THE OUT-LAWS Starring: Adam DeVine, Nina Dobrev, Ellen Barkin, Pierce Brosnan, Poorna Jagannathan, Richard Kind, Julie Hagerty, Lil Rel Howery, and Michael Rooker Director: Tyler Spindel QUENTIN While there are enough amusing one-liners, roguish Pierce Brosnan charm, and light heist elements to keep The Out-Laws mildly entertaining, it’s nothing more than another forgettable Netflix Original. For better or worse, it feels so much like a typical Kevin Hart comedy (buttoned-up, always-plays-it-safe nice guy is forced to do something dangerous) that I wouldn’t be surprised if he was offered it before Adam DeVine. Except, as tiring as Hart’s schtick has become playing this same type of character again and again, DeVine just doesn’t pull it off quite as well. Still, there are worse things to have on in the background while folding laundry. NICK You'd be justified in not expecting much from a Happy Madison Netflix film, but as this one is filled with actors I've always liked (Pierce Brosnan, Michael Rooker, Lil Rel Howery), I had hopes it would turn out okay. I was mistaken. Adam DeVine's schtick has never really worked for me, so that didn't help matters, but the main issue is that the script (the dialogue specifically) just isn't very funny. The general plot and talent involved brought potential, but both are wasted, sadly. What could have been a fun comedy becomes another inoffensive and forgettable Netflix entry that is destined to become background noise.

NOSFERATU Starring: Lily-Rose Depp, Bill Skarsgård, Nicholas Hoult, Willem Dafoe, Ralph Ineson, Aaron Taylor-Johnson, and Emma Corrin Director: Robert Eggers ADRIANO In his latest masterwork, director Robert Eggers proves once again that he is unmatched when it comes to building atmosphere and period authenticity. In Nosferatu , from the get-go, the film's vibe is one of an unrelenting nightmare due to the overall tone, spectacular imagery, and the utterly insane transformation of Bill Skarsgard into Count Orlok. And thanks, in part, to Lily Rose-Depp's mortifying physical performance, we get a genuinely scary yet seductive film that dives headfirst into the classic Dracula themes of desire and pleasure, which makes way for unfathomable horrors. Eggers just can't seem to miss. NICK One thing that is undeniable when it comes to a Robert Eggers film is that you’re going to get a visually stunning piece of art. Nosferatu is no different. The gothic atmosphere becomes a character in itself, which pairs perfectly with a title character mostly in the shadows. And when he finally steps out, it’s another exceptional horror icon portrayal from Bill Skarsgård, as he keeps the audience in a trance (much like Lily-Rose Depp, who is also great here). I’ve still yet to be completely enamoured by Eggers’ work, but Nosferatu has certainly gotten me the closest. PAIGE Nosferatu is a descent into madness! Lily-Rose Depp delivers a spellbinding performance that she pours her soul into, while Bill Skarsgård’s terrifying portrayal of Count Orlok is so hypnotizing that even when he isn’t on screen, you can feel his menacing presence. Writer/director Robert Eggers has crafted his best and most daunting film to date. From the film’s gorgeous production design to its dreadfully tense atmosphere and macabre cinematography, this film is a truly chilling reimagining of the iconic vampire story. I must say, I have officially succumbed to Robert Eggers’ darkness. AMARÚ Nosferatu is undoubtedly an epic Robert Eggers film. It’s creepy, unsettling, well-acted, meticulously filmed, and eerily scored with magnificent production and sound design. But its grandiosity often lacks any form of subtlety. I wouldn’t have been surprised to hear “I AM DRACULA AND I WANT TO SUCK YOUR BLOOD” followed by Sesame Street ’s The Count laughing slowly. But honestly, it fits the vibe. Any distaste on my part comes from my personal indifference to this story, and not to an absence of quality. Everything about Nosferatu is as it should be, and Eggers directed a monumental take on the vampire’s tale. QUENTIN For better or worse, Nosferatu is just another Robert Eggers movie. Now, that may leave you asking, “what exactly does that mean, Q?” Well, let me tell you… For me, it means a film that is well-acted (Bill Skarsgård is particularly excellent), thick with moody atmosphere, and loaded with some incredibly beautiful imagery; however, that also means it features a story so deliberately and methodically told that it becomes an unengagingly draggy bore, especially given the candle-lit period setting. Through four hit-and-miss films, I think I’ve come to understand that I like Eggers as a uniquely skilled director, but not so much as a writer. PRESTON Most reviews of Nosferatu will be hard-pressed not to bring up director Robert Eggers because this film is so, well… Robert Eggers. His films always seem to leave me in this middle-ground of deep respect mixed with simultaneous disappointment. I can’t express strongly enough how beautifully crafted the film is AND brilliant the performances are, but its substantive content lacks bite. It is long and dull despite being so visually stunning, and Count Orlok’s (Bill Skarsgård) porn stache and tortuously slow and affectatious speech make the creature seem laughable at times. Alas, I find myself in the familiar middle-ground, once more. KATIE Robert Eggers’ reverence for Nosferatu: A Symphony of Horror is evident in every frame of his modern remake. From the breathtaking first scene, Eggers plunges the viewer into a meticulously crafted, richly realised world inflected with a building sense of suffocating dread, captured in seductively beautiful monochromatic colour. Eggers draws inspiration from the original text without simply replicating its visuals, with Murnau-inspired use of shadows and expressionist influences, but he adds a unique complexity to the story by centralising Ellen’s agency, played by a dedicated Lily-Rose Depp with impressively unsettling physicality. Nosferatu is a truly stunning and encapsulating film.

APPOFENIACS Starring: Paige Searcy, Harley Bronwyn, Simran Jahani, Massi Pregoni, Will Brandt, Aaron Holiday, Chad Addison, Michael Abbott Jr., Sean Gunn, and Jermaine Fowler Director: Chris Marrs Piliero This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Appofeniacs is the complete antithesis of a film like Coyotes . Creative kills? Check. Compelling characters? Check (Sean Gunn and Paige Searcy, in particular). Big swings? Literally and figuratively. Not only is this film unafraid to embrace how ridiculous its premise can be, it has a good time doing so. The usage of deepfake technology is well timed (and frightening if you think about how possible the given scenario is), and the incorporation of cosplay is just straight up fun. It may be due to the underwhelming nature of the screeners for this year’s festival, but Appofeniacs is easily my favourite film of Fantastic Fest 2025. QUENTIN Though not without its moments, Appofeniacs is a meandering commentary on the ways in which deepfakes are corrosive to the world around us, an especially relevant message in the current era of fake news. However, as a topic, the ills of AI has been trendy for several years, so writer-director Chris Marrs Piliero doesn’t have much to add to the conversation. Instead, he takes an idea that is already becoming overplayed and attempts to infuse it with Quentin Tarantino-style dialogue, violence, and story structure. Tarantino, he is not; we’re left with a messy knock-off that equates to “what if Tarantino directed an episode of Black Mirror ?”

ANORA Starring: Mikey Madison, Mark Eydelshteyn, Karren Karagulian, Vache Tovmasyan, Yura Borisov, and Luna Sofia Miranda Director: Sean Baker QUENTIN Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems , then you’ve got a pretty good idea of what to expect. It’s worthy of any and all awards consideration it’s surely to garner. ADRIANO To say writer/director Sean Baker has upped his game would be an understatement. Anora is a laugh-out-loud comedy, a non-judgmental look at the lives of sex workers, an absolute off-the-walls thriller, and a tragic exploration of class and the ways people are struggling to make it by. In many ways, Anora does it all, especially considering the fantastic ensemble, led by a magnum opus performance from Mikey Madison. It made me laugh hysterically. It made me grip my seat. It made my jaw drop. It broke my heart. It’s a one-of-a-kind, entertaining joyride that is Baker's masterpiece. NICK I'm not sure exactly what I was expecting Anora to be, but it certainly wasn't what I got. Director Sean Baker offers up a film a lot more zany than I'd assumed going in, and it works in the film’s favour. Mikey Madison (Ani) is bound to receive overwhelming critical acclaim for her lead performance, but it's the way Baker surrounds her with rich side characters that really fills out the story. There is a bit of a pacing issue in the middle that slows momentum, but the final 20 minutes (including a poignant closing shot) refreshes any good will that was lost. PAIGE Sean Baker’s distinct slice-of-life storytelling style never ceases to amaze me. His latest slice, Anora , is a shining example of a fairytale hit hard by reality. Baker masterfully directs the pandemonium that ensues from one trying to capture the American dream. Even though I longed for more character depth, Mikey Madison (Ani) is a formidable force that delivers a star-making performance. In addition to that, the rest of the ensemble plays off each other incredibly well. And while there are many laughs to be had throughout this stunning firecracker of a film, the movie’s ending will undoubtedly bring you to your knees. AMARÚ It took some time for Anora to get going. Not that it’s bad, but being more observational than plot-driven to start, I wasn’t as invested in the day-to-day happenings. But Mikey Madison is excellent as the title character, and her charm kept me intrigued as to where the film was headed. So when shit hit the fan, I appreciated the deep setup writer/director Sean Baker provided for the ensuing chaos. Chaos that was a bit repetitive and long-winded, but was held together by an honest script and hilarious supporting characters, especially Yura Borisov, whose underplayed sincerity shines amongst the crazy. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

MARTY, LIFE IS SHORT Starring: Martin Short, Steve Martin, John Mulaney, Eugene Levy, Andrea Martin, Michael Short, Paul Shaffer, Catherine O’Hara, Deb Devine, Oliver Short, Tom Hanks, Rita Wilson, Walter Parkes, Laurie MacDonald, Steven Spielberg, and Kate Capshaw Director: Lawrence Kasdan ROBERT Documentaries serve one of two purposes: getting people interested in a subject they know nothing about, or deepening knowledge of something they like but have never researched. Martin Short has never been someone whose work I sought out directly until Only Murders in the Building , but someone who never disappointed. The depth of his character, his love for family and comedy, and how he has touched people was something I didn’t understand until Marty, Life is Short. It was warm, loving, devastating, and greatly interspersed with interviews and archival footage to color in a man of esteem not just in entertainment, but in life. KATIE As someone who was primarily familiar with Martin Short as Jack Frost from The Santa Clause 3 until recently, I found Marty, Life is Short to be an informative, entertaining, and moving documentary. The love director Lawrence Kasdan has for Short shines through his film, which, lovely as it is, sometimes means it focuses more on how great he is over delving into his life and career. This may be frustrating for those watching who want to discover more about him. Nonetheless, the star-studded interviews and use of home footage are compelling and heart-warming in their sincerity.

BEING THE RICARDOS Starring: Nicole Kidman, Javier Bardem, J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, and Clark Gregg Director: Aaron Sorkin JACOB Though significantly weaker in its writing than many of writer/director Aaron Sorkin’s other scripts and bland in the directorial sense, Being the Ricardos still managed to charm me. There’s not much beneath the surface of the story, set just before Lucille Ball’s “red scare” moment, but I was nonetheless taken by the quick-fire, “inside baseball” dialogue and the consistently engaging performances. None of the actors fully embody their characters, but they all give terrific turns, especially Nicole Kidman. The filmmaking itself seems more in tune with a miniseries format than a movie, but I can live with that. ADRIANO Being The Ricardos is one of writer/director Aaron Sorkin’s weaker offerings, but it’s still an entertaining and interesting one. While his direction shows more style than his previous works, the pacing is very slow. On top of that, the structure of the film is extremely jarring. I’m usually a fan of the way Sorkin structures his stories, but this time it’s a bit confusing. Thankfully, Sorkin’s signature snappy dialogue is as fun as always; the performances by Nicole Kidman, Javier Bardem and Nina Arianda are amazing; and the film has enough of an emotional punch that it’s worth watching. QUENTIN In Being the Ricardos , writer-director Aaron Sorkin gives I Love Lucy the Sports Night (and The Newsroom ) treatment by providing a humanizing, behind-the-scenes look at the classic Hollywood production, with the fact of it being based on a true story adding a bit more oomph to the proceedings. The material also is elevated by a terrific cast that skillfully delivers Sorkin’s rapid-fire dialogue effortlessly. I suspect that the film will be more resonant with those who watched the classic series (which I didn’t) and it lacks some tension since the events are predetermined, but I found myself fascinated, nonetheless.

THE THURSDAY MURDER CLUB Starring: Helen Mirren, Pierce Brosnan, Celia Imrie, Ben Kingsley, Naomi Ackie, and David Tennant Director: Chris Columbus PAIGE Chris Columbus’ The Thursday Murder Club is a somewhat decent murder mystery despite the fact that it doesn’t reinvent the genre. The story is a bit sluggish and bland, but its lighthearted charm and terrific cast make it worth at least throwing it on in the background. Helen Mirren, Pierce Brosnan, Celia Imrie, and Ben Kingsley appear to be having a ball and play off each other seamlessly, but their chemistry alone isn’t enough to fully save the movie. This harmless mystery has its moments, but it heavily leans on formula, and by the end, it’s pretty forgettable. KATIE The Thursday Murder Club has a lot going for it: a starry cast, witty dialogue, and gorgeously luxurious settings. However, although I found it starts strongly, it ultimately falls flat. Helen Mirren is fantastic, and I’m always happy to see David Tennant on screen, but its perfunctory story and predictable twists make it a bit bland. Some of the cast seems disengaged too, which doesn't help, while the relentlessly bright colour palette makes it look like a TV film. It’s a very watch-on-your-couch-on-a-Sunday type of affair. It’s good enough, but I wasn't impressed. ROBERT While watching The Thursday Murder Club , I thought I got sucked into a mystery show advertised on BritBox. It seemed like it was the UK’s answer to Only Murders in the Building , but without the lived-in ribbing I get from Steve Martin and Martin Short, which buoys that show. I couldn’t get past how many people in this were in MobLand , but without the gangster edge and griminess that made that show slick and cool. Helen Mirren is a force, Pierce Brosnan is cool, and I will always advocate for slimier David Tennant, but otherwise, this was a shallow and neutered effort. QUENTIN With full recognition that I’m Bitesize’s resident Old Man, The Thursday Murder Club is for people even older than me. I mean, your grandmother and people who think Only Murders in the Building is too hip and edgy probably will love this movie, but for me, this murder mystery is far too bland to be engaging. I suppose the cast chemistry carries the film decently enough — how could it not with this cast of legends? — but still… ehhhh. Do you know that gentle, talk-to-the-elderly voice you use when helping a sweet old lady at the market? This is the movie equivalent of that.

YOU CANNOT KILL DAVID ARQUETTE Starring: David Arquette Directors: David Darg and Price James JOSEPH Hearing a documentary described as "raw" or "intimate" is rather cliché, but You Cannot Kill David Arquette really is raw and intimate. I feel honored to have seen Arquette in such personal settings, working towards his own mental stability through different forms of therapy. The doc also is unafraid to show the physical, sometimes life-threatening, consequences of professional wrestling. Even though it's clearly nonfiction, the stylistic editing and plethora of footage gives this documentary an almost scripted feel. It's an emotional and inspirational fever dream redemption arc that hopefully leads to the resurgence of David Arquette. NICK David Arquette’s first foray into professional wrestling was considered a joke, and this documentary is all about making up for that. Arquette wears his heart on his sleeve, and I challenge anyone not to root for him while watching him pay his dues and experiencing the toll it takes on his mind and body. Ultimately, this film is about perseverance, passion, and following your dreams - something we can all relate to. When you're in love, you want to be loved back. Arquette is in love with wrestling, and after nearly 20 years, it finally seems ready to love him back.

MORTAL KOMBAT II Starring: Adeline Rudolph, Ludi Lin, Jessica McNamee, Mehcad Brooks, Josh Lawson, Tadanobu Asano, Karl Urban, Tati Gabrielle, Lewis Tan, Ana Thu Nguyen, Martyn Ford, Hiroyuki Sanada, and Joe Taslim Director: Simon McQuoid NICK 2021's Mortal Kombat has many issues, including poor writing, questionable casting, and a lack of action. Mortal Kombat II doesn't make any real improvements in its writing (the modern pop culture references are painful), but it at least puts its focus on a legacy character, Kitana (Adeline Rudolph), and she is a stark improvement over Cole Young (Lewis Tan). If that doesn't work for you, there is a substantial amount of rousing fight sequences that make this feel more like the game. Yes, Mortal Kombat II masks a lot of its flaws with entertaining action, but that’s still a step up from its predecessor. ROBERT The idea of trying to cram any semblance of plot into any Mortal Kombat property is foolhardy, so I was happy to find that director Simon McQuoid and the writers of Mortal Kombat II brushed that aside strictly for tournament-based shenanigans. In comparison to the original sequel, Mortal Kombat: Annihilation , this is Citizen Kane , but in general, the action and death sequences are ramped up, and the comedy, while not as prevalent, hit enough to manufacture a few loud guffaws. I love Karl Urban, but he probably still wasn’t the exact right choice for Johnny Cage. Flawless victory? Naw, but a worthy triumph. ADRIANO The Mortal Kombat games are my favourite video games of all time. So I say this as a fan: Mortal Kombat II is awful. While it fixes some of the issues from the first one, my fan bias aside, there’s nothing to grasp onto. Sure, some of the fatalities were fun to see, but if I didn’t have a connection to the source material, would I say that? The plot is incoherent (even by Mortal Kombat standards), the action is weightless, and the visuals are gross. I’m not giving this a pass when I wouldn’t for other films of this nature. AMARÚ One down, one to go. If 2026’s other fighting video game adaptation delivers like Mortal Kombat II , my inner child will be ecstatic. This sequel understood the assignment (especially one particular course correction) by using a serviceable story to service awesome fight sequences and entertaining characters. Josh Lawson shines again as Kano, while Karl Urban brings enough self-aware hubris to counteract him not 100% working as Johnny Cage. But the surprises were Tati Gabrielle and Adeline Rudolph bringing actual gravitas to Jade and Kitana. Nothing here is better than expected, but everything is exactly what was wanted: a bloody, funny, good ass time. Want to hear even more of our thoughts? Nick, Robert, and Kolby Mac join Amarú to take A Bigger Bite out of Mortal Kombat II HERE .

AFRAID Starring: John Cho, Katherine Waterston, Havana Rose Liu, Lukita Maxwell, David Dastmalchian, and Keith Carradine Director: Chris Weitz ADRIANO As someone who believes AI is a true danger, AfrAId is not helping. It makes the bare-bones case against it, but never goes beyond "it's bad" and surface-level mockery. Plus, ironically, a lot of this movie feels like an AI-generated horror flick considering how lifeless, generic, and, above all, artificial it is. There is potential for an effective horror movie that takes a grounded stance against AI and its scary implications for humanity, but bad acting and weak scares make this yet another bland horror film, sadly. KATIE AfrAId badly executes a potentially strong premise, making a one-sided, definitive judgement on the increasing presence of artificial intelligence whilst ironically relying heavily on cheap-looking AI-generated imagery. AI has so many possibilities in terms of the surreal and uncanny imagery it can create, which is genuinely creepy when used sparingly and combined with real life. Although this is hinted at early on, the film ditches that approach and sets up multiple ideas without re-visiting and exploring them effectively. Fortunately, the performances are actually good, particularly John Cho and Katherine Waterston, whose talents elevate the film to watchable.

SUZE Starring: Michaela Watkins, Charlie Gillespie, Sara Waisglass, Aaron Ashmore, and Rainbow Sun Francks Directors: Dane Clark and Linsey Stewart PAIGE Suze is a straightforward tale of personal growth, but it does a wonderful job of striking a balance between drama and humor. It glosses over some of its deeper emotional beats, but still manages to be a funny and somewhat unexpectedly touching movie, mostly because of the fantastic chemistry between our two leads, Charlie Gillespie and Michaela Watkins. The most delightful aspect of this film is their improbable friendship due to their ages. Suze is an all-around lighthearted and charming film that will warm your heart. KATIE I don’t think Suze is quite as wholesome as it thinks it is. The film relies on the dynamic between Suze (Michaela Watkins) and Gage (Charlie Gillespie), and whilst they each give good performances with a sufficient number of heartwarming moments between the two, I found that some of the emotional beats fell flat. I also struggled to empathise with Suze individually - let's just say I disagreed with her parenting style. Nonetheless, Suze is an easy watch with some funny and touching moments that luckily does not overstay its welcome.

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 .