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EXTRACTION 2 Starring: Chris Hemsworth, Golshifteh Farahani, Olga Kurylenko, Tinatin Dalakishvili, Adam Bessa, Tornike Gogrichiani, and Idris Elba Director: Sam Hargrave AMARÚ Director Sam Hargrave’s ability to use his stunt background to navigate the camera around Extraction II ’s action scenes makes for an engrossing form of storytelling, much more engrossing than the actual plot. Everything between the action feels like interludes while you wait for the next shootout, fight scene, or car chase. I learned more about these characters from the film’s amazing 20-minute “oner” than from the 25 minutes of set up to get there. Luckily, the story gets more interesting as the film progresses, but that’s because most of the film’s remaining runtime focuses on utilizing Hargrave’s action sensibilities. QUENTIN Aside from a very video game-like (in a good way!) one-shot that lasts for over 20 minutes, Extraction II doesn’t do much to reinvent the wheel, but that doesn’t mean it’s not a load of fun as an action-packed thrill ride. Simply put, this is a throwback actioner, harking back to the Sly Stallone and Arnold Schwarzenegger hits of yesteryear. Sure, the story is a bit thin, but that’s not the point of a movie like this. You’re here for gunfights and fisticuffs, and this plays like John Wick done in the gritty tone of a Bourne movie. Netflix has finally found a worthwhile franchise. NICK Save for one continuous tracking shot, all I remember about 2020's Extraction is how underwhelming I found it. Extraction II , however, is the opposite. The sequel outperforms in every way, but none more so than the action. The story is nothing special, but if you’re looking for electric gun fights, brutal hand-to-hand combat, and glorious set pieces, you'll be thrilled. Director Sam Hargrave is quickly shooting up the list of directors to keep an eye on, and I look forward to seeing him work with other writers and more in-depth scripts.

WOMEN TALKING Starring: Rooney Mara, Claire Foy, Jessie Buckley, Ben Whishaw, Frances McDormand, Judith Ivey, Sheila McCarthy, Michelle McLeod, Emily Mitchell, Liv McNeil, Kate Hallett, August Winter, Kira Guloien, and Shayla Brown Director: Sarah Polley JACOB Sarah Polley’s Women Talking likely won’t blow anyone’s mind, but apart from a needlessly desaturated color palette, it’s one of the year’s best films. Adapted from the novel of the same name, the film’s script is its strongest element, but not its only strength. From Jessie Buckley’s steely resolve to Claire Foy’s righteous fury, every performer is in top-notch form, and the conversations they have hit particularly close to home if you grew up in a religious environment. It’s far more cinematic than one might expect, and the score by Hildur Guðnadóttir makes the composer two for two this year. DARRYL Women Talking is one of the year’s most powerful films. An excellent adaptation by Sarah Polley, as well as a masterclass in acting from virtually every member of the cast, this is just a top tier movie. Relying on the quality of the script and avoiding any needlessly complicated filmmaking, Polley’s simple visual approach ensures that all the focus is on the actors. A story about women choosing to break free from the bonds of an abusive patriarchal society, the underlying message that change needs to happen sooner rather than later is a brilliant beacon for any woman looking to improve their own life’s circumstances. NICK You can respect a film without overly liking it, and that’s about where I stand with Women Talking . The film, which plays out more like a Shakespearean play, feels incomplete, as if it were Act 1 of a larger story. Story wise, it leaves a lot to be desired. However, performance wise, there isn’t anything bad to say about this ensemble. Director Sarah Polley’s intentions are deliberate, and regardless of reception, she has reasoning behind every decision she makes, including the off-putting and drab colour palette. It may work for some, but it didn’t work for me. ADRIANO Women Talking is absolutely breathtaking, with writer/director Sarah Polley on her absolute A-game. As a director, she portrays the sheer vulnerability and terror of the plot seemingly effortlessly, but the script is incredible too, being tragic but also snappy and, weirdly enough, kind of funny at times. And the ensemble? Holy crap! Everybody is fantastic. That said, the film’s color palette is very bad. It seems nitpicky to criticize a movie's color grading, but it’s very distracting and just awful. Still, if the only flaw for a movie is the coloring, that’s a damn good sign. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

FIXED Starring: Adam Devine, Kathryn Hahn, Idris Elba, Beck Bennett, Bobby Moynihan, and Fred Armisen Director: Genndy Tartakovsky NICK Known for his work on Cartoon Network, director Genndy Tartakovsky’s latest is a provocative adult animated feature in the vein of Sausage Party and it’s… something. Despite its incredibly raunchy nature and the cavalcade of unnecessary buttholes, I wasn’t offended, I just didn’t find it particularly funny. It’s not crude without purpose, as there’s an underlying story featuring themes of love and acceptance, but the vulgarity doesn’t enhance the story. The voice cast is solid and is highlighted by Idris Elba's portrayal of Rocco, but it doesn’t make up for the lack of laughs as humour is a quintessential ingredient to a good comedy. QUENTIN I like raunchy humor as much as the next guy, especially when animated since cartoons can provide an over-the-top absurdity that can’t be achieved with live action. That said, Fixed , which certainly provides the raunch, forgot about the humor part. When I was a pre-teen, I’m sure a dog talking about his balls for 90 minutes while constantly showing his starfish would have been the epitome of comedy, but I guess I’ve grown up. As it stands, Fixed is a mix of Strays and Sausage Party , built on little more than vulgarity for vulgarity’s sake. Forget about being neutered; this one should have been put down. BODE When it comes to Genndy Tartakovsky’s latest film Fixed , you’ll either be entertained by its perversity or completely turned off by it. Luckily for me, I happened to fall within the former category. While not every joke or visual gag lands, I laughed quite hard at the ones that did, and truly admired how far they were willing to go with some. It helps that the 2D animation is lovingly crafted, and its voice cast is quite spirited. To call Fixed one of Tartakovsky’s best efforts would be a lie, but for what it is, it’s a fun romp. PAIGE Fixed is a ballsy animated film that surprisingly comes from writer/director Genndy Tartakovsky, the man who brought us the Hotel Transylvania films. While this movie has a fun and clever premise, it would’ve worked far better as a short. With a runtime of 86 minutes, its raunchy humor grows tiring rather quickly. I’m no prude, but this movie relies heavily on nothing but sex jokes and foul language. Its only real redeeming quality is the great hand-drawn 2D animation, and not even that is enough to save it. Ultimately, this movie is dog shit. ROBERT Did you ever watch Ren and Stimpy and think how it could be improved with swearing and lewd innuendos? If so, Fixed is definitely for you. It’s a total 1990s-2000s vibes movie, from the Cartoon Network animation style to the iPod circa 2005 musical cues. The premise is reminiscent of a flashback sequence from The Simpsons with Santa’s Little Helper getting one last night of partying before he goes under the knife. The voice cast is inspired, featuring actors with plenty of recent comedic voiceover work; however, unlike prestige animated films, this will mostly just make you feel uncomfortable through suggestive behavior. This film has been reviewed by Quentin, Nick, and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival.

80 FOR BRADY Starring: Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field, Billy Porter, Harry Hamlin, Bob Balaban, Sara Gilbert, Glynn Turman, Jimmy O. Yang, and Tom Brady Director: Kyle Marvin ADRIANO 80 for Brady is a hard movie for me to criticize because I’m well aware that I’m not the film’s target demographic. I can criticize the fact that a lot of the scenes feel like director Kyle Marvin simply moved on after the first take, and I can say that it’s not exactly the funniest movie; however, my audience, which was filled with older women, was having the time of its life. So, it is a fun time - one filled with a decent heart and good chemistry between the four leads - for the right person. I just couldn't get into it. JACOB Although it fails to elicit genuine emotion at every turn and, frankly, it’s as “just fine” as almost any movie like it can be, 80 for Brady does retain a certain level of charm beyond its underwritten dramatic edges. Watching this ensemble of legendary female talent throw themselves into ridiculous hijinks time and time again won’t make its story better or its characters any deeper, but it does lift the spirits a bit, especially as a few of the jokes are disarmingly funny. I wouldn’t recommend it to anyone per se, but I had a nice time despite its shortcomings.

SONIC THE HEDGEHOG 3 Starring: Ben Schwartz, Jim Carrey, Keanu Reeves, Idris Elba, Colleen O’Shaughnessey, James Marsden, Tika Sumpter, Krysten Ritter, and Lee Majdoub Director: Jeff Fowler ADRIANO Do you remember in 2019 when the first trailer for Sonic the Hedgehog came out, and Sonic had realistic eyelids and teeth? Look at how far they’ve come. Sonic the Hedgehog 3 is a franchise high. Like before, some humour doesn't land, but I'd still call the movie funny, thanks in part to Jim Carrey's dual performance. However, the shocking part? This movie made me cry. The film offers an oddly sincere and mature approach to grief and choosing love over despair. The writers of these movies clearly care about the characters, and it paid off this time in surprising ways. AMARÚ I really wish movie studios didn’t think that children only want butt jokes and TikTok dances. The end of Sonic the Hedgehog 3 proves it is more than capable of being fun, action packed, and heartfelt, especially when Sonic and Shadow (Ben Schwartz and Keanu Reeves, respectively) interact. Their fights are fantastic and resolved with great themes, but that was only 15 percent of the film. The rest is Jim Carrey, Idris Elba, and Colleen O’Shaugnessey being forced to make Robotnik, Knuckles, and Tails say and do “what the kids are doing today.” Next time, instead of stringing “hip” scenes together, please just make a movie.

PEARL Starring: Mia Goth, David Corenswet, Tandi Wright, Matthew Sunderland, and Emma Jenkins-Purro Director: Ti West QUENTIN While I thought Ti West’s X was a solid slasher, I didn’t think it was anything special, so I can’t say I was overly excited for Pearl , a prequel to X . Surprisingly, Pearl is actually the better of the two. West has essentially given X ’s villain a Joker -esque origin story that is tinted with The Wizard of Oz and Bates Motel . It definitely works, but Pearl has a completely different vibe than X ; just because you love one doesn’t mean you will love the other. Pearl is slower, but more nuanced. If X is a “slasher movie,” then Pearl is a “horror film.” ADRIANO I’m pretty sure I liked X more than Pearl , but even then, Pearl is still an amazing film in its own right. It feels like an entirely different film than its counterpart, as it ditches the sleazy, raunchy, slasher vibe for an old-timey, almost Wizard Of Oz -ish, character study with slasher elements. And Mia Goth, dear Lord - her performance is breathtaking. It’s rare that a performance makes me think “How did she do that?”; one part cartoonish southern accent, one part emerging psychopath, and Goth nails it. We can count Pearl as another win for A24 this year. NICK Similar to Toni Collette (Hereditary ) and Lupita Nyong’o (Us ) before her, Mia Goth gives one of the year’s best performances in a horror film that likely will go unheralded. Goth is given the chance to really flesh out the character first seen in X , and in turn, retroactively improves upon that film. This prequel may not be quite as good as its predecessor, but it trades the 70s horror vibes for an almost whimsical effort that shows director Ti West is no one trick pony. With the announcement of MaXXXine up next, West and Goth have the chance to close out an all-time horror trilogy. PAIGE Put Stephen King’s Carrie White in The Wizard Of Oz , and you end up with Pearl . My god, director Ti West has killed it again...no pun intended…because Pearl is just so fresh and stylish. It’s rare that a prequel does so much to enhance and enrich what came before it, but this film makes X even better. It also does a phenomenal job of humanizing a villain. Lastly, just wow…Mia Goth gives a mesmerizing, award-worthy performance that, when taken alongside her work in X , solidifies her as a modern day scream queen. Give me more of her now because I can’t wait for MaXXXine ! JACOB Pearl works less as an outright horror film than it does a showcase for Mia Goth, but that showcase is a ton of fun to watch. The second in Ti West’s newly-minted “X trilogy,” West once again makes movie magic by draping pornographic desire in The Wizard of Oz aesthetics and letting his star run wild. Mia Goth’s performance is outstanding, her third act monologue sure to go down as an all-time great, and likely to be used in audition rooms for generations to come. I still think X works slightly better overall, but this is a very worthy successor. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

PSYCHO THERAPY: THE SHALLOW TALE OF A WRITER WHO DECIDED TO WRITE ABOUT A SERIAL KILLER Starring: Britt Lower, Sydney Cole Alexander, John Magaro, and Steve Buscemi Director: Tolga Karaçelik KATIE Psycho Therapy is full of good ideas and has the talent of its incredible cast at its disposal, but it ultimately doesn’t utilise either to their full potential. John Magaro (Keane) and Steve Buscemi (Kollmick) are a genuinely hilarious comedic pairing, but good ideas are abandoned in favour of a contrived plot that is far less interesting. I was also elated when Britt Lower came onto the screen, and she proves to be fantastic at dark comedy, but I was so let down when it ended right after introducing one of its most interesting and compelling ideas. QUENTIN As a massive fan of The Coen Brothers, it’s kinda wild how much I didn’t care for Psycho Therapy since it has major Coen vibes. It’s billed as a black comedy thriller, but almost none of the dry and absurdist humor works, especially when it comes to Keane (John Magaro), who is extremely annoying throughout. With the comedy not hitting, one would hope the thriller aspect would pick up the slack, but nope. The clunky story, almost sleep-inducing indie tone, and abrupt ending make for a movie that also lacks thrills. Steve Buscemi does good work, as usual, but that just isn’t enough, unfortunately. ADRIANO If you want a movie with squandered potential, look no further than Psycho Therapy , because although it starts very intriguing with its weird concept and domestic turmoil plot, it very quickly spirals. I laughed a lot, and the performances from John Magaro, Britt Lower, and Steve Buscemi are amazing; however, I don't like when a movie just confuses me, even when I can follow what's happening. I also don't like character decisions that progressively make less sense, resulting in a plot that is almost entirely lost – not lost enough to make the movie not worthwhile, but enough to drown out its impact.

HYPNOTIC Starring: Ben Affleck, Alice Braga, JD Pardo, Dayo Okeniyi, Jeff Fahey, Jackie Earle Haley, and William Fichtner Director: Robert Rodriguez QUENTIN While there is an interesting idea and a decent twist at its (only 90-minute) core, everything about Hypnotic feels dated. Between the procedural-meets-slight-sci-fi angle that was huge in the early 2000s (remember Déjà Vu and Next ?) to Ben Affleck’s surly, Max Payne -inspired line delivery, this movie might have been a hit during the actor’s Paycheck era. Still, I can’t say it’s boring, but it’s not particularly entertaining either since everything is so noirishly dark and dour. Mostly, I’m left wondering, 1. what happened to Robert Rodriguez, who used to be among my favorite directors?; and 2. why, in 2023, did Affleck sign on for this? NICK "Dated" doesn't even begin to describe how Hypnotic feels. It's the kind of movie you'd come across on TBS while channel-surfing in the late 90s (which makes sense as the script was written back in 2002). Not bad enough to be terrible, nor solid enough to be good, it just sits in mediocrity. The action, writing, and performances leave no lasting impression, and the fact that Ben Affleck spent time on this project is honestly perplexing. Hopefully, director Robert Rodriguez will stop wasting his time with films like this and turn his focus to the long delayed Alita: Battle Angel sequel instead. JACOB Hypnotic has a lot of promise in its base elements and grounded roots, but it does eventually fall victim to biting off more than it can chew. Conceptually, it’s an interesting (if somewhat predictable) watch, but in its execution, the story becomes so convoluted and messy that the audience doesn’t really have anything concrete to hang onto by the film’s end, making it feel ultimately fruitless. Even with Alice Braga and William Fichtner doing what they can to elevate the material, neither can save the viewer from noticing Ben Affleck’s boredom with a script that doesn’t give him much actual depth. AMARÚ One word I never thought I would connect with director Robert Rodriguez is “bland.” However, when it comes to his latest thriller, Hypnotic , even his stylized attempts at science-fiction can’t cover for the boring action, expositional conveniences, and… well… bland world-building. After about the 10th time Diana (Alice Braga) explained something to Danny (Ben Affleck) about the rules of Rodriguez’s super-powered world, I was checked out; Then, the line “What? I have powers all of a sudden?” was uttered and I couldn’t help but laugh incredulously at the rest of the film. Sorry, Rob, but this one ain’t it. PAIGE Hypnotic honestly feels like a Walmart-version of a Christopher Nolan film. While the concept of the movie is pretty cool, the imagery looks cheap and the script needs way more depth. The actors try their best to elevate it as much as possible, but the script leaves them all, especially Ben Affleck, with little to work with. The fact that Robert Rodriguez, a veteran director, made this is kind of mind-boggling because of how amateur it looks and feels. With all that said, Hypnotic is fast-paced and will keep viewers guessing throughout.

NYAD Starring: Annette Bening, Jodie Foster, Rhys Ifans, Ethan Jones Romero, Luke Cosgrove, Jeena Yi, and Eric T. Miller Directors: Elizabeth Chai Vasarhelyi and Jimmy Chin CALEB Nyad is alright for what it is, but it certainly could have been better. This true story is undoubtedly one worth telling, but the narrative is hindered by some baffling creative choices. There are some very jarring visual effects decisions that entirely distracted me during key moments where I should’ve been invested. I don’t think the film’s take on trauma and abuse is all that impactful either, with most of these scenes falling rather flat. I’m happy that Diana Nyad (played here by Annette Bening) managed to live up to her ultimate potential, but I wish I could say the same about her biopic. ADRIANO On one hand, Nyad did produce some hard laughter; on the other hand, the movie is not supposed to be a comedy. It’s amazing how directors Elizabeth Chai Vasarhelyi and Jimmy Chin direct the film with nothing to offer; however, whenever they try to go outside the box, the decisions are atrocious. Its mix of documentary-style formatting doesn’t work, and the movie doesn't give you anything beyond a feel-good ending. Jodie Foster and Rhys Ifans are good, but wow, Annette Bening is horrendous. Beyond being unintentionally hilarious, Nyad is a massive waste of time. PRESTON How do I miss these incredible feats that are accomplished during my lifetime? My ignorance happened to work in my favor this time as Nyad turned out to be an incredible story to learn about. It touches on past traumas and what might drive Diana Nyad (Annette Bening) to complete the insane feat of swimming from Cuba to Florida without a shark cage, but also portrays her in a somewhat unflattering light (however accurate this may be). It may not be an Oscar-winning film in any regard, but its hybrid documentary-style nicely highlights the imperfect human condition and what can be accomplished in spite of it. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

ATLAS Starring: Jennifer Lopez, Simu Liu, Sterling K. Brown, Mark Strong, and Abraham Popoola Director: Brad Peyton CALEB Atlas is as generic as sci-fi movies come, and its bland, underdeveloped world is brought to life with some of the ugliest CGI I’ve ever witnessed. The action sequences look like weightless video game cutscenes, and the green screen utilisation is comedically terrible. For what it’s worth, Jennifer Lopez does a decent job, even if far too much of the movie revolves around her screaming from the inside of a mech’s cockpit. I know Atlas is a film about embracing A.I., but something tells me the screenwriters may have embraced it a little too much. QUENTIN Even with the lowest of expectations, Atlas is a complete failure. You’re essentially watching Jennifer Lopez Facetime with an A.I. system amongst a collection of terribly rendered CGI visuals. And when I say “terribly rendered” — man, are they bad. They are the kind of super glossy and plastic-y looking cutscenes you would find in the cheapest of early 2000s video games. That aside, the story (such as it is), is a hodge-podge of other, better sci-fi movies, including The Terminator , Aliens , and Pacific Rim . Hopefully, this puts the nail in the “apocalyptic A.I.” genre’s coffin for a while.

FINAL DESTINATION BLOODLINES Starring: Kaitlyn Santa Juana, Teo Briones, Ryan Kihlstedt, Richard Harmon, Owen Patrick Joyner, Anna Lore, Alex Zahara, April Amber Telek, Tinpo Lee, Gabrielle Rose, Brec Bassinger, Max Lloyd-Jones, and Tony Todd Directors: Zach Lipovsky and Adam Stein NICK I've always been high on the Final Destination franchise, so that should carry weight when I say Bloodlines is its best film yet. It takes everything beloved about the previous films and builds on it. There are call-backs, but they aren't in your face. It's campy, but it’s intentional. Plus, as expected, there are some creative and gory deaths. Bloodlines provides plenty of laughs, scares, and yet another memorable opening sequence. Sprinkle in a touching final appearance from the late Tony Todd, and you have the recipe for my favourite trip to the theatres so far this year. AMARÚ Considering my day job, Bloodlines has a supremely satisfying death in its gruesome opening, and if you can settle into the (hopefully) purposefully pulpy performances, the remaining 90 minutes stack one satisfying sequence after another. The camp would be tough in a different franchise, but directors Zach Lipovsky and Adam Stein understood their sandbox. As the film gains momentum, the cheekiness becomes more natural because the kills are intensely entertaining and thrilling, the lore building is interesting, and the music pairings are awesome. Combine that with a touching sendoff for Tony Todd, and you have a bloody good time. KATIE The sixth instalment in the Final Destination franchise, Bloodlines , is fresh and exciting, especially with the magnificent opening act. Directors Zach Lipovsky and Adam Stein ensure every aspect of that scene contributes to masterfully built tension and suspense, knowingly taking their time to keep the audience on the edge of their seats for as long as possible. The deaths are creative and grisly with slapstick charm, and the time it spends exploring the family drama and character dynamics means I actually cared about what happened to them. Plus, a powerful performance from the late Tony Todd is incredibly moving and impactful. ADRIANO The sicko joy of seeing people getting murdered by anything remotely sharp in the most creative and mean-spirited ways imaginable can't be overstated in the Final Destination franchise, but Bloodlines might be the best one yet. It stays true to the cartoonish nature of its mayhem, but this time, it uses the rules of Death to its advantage… and not in that obnoxious “self-aware” way that films like this typically resort to. I don't even swear by these movies like others do, so if you're a fan of this franchise, it's just what the doctor ordered. ROBERT Fourteen years ago, Final Destination 5 took a storytelling risk, attempting to understand how the beginning informed the end. Now, Bloodlines is here to completely reconfigure what the beginning of the story is. From the opening scene, you are right back in the Rube Goldberg-esque mix of creative deaths and devastation borne from benign actions and insignificant flaws. Then, instead of resting on its laurels, the movie answers questions theorized on many a Reddit thread, even diving deep into how these situations can impact and undermine familial ties. Expect blood, gore, and a righteous sendoff for the man, Tony Todd. BODE It’s been 14 years (too long in my opinion) since the last Final Destination movie, but from the moment its sixth instalment, Bloodlines , kicks into gear, it’ll feel as if little time has passed. With a dose of self-awareness (but thankfully not too much of it), a thematic link to generational trauma, some fascinating manipulation of its digital aesthetic (particularly in its opening), and a touching sendoff for horror icon Tony Todd, new directors Zach Lipovsky and Adam Stein deliver exactly what you expect: people dying in creatively horrifying ways. A sadistically fun time for old and new fans alike.

MAY DECEMBER Starring: Natalie Portman, Julianne Moore, Charles Melton, and Cory Michael Smith Director: Todd Haynes PAIGE May December is an uncomfortable and pulpy melodrama that embraces its absurdity in a very unique manner, which in doing so, somehow makes the film work flawlessly. Todd Haynes continues to prove that he’s a hell of a director, garnering stellar performances from Natalie Portman, Julianne Moore, and Charles Melton (who, surprisingly, is the true stand out of the film). While I do wish we dove even deeper into these characters' psyche to get a better understanding of the overall picture we’re presented with, I must admit… These interpretations are memorable as is. ADRIANO It'll be a while before I finish processing the brilliance of May December . I didn't love the moments that veered into TV-movie campiness, but I understood the attempt to show how we tend to infantilize tabloid events. What makes the film so fascinating is Samy Burch's screenplay, which analyzes how ego and trauma can follow us into our lives in ugly ways. Natalie Portman’s and Julianne Moore’s performances are obviously fantastic, but Charles Melton's devastating turn is my personal standout. May December is a stomach-turning knockout that I'm so happy exists. AMARÚ There is a pretty awesome balance in May December where director Todd Haynes and composer Marcelo Zarvos go hard on the soap-operatic intensity without any of the actors going down that melodramatic rabbit hole. It creates the tension needed for the film’s awkward subject matter, and an avenue to allow such a wickedly devilish performance from Natalie Portman. Haynes’ ability to slyly hitch her cunning to Charles Melton’s and Julianne Moore’s polarized performances while combining that dynamic with a taut script and Zarvos’ over-the-top score makes May December a grippingly unique thriller. KATIE May December is an unsettling, challenging, yet irresistibly engaging film. Director Todd Haynes masterfully channels the overwrought emotion and artifice of 1950s melodrama, exploring common themes of women grappling with notions of taboo desire and social expectations. The film keeps the audience constantly off-balance with its sudden tonal shifts and dramatic orchestral score, resulting in a darkly comedic and perfectly absurd effect. The central performances by Natalie Portman and Julianne Moore are deeply layered and disconcerting, forcing the audience to constantly question their intentions and moral character. This film will stick with you for a while. QUENTIN While I admire the performances of all three leads on an artistic level, they simply aren’t good enough to make May December something worth recommending. For the most part, this is just a boring movie, plain and simple, coupled with the campiness and melodrama that make Lifetime Movies a punchline. It might have worked better had it picked a lane - either being a full-on homage or satire of made-for-tv movies, OR a deep dive into the aftermath of the Mary Kay Letourneau case (on which the movie is loosely based); however, in trying to come at it from both angles, it undermines both approaches. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.