, but it is by far its biggest problem. Luckily, that problem doesn’t totally sink this surprisingly decent time, even if Jane Fonda’s character is far less engaging than Lily Tomlin’s, who is the real star here. It’s her scenes that keep the film afloat with ace comic timing and one thoroughly underexplored subplot. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

KISS OF THE SPIDER WOMAN Starring: Jennifer Lopez, Diego Luna, Tonatiuh, and Bruno Bichir Director: Bill Condon AMARÚ Jennifer Lopez is perfectly fine in Kiss of the Spider Woman , but she primarily is the vehicle that drives forward the burgeoning relationship between Diego Luna’s Valentin and Tonatiuh’s Molina. The two of them are phenomenal as Argentine political prisoners; with Luna channeling what Andor might have been if given the chance at love, and Tonatiuh grabbing the chance to become an absolute star. Using Lopez’s scenes as representation of the cinema’s power to change, influence, and save was a nice device to push the leads, but outside of that, Spider Woman is just a fine, everyday musical. QUENTIN I typically don’t love musicals, mostly for pacing reasons, but Kiss of the Spider Woman has the right idea when it comes to structure. By using a setup similar to The Princess Bride (a person telling another person a story), the song-and-dance numbers aren’t rehashing a scene that just happened like in most musicals. However, I was more engaged by the reality-set relationship between Valentin (a great Diego Luna) and Molina (an even better Tonatiuh) than the fantasy-set musical sequences that often killed the momentum of the characters’ evolving dynamic. Granted, even as they became tiresome, I appreciated the Old Hollywood stylings of the musical moments.