RAGING GRACE Starring: Leanne Best, Jaeden Paige Boadilla, Max Eigenmann, and David Hayman Director: Paris Zarcilla This film has been reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Raging Grace does several things very well. The acting is solid, the score is one of the best horror scores I’ve heard in quite some time, and an overbearing feeling of dread permeates the viewing experience as you’re constantly waiting for the other shoe to drop. That said, once it dropped, so did my general interest as major reveals land with more of an “oh” than an “oh!” Also, writer-director Paris Zarcilla clearly wants to talk about social inequalities (it’s often reminiscent of Parasite ), but those themes aren’t fleshed out terribly well. It’s not a total dud, but I didn’t love it either. PAIGE Raging Grace showcases the hardships and struggles one may face due to immigration and colonialism. While the film is categorized as horror, I personally think it plays more like an atmospheric mystery movie. With that in mind, one of the major things this Fantasia offering has going for it is its score, which enhances the ominous tone that lingers throughout. That said, there needed to be way more rage from Grace for this film to be titled Raging Grace .

ZOLA Starring: Taylour Paige, Riley Keough, Nicholas Braun, Colman Domingo and Jason Mitchell Director: Janicza Bravo JACOB As an adaptation, Zola doesn't quite capture its source material wholistically, and, frankly, the story is more entertaining in written form. That said, co-writer/director Janicza Bravo's re-telling of the iconic Twitter saga is engaging enough to keep one's attention thanks to solid performances from Taylour Paige and Riley Keough. Some will inevitably be turned off by the experimental manner in which certain scenes are crafted, but conventionality wouldn't fit the story's essence. I do wish there was more of an ending than what's included, as the film sort of just ends without much in the way of resolution. QUENTIN For better or worse, I wasn't familiar with the Twitter thread that inspired this movie. I knew it existed, but had no idea about the ins-and-outs of the supposedly true story. It's a wild one, to be sure. That said, something just didn't click for me despite fantastic acting and direction. Colman Domingo is especially great, stealing every scene he's in, while director Janicza Bravo announces herself with a style that is perfectly suited for a Twitter-based movie in the TikTok era. It's certainly not bad, but the most exciting thing about it is the introduction to Bravo.

SHOTGUN WEDDING Starring: Jennifer Lopez, Josh Duhamel, Sônia Braga, Jennifer Coolidge, Lenny Kravitz, and Cheech Marin Director: Jason Moore AMARÚ Shotgun Wedding is supposed to be a fun watch. I mean, just look at Jennifer Coolidge, who knows exactly how to hack up its cheesiness. She commits. And that’s the main issue with the rest of the film: It never commits to the movie it wants to be. Is it a Rom-Com? Action Comedy? A mixture of both? The few scenes where Jennifer Lopez and Josh Duhamel’s chemistry flourishes is when there is a commitment to being an outlandish action rom-com, but most of the time, it feels like two separate run-of-the-mill movies clashing with each other for runtime minutes. It gave me whiplash. JOSEPH I hope action-driven romantic comedies are coming back because I had a blast with Shotgun Wedding . It’s no The Lost City , but I couldn't help but laugh at the ridiculousness of the film’s premise. The cast is vivacious, and the film is just so lighthearted and entertaining. The action scenes are exciting with great stunt work, but they still manage to infuse comedic elements amongst the adrenaline. Special shoutouts to Jennifer Coolidge, who is just a beacon of light in this film, and Josh Duhamel, who should have been the first choice for this role from the get-go (Ryan Reynolds and Armie Hammer were previously attached). PAIGE Fans of Jennifer Lopez may want to reconsider RSVPing to this rom-com because, unfortunately, Shotgun Wedding lacks both romance and comedy. Our two leads, Josh Duhamel and Lopez, don’t have an ounce of chemistry, and even with a supporting cast that includes Jennifer Coolidge (who, admittedly, delivers some zingers that will make you chuckle), that still isn't enough to save this disaster of a film. Shotgun Wedding could have easily been a fun ride, but it falls into the basic tropes of the genre and isn’t a memorable watch at all.

KINDS OF KINDNESS Starring: Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn, Mamoudou Athie, and Hunter Schafer Director: Yorgos Lanthimos QUENTIN After Poor Things , one had to expect at least a small hangover with director Yorgos Lanthimos’ next outing, so it’s not exactly surprising that Kinds of Kindness is underwhelming. Don’t get me wrong, it’s good; however, it might be Lanthimos’ least good movie, which is all because of the story structure. Kindness is basically an anthology of three short films, and there is inconsistency in their levels of intrigue and development. I would have rather watched any of the three as a standalone feature instead of the truncated versions we get here. Still, all the typically weird greatness you’d expect from Lanthimos and this cast are present. ADRIANO Kinds of Kindness sees co-writer/director Yorgos Lanthimos returning to his absurdist, cynical roots, and in many ways, it's a nice return. It delivers consistent laughs, and Lanthimos' direction constantly throws in bizarre little details that make the film even funnier. Plus, the cast is in on Lanthimos' weirdness. At just under 3 hours, the movie flies by. That said, my enjoyment of each story wavered, and I ended up coming away feeling empty. What is the big takeaway beyond freak entertainment? If that was the goal, then success, but it's not up to par with Lanthimos' best. NICK You know when you walk up to a group of people already mid-conversation? That's what watching Kinds of Kindness is like, but with three separate conversations. Each “chapter” contains a story strong enough to be a feature, but these stories often lack a true beginning or end, which leads things to feel both rushed and underdeveloped. However, that's not to say it's not entertaining. The performances are great, and as mentioned, the stories are very interesting; their potential just feels wasted in this format. Having said that, everyone seems to have a different opinion on what their favourite “chapter” is, so that’s fun. PRESTON A gentleman kicks up his legs and checks his phone until he falls asleep, snoring. A woman finishes her store-bought soda and leaves the theater. A stretch-happy man in short shorts and calf-length socks takes off his shoes and plays a dangerous game of foot vs. drinking straw. A couple converses. A worker drives her electric scooter halfway down the middle aisle, watches the film momentarily, then leaves (twice!). If four koalas were half-heartedly humping in row C, the parallelism to Kinds of Kindness would be uncanny. Only you can decide if that sounds entertaining or like a Kafkian nightmare. AMARÚ Poor Things was my first foray into director Yorgos Lanthimos, and with that film he gained favor with me. After Kinds of Kindness, y’all can have him back. I’m good with weird movies, but the weird needs purpose and reasoning. Kindness ’ weird was Yorgos playing The Sims, having the characters do random shit and imagining the arbitrary phrases they say. Every time I was getting remotely interested, some other unexplained weird shit happened or the segment would just end. Naaaaaaw… Maybe I’ll finally watch The Favourite to solidify the Yorgos I’ll watch and the Yorgos I won’t, because this was 100% the latter. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

SHE SAID Starring: Zoe Kazan, Carey Mulligan, Samantha Morton, Tom Pelphrey, Jennifer Ehle, Andre Braugher, Patricia Clarkson, Ashley Judd, Elle Graham, Adam Shapiro, and Anastasia Barzee Director: Maria Schrader JACOB The greatest strengths of She Said are those most baked into the story, namely the actual investigative elements of the infamous Harvey Weinstein case and the journalistic sequences as the article is being put together at the New York Times offices. It also boasts some stellar performances, solid writing, and a subtly great score. However, it’s not without faults, one of those being a fairly wonky editing structure that makes the first few minutes feel jumbled. The larger conflicts are there, but absent is the focus on the protagonists’ personal conflicts that made Spotlight – this film’ closest counterpart – so convicting. QUENTIN I’m a sucker for journalism movies, and while She Said isn’t one of the better ones I’ve seen, it’s good enough to satisfy cravings for a genre that doesn’t have near enough offerings. The film features mostly decent performances (Zoe Kazan struggles) and some of the worst editing I have ever seen, but what matters is the story. Though a little dry, it manages to honor Harvey Weinstein’s victims and the difficulty of their situations with a quiet respect (the lone exception is the Ashley Judd of it all, which comes off as self-aggrandizing). Overall, it’s a worthy watch, even if it doesn’t make waves. ADRIANO She Said is a movie that can simply coast on its powerful and incredible true story, which is why I find it very admirable just how matter-of-fact this film is. There is no overdramatizing, and while at times that can feel a little dry in its approach, it allowed the story to speak for itself. Carey Mulligan and Zoe Kazan are both great, and although I wish we learned more about them, I think they were written with the respect they’re owed. This was a truly effective movie that did both the subjects and victims justice. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

DON'T MESS WITH GRANDMA Starring: Michael Jai White, Jackie Richardson, Billy Zane, Miles Faber, Ess Hodlmoser, Rebecca Auerbach, Evan Stern, Emily Alatalo, and Brandon Knox Director: Jason Krawczyk This film has been reviewed by Paige, Nick, and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2024. QUENTIN As a huge fan of Michael Jai White’s Black Dynamite , as well as a somewhat ironic fan of Billy Zane, I went into Don’t Mess with Grandma hoping for a tongue-in-cheek, B-movie takedown of home invasion movies, which has become a pretty stale genre. To its credit, Grandma is exactly that; however, it’s almost too B-movie. Aside from a completely game White and Zane, the rest of the performances are rough, and the low-budget trappings and cheap veneer consistently pulled me out of the film. I didn’t hate it — in fact, I’d love to see it remade with a bigger budget — but Black Dynamite , it ain’t. NICK Every movie serves a purpose. Some are awards contenders, some VFX marvels, and some are just there to turn your mind off and have fun. Don't Mess with Grandma (aka Sunset Superman ) is just mindless dumb fun. Michael Jai White (a real life badass) gets to play a different type of tough guy, and it's a role that suits him well. There’s some rough dialogue in the early going, but as we move away from conversation and into the ridiculous mayhem, the film finds its sweet spot. It’s goofy, sure, but it kept me entertained throughout. PAIGE Unfortunately, Don’t Mess With Grandma ’s only redeeming quality is Michael Jai White’s rugged charisma. Though some may find this low-budget home invasion flick to be a comedic gem, I found it to be too ridiculously corny for its own good. The editing is jagged, and the majority of the action sequences are rough to watch. Ultimately, the film lacks the balance necessary to impress me because it mostly relies on a particular brand of humor. It’s one of those dumb albeit fun slapstick movies I’d recommend throwing on in the background when you’re doing other things.

AMERICAN FICTION Starring: Jeffrey Wright, Sterling K. Brown, Erika Alexander, John Ortiz, Issa Rae, Myra Lucretia Taylor, Leslie Uggams, and Tracee Ellis Ross Director: Cord Jefferson NICK Talk about making your debut with an exclamation point! American Fiction is a brilliantly written satire about the way the Black experience is viewed and desired in mainstream (read: white) media. Writer/director Cord Jefferson has crafted a smart and hilarious film around Jeffrey Wright, who instantly makes you question why he doesn’t lead more projects. Jefferson said one of his goals with this film was to amplify underused actors, and he takes full advantage of the likes of Sterling K. Brown, Erika Alexander, and the rest of this talented supporting cast. I can’t wait for others to get to see this one. ADRIANO American Fiction juggles comedy, family drama, and social-racial politics amazingly considering this is writer/director Cord Jefferson’s first feature. The film is hilarious throughout, with a healthy blend of absurdism and slice-of-life humour. While the family drama plot can seem familiar (not in the way I imagine was intended), the way it blends with the commentary on how black people are depicted in the media and in culture was nothing short of brilliant. I foresee the ending dividing people, but I thought it was incredible. American Fiction is, at worst, a familiar comedy; at best, an ingenious satire. AMARÚ For as much satire that’s in American Fiction , it’s some of the realest shit I’ve ever watched. Within writer/director Cord Jefferson’s innumerably layered script, what resonates most is its focus on black people’s use of humor to deal with grief. Not to mask or deny it, but to recognize that sorrow, while existent, is not an absolute in life. That fraudulence of absolutes is the meticulously utilized throughline that ties together such a profoundly multifaceted story. And I haven’t even mentioned the performances, the music, the heart, the ending… (I could go on and on). This movie is fucking brilliant. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

WICKED Starring: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, and Jeff Goldblum Director: Jon M. Chu ADRIANO While not without its shortcomings, Wicked is a blast. On one hand, a lot of its visuals look pretty ugly, and despite a great performance from Cynthia Erivo, the main character lacks…well, character. Not that she's poorly written, but I found her flat, especially in comparison to Ariana Grande-Butera's show-stealing performance. On the other hand, the musical sequences are grand, the production values are extravagant, the finale is magnificent, and I had enough fun and emotional investment to say, as someone who knows nothing about the play, I'm properly interested and excited for what's to come. PAIGE As a non-musical fan, I must admit that Jon M. Chu’s adaptation of Wicked not only defied gravity but also my expectations. From its fantastical set pieces and dazzling costumes to its stellar musical choreography and performances, Wicked is cinematically magical. Cynthia Erivo is a fantastic Elphaba, but it’s Ariana Grande-Butero as Glinda who is the true standout. I had no idea she had these comedic chops in her. It's a captivating experience, even though the musical numbers can occasionally overpower the story's true meaning to leave it seeming underdeveloped. AMARÚ John M. Chu directs the hell out of Wicked , tackling many conscious and subconscious facets of prejudice and propaganda-riddled groupthink with grace, honesty, and grandeur. Through lush color, impressive choreography, and marvelous production design, he highlights the dangers of facade with themes that are both impactful and hilarious. But none of it would work if not for the breathtaking musical and theatrical performances. Contrasting Ariana Grande-Butera’s histrionics and Jonathan Bailey’s flippancy with Cynthia Erivo’s solemnity brings all the pomp and circumstance together to create a wondrous adaptation that makes me wholly excited for Part Two. PRESTON After a concerning opening scene where Ariana Grande’s high-pitched singing pierces the ears with indecipherable words, she redeems herself completely by almost single-handedly carrying the film. Surprisingly lacking in vibrancy of color, Wicked is still very good, but there’s a reason there are intermissions at Broadway shows. This first of two parts lasts the same amount of time as the entire theater musical, except sans intermission. Past hour two, I found myself jealous of the younglings doing cartwheels in the front aisle and just a little pissed off that the final words were sung in the repetitive and typical musical fashion. QUENTIN From someone who absolutely loved the book and really enjoyed the Broadway musical (I’m as shocked as you are!), the biggest flaw with Wicked 's film adaptation simply is that it’s not near as good as either of its predecessors. Changes to the story mostly add length for length's sake (with Part Two , these films will be twice as long as the stage production), and since it’s on a screen vs. live on stage, it’s just not as rousing (a common problem with Broadway-to-film adaptations). That said, for the uninitiated, it’s largely a winner due to the fun performances, catchy songs, and vibrant production design.

OBSESSION Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, and Andy Richter Director: Curry Barker ADRIANO Watching Obsession , it felt like I was witnessing a new horror hit. Weaponized with debut director Curry Barker's awkward sense of humour, he cannonballs onto the scene with confidence and a fantastic eye for creepy imagery. What makes this one so wonderful is the awfully relatable terror of having a hopeless crush, mixed with the highs of optimism that soon reveal some gross scares from the mere sight of Inde Navarrette. She is a true revelation, as her supernatural attachment becomes a nightmare. I hope for dear life that audiences embrace Obsession for the treat it is because it's special. NICK The buzz surrounding Obsession at TIFF last year was palpable, so maybe inflated expectations played a part here, but to me, this is a good (not great) horror film across the board. Director Curry Barker shows sincere promise as a horror filmmaker with his deft utilization of the wish concept. That said, the film gets a little repetitive, and at times reminds me of the Smile movies. Even the heavily acclaimed performance of Inde Navarrette didn’t overwhelm me. Obsession shows Barker deserves more opportunities, but I’m not in agreement with the amount of acclaim it’s receiving. Temper expectations. PAIGE While the “be careful what you wish for” concept has been done many times before, writer/director Curry Barker flips the idea on its head and makes it feel wildly unique. Obsession may not be downright horrifying, but it’s undeniably cringe-inducing. You’ll feel dreadfully uncomfortable through its entire runtime. Much of that comes from Michael Johnston’s intentionally awkward performance as Bear and Inde Navarrette’s uncanny and captivating portrayal of Nikki, in one of the best performances of the year so far. While the film becomes a bit repetitive in its second act, it tonally balances its unsettling premise with some dark humor extremely well. BODE A great thing about film festivals is that you never know if or when you’ll come across the potential “next big thing.” Coming out of Obsession at TIFF, I was convinced writer-director Curry Barker would be that. Taking the well-worn “be careful what you wish for” fable and turning it on its head with enough restraint and eventual force, he delivers a horror feature that’s genuinely frightening, gleefully mean-spirited, and surprisingly hilarious - occasionally in equal measure. It wouldn’t entirely work if it didn’t have Inde Navarrette, whose creepy yet empathetic performance is truly revelatory and makes it even more of a must-see. KATIE Curry Barker's debut feature, Obsession, is one of the most impressive horror films of the year so far. I did not expect such a gripping and affective commentary on the nature of consent and patriarchal entitlement to women’s bodies and attention, fuelled by an astonishing performance by Inde Navarrette. With hints of the best roles from Get Out, Smile , and Weapons , Navarrette’s performance is brilliantly unnerving and unhinged, yet still in complete control. Obsession successfully manages to grapple with its seemingly straightforward but downright chilling and troubling concept, whilst also supplying dark, cringe-inducing humour and satisfying jump scares. ROBERT Horror is set up to have the most challengers for the championship belt for now and the foreseeable future, and here comes Curry Barker with a steel chair in the form of Obsession . The trailers foreshadowed some bonkers moments and high-end unease that the movie delivered on indubitably. The headline is Inde Navarrette with her teetering mental shifts and physical prowess, but the hit rate is so high because of how it plays off of Bear (Michael Johnston) and his stoicism while tap dancing through raindrops of crazy. For the budget, the shots and scares are revelatory, and its conveyed brutality is palpably jarring. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

OFFICE ROMANCE Starring: Jennifer Lopez, Brett Goldstein, Betty Gilpin, Bradley Whitford, Amy Sedaris, Jodie Whittaker, Mary Wiseman, Tony Hale, Tony Plana, Roger Bart, and Edward James Olmos Director: Ol Parker ROBERT The non-Apple TV works of Brett Goldstein haven’t generated the same fanfare, but I’m ecstatic knowing that he crafts his own projects and keeps cashing checks. Office Romance intrigued me simply because Goldstein was getting to be a rom-com lead opposite Jennifer Lopez. This is a movie that works off the backs of their relationship and the colorful side characters who fill in this environment substantially (shout out to Betty Gilpin and Tony Hale specifically). The conceit of the drama and J-Lo’s struggles are comedically unrealistic, but dang if the man known for playing Roy Kent (Goldstein) isn’t charming as hell. AMARÚ Brett Goldstein needs to be in more movies. There is one scene in Office Romance which revolves around a singular word that might be the hardest I’ve laughed in a minute, all because of Goldstein’s delivery. His new-to-film charm brings a freshness that balances the predictable tropes given to Jennifer Lopez and the film as a whole. But also, every time those predictable things happen, an “oh shit” moment pops up and surprisingly gives this romantic-comedy the cute magic we all hope these films can capture. Tropes be damned. Plus, shout out to Betty Gilpin and Jodie Whittaker.

HEART OF STONE Starring: Gal Gadot, Jamie Dornan, Alia Bhatt, Matthias Schweighöfer, Sophie Okonedo, Archie Madekwe, Jing Lusi Director: Tom Harper CALEB I’ll give Heart of Stone credit where it’s due: its narrative is surprisingly ambitious. The concept of a global military being governed by A.I. is interesting, but the thriller fails to capitalise on its own potential. The film is plagued by dull action sequences, tacky licensed music, and some seriously egregious green-screen utilisation. The script isn’t awful , but the material is severely hampered by Gal Gadot, who delivers what may be her most unconvincing performance yet. I wish it took advantage of its promising concept, but Heart of Stone seems content with being disposable. QUENTIN To give you an idea about the level of intelligence we are dealing with in Heart of Stone , it’s about secret agent Rachel Stone (Gal Gadot) trying to protect an A.I. system called “The Heart.” Get it?! HEART …of STONE ?! Beyond that, this is the Wish.com version of a Mission: Impossible movie (I mean, Dead Reckoning literally just did an A.I. storyline), featuring listless action scenes that are poorly directed. Plus, I’m sorry, but Gal Gadot, who I’m sure is a very lovely person, isn’t a very good actress. This is just another algorithm-driven Netflix offering that is big on star power but little else. PRESTON Heart of Stone immediately kicks off the action without doing us the courtesy of providing any sort of character development. Gal Gadot does her job as the marketing ploy to bring in viewers, doing fine with what she is given to work with, and as a knock-off of a poorly developed James Bond film, it makes sense that it’s a streaming release. If you can make it through the first half, the plotline does start to come together eventually, and it isn’t totally without merit; I’d suggest watching this after a long workday, or in the background while doing household chores. KATIE Heart of Stone is a forgettable and unoriginal spy thriller with little-to-no character development and a one-note performance from Gal Gadot, playing the central character aptly named Rachel Stone. The film features some engaging action, and it does get better over its runtime, but it constantly evokes films that I’d rather be watching. A blatantly CGI-ed skydiving scene made me think of Tom Cruise’s impressive stunts in recent instalments of the Mission: Impossible franchise, and the pre-opening title sequence in the Italian Alps reminded me of better scenes from James Bond. A good film to stick on in the background! PHILL Heart of Stone is a perfectly serviceable action movie, albeit a very predictable one. There is no real style or substance to be found in Gal Gadot’s latest outing, but for a generic straight-to-streaming film, it succeeds as something loud and explosive to switch your brain off to after a long day at work. For the most part, the film is well shot and filled with adequate performances as the cast jumps from one locale to the next. For a film that feels like it was made from a rejected James Bond script, it’s fine.

KINDA PREGNANT Starring: Amy Schumer, Will Forte, Jillian Bell, Brianne Howey, Urzila Carlson, Chris Geere, Damon Wayans Jr., Alex Moffat, and Joel David Moore Director: Tyler Spindel AMARÚ You know, I thought we were past taking all the ridiculous tropes of romantic comedies and making them R-rated fodder, but I guess Amy Schumer missed that memo. Almost everything about Kinda Pregnant is an unfunny copy of more intelligent rom-com scripts, right down to the not-trying-to-hide-it-in-any-way Rebel Wilson imitation. Will Forte, Damon Wayans Jr., and the few instances of genuine heart when discussing the realities of pregnancy are absolutely wasted in this unappealing “comedy.” There are two good laughs, though, so there’s that. ROBERT Given the contributors involved, my expectation was that Kinda Pregnant would be like another episode of Inside Amy Schumer . However, as a feature of Happy Madison Productions, it became pretty clear that it would fall more in line with an Adam Sandler romantic comedy: odd physical pratfalls; weird, overly involved background characters; and a lie that balloons to the size of a 20 pound turkey. When the film plays to its raunchiness and subversion of rom-com tropes, it's more successful, but it has a hard time letting itself be consistently different to be truly unique as a Netflix comedy. BODE It’s already questionable enough that Kinda Pregnant attempts to explore real issues surrounding motherhood (or the paradox of wanting to be a mom) through an exaggerated premise, but that could be forgiven if the humour connected, the characters felt real, and it was willingly subversive. Unfortunately, many of the jokes (save a few) fall flat, and there’s very little care regarding any kind of character development (especially the central friendship between Amy Schumer’s Lainy and Jillian Bell’s Kate). Plus, even with that premise, it’s as predictable, as low-energy, and as overly lit as streaming movies get. Feel free to skip it.