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MATERIALISTS Starring: Dakota Johnson, Chris Evans, Pedro Pascal, and Zoë Winters Director: Celine Song ADRIANO If you're a Past Lives fan like me, you'll love what writer/director Celine Song offers in her sophomore film, even with its tonal differences. In Materialists , she gives the same honest approach to human relationships that we saw in Past Lives . Through the lens of a near-parody-like rom-com structure, she skewers the genre's superficial approach with incredible emotional weight, even in moments where we're being told the message. The headlining trio does incredible work here, as does Zoë Winters, to make this hit home. There aren't many ways to discuss Materialists without sounding corny, but this movie is what love is. NICK On occasion, I leave a screening knowing good and well my opinion is in the minority, and I struggle to understand the disconnect. That’s Materialists for me. There’s nothing inherently wrong with the film. I just didn’t enjoy it. The chemistry didn’t jump off the page (sometimes intentionally, as director Celine Song shows her cards early in the film), and the characters’ decision-making often felt disingenuous. I’m not some cold-hearted man who can’t enjoy a love story, I just push back on the idea that this is a good one. Perhaps you’ll feel different, but if not, know you’re not alone. AMARÚ In Materialists’ first 20 minutes, matchmaker Lucy (Dakota Johnson) describes a client as the epitome of average: okay salary, okay looks, okay personality, just okay. That’s also a pretty apt description for this movie. It’s an experience much like that of an okay first date, a lot of dead air filled with single lines of dialogue struggling to keep the conversation going. Sometimes it works (Pedro Pascal’s effortless charm makes the transactional screenplay interesting) and sometimes it doesn’t (Chris Evans was given nothing to do until the end). Luckily for director Celine Song’s second feature, it was okay enough to want a third date. BODE When Materialists opens with a quiet pre-civilization prologue, it’s clear that writer/director Celine Song won’t go about the rom-com conventionally. Its ambitions are loftier, in ways that are intellectually alluring in its first half, but emotionally excluding in its second, lacking much of the warmth and passion needed for it to pack a punch. It certainly has moments of depth (script-wise) and beauty (from its three leads, of course, to the great Shabier Kirchner’s photography), making this not bad as is. Compared to Past Lives however, I can’t help but feel that this is a fairly significant step-down.

GOD IS A BULLET Starring: Nikolaj Coster-Waldau, Maika Monroe, Jamie Foxx, Ethan Suplee, January Jones, Karl Glusman, and Jonathan Tucker Director: Nick Cassavetes QUENTIN God is a Bullet is more of an acquired taste vibe than an engaging movie, falling in the same block of underachieving films as Savages , The Counselor , and The Bad Batch : violent (and misogynistic?) movies that boast noteworthy names and a few highlights but ultimately result in a mostly meh viewing experience. To its credit, Maika Monroe gives a solid performance, director Nick Cassavetes can stage a bloody gunfight, and one can feel the grime and grit emanating from the screen; However, sadly, the thing I liked most was that the runtime turned out to be 1:50 after press materials told me it was 2:36. PAIGE Directed by Nick Cassavetes, God is a Bullet is a vile revenge crime thriller that is a full-on blood bath. It’s a brutally violent film that may be only for those who have an acquired taste for films like this, but I recommend giving it a chance considering it’s based on a true story. Also, don’t let the runtime scare you because the film is not 2.5 hours long, but even if it was, I’d stick around to fight through it because Maika Monroe delivers another stellar performance.

KRYPTIC Starring: Chloe Pirrie, Jeff Gladstone, and Jason Deline Director: Kourtney Roy This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN If director Kourtney Roy’s intent with Kryptic was to be…well, cryptic…it’s a massive success because this movie is borderline incoherent. As it went on, I felt myself getting increasingly confused as the David Lynch-style mysteries and symbolism pile on top of each other. I suppose it could become the type of movie that viewers watch and rewatch with the hopes of decoding it over time, but esoteric and slimy strangeness is really all this film offers. There is certainly a time and place for such weirdness, but it seems to be the only point here, which makes for a less than engaging experience. PAIGE Kryptic is an intriguing B-movie with a lot going for it. It boasts gorgeous visuals, a rad electronic sound design, and some slimy horror sequences that might make some people cringe. However, conceptually, it is too vague to really work. Unfortunately, I became lost in its meandering pace and slow unraveling of the mysterious soul-searching journey, which has left me with more questions than answers. All in all, though, even if the movie is a little disorganized, it's at least distinct by forging its own goopy path.

FURIOSA: A MAD MAX SAGA Starring: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme, Nathan Jones, and Josh Helman Director: George Miller QUENTIN Given the (unexpected?) modern-day masterpiece that is Fury Road , there was some concern on my end that returning with a prequel would result in a disappointing cash-grab of a movie. Thankfully, Furiosa is anything but. It might be a bit too long, but you hardly care when the acting (Chris Hemsworth, especially), action, and writing are this good and compelling. It’s the rare prequel that stands on its own merits while expanding on the lore of everything that came before it and improving the depth of its immediate predecessor. Only time will tell if it’s better than Fury Road , but it deserves genuine consideration. AMARÚ Furiosa is a wondrous journey that ebbs and flows beautifully between heart-pounding action and thrilling character moments. Director George Miller’s master craftwork flawlessly bends magnificent set pieces to the furious will of Anya Taylor-Joy and the demented id of a career-defining Chris Hemsworth performance. It works both as a stand-alone singular epic and a world-building companion piece that enhances on the only thing Fury Road was missing: a discernible plot. Making a fantastic film that improves on a damn-near perfect one is a feat that few others than Miller could accomplish. ADRIANO Following up Fury Road is no simple task, yet Furiosa does so in glorious fashion. Director/co-writer George Miller returns to the wasteland in a similarly gritty and action-packed style, but what separates this from the previous Mad Max films is the way Miller builds and uses the world to enrich the character of Furiosa (Anya Taylor-Joy). What could've easily been a lazy prequel winds up being a necessary companion piece that stands on its own while also enhancing its predecessor. Furiosa was my most anticipated movie of 2024, and it did not disappoint. PAIGE With Furiosa , director George Miller embarks on yet another extraordinary journey through the wasteland. Even though this origin prequel may not be as heavy metal as Fury Road , it’s still just as epic in scale. The jaw-dropping set pieces remain untarnished, although there are glaringly clumsy visual effects on occasion. Chris Hemsworth may have given his best performance to date, and Anya Taylor-Joy honors the legendary Furiosa. Furthermore, this coming-of-age revenge movie does a fine job of expanding the lore of the Mad Max world and reminding us why we root for this badass. KATIE Furiosa is a worthy follow-up to Fury Road , delivering everything that makes the original great and more, whilst working equally as well as a stand-alone thriller. The sprawling, action-packed epic is a non-stop thrill ride with jaw-dropping set pieces, breathtaking stunts, a fantastic cast (particularly Anya Taylor-Joy as Furiosa), and a delightfully unhinged performance from Chris Hemsworth. The film is long, but takes the time to deepen our understanding of the character and, ultimately, every second spent in George Miller’s brutal wasteland is a pleasure. See it on the biggest screen possible and enjoy the carnage. PRESTON Supposedly, the Furiosa script was done prior to the filming of its predecessor (Fury Road ), but still somehow comes across as something very much forced. The five sections of the film accurately recount the corresponding important plot points while the rest of the film meanders its way from here to there through a somewhat muddled storyline that includes some, admittedly, sweet action and stunt sequences. The green-screening fits with prior installments, but takes some grit to accept its ridiculousness at times. Overall, it's good, but much longer than it needs to be and not nearly as good as Fury Road . CALEB Furiosa isn’t as intense as Fury Road , but it’s still a wild ride; the action sequences aren’t as frequent this time around, but they’re just as ingenious. The high-octane set-pieces are giddily chaotic, and it’s clear that director George Miller is still at the top of his game. I was expecting fantastic action from a Mad Max film, but the great world-building caught me off guard. This prequel expands upon the wasteland in fascinating ways, fleshing out the warring factions and adding some standout new characters. Max may be absent from this entry, but Furiosa proves that this franchise is still plenty badass without him. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

THE BAD GUYS 2 Starring: Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne, Maria Bakalova, Alex Borstein, Richard Ayoade, and Lilly Singh Directors: Pierre Perifel and JP Sans AMARÚ The first Bad Guys is one of my favorite unsung films from Dreamworks Animation. The mix of heart and great characters carried that simple story a long way. While its sequel still has lovable characters and a matching voice cast, the comedic bits revert back to the shallowest of children’s sensibilities seen in Dreamworks’ lesser catalog. It focuses on bigger spectacle instead of its grounded themes of redemption, undercutting the solid messages it has surrounding second chances. Yet, with the amazing animation and some fun additions to the cast, I had a good enough time to want to visit with this crew on another outing. ADRIANO Like its predecessor, I don't have a strong inherent issue with The Bad Guys 2 . While I'd actually consider it an improvement, it just didn't leave a strong impression on me. But, I can't let that cloud the fact that it likely will for others. Setting aside that I didn't find it that funny, the film has an endearing message for kids on top of excellent voice acting and characters, and a pacing/animation style that led to pretty memorable set pieces. These movies aren't for me, but I see the value in recommending The Bad Guys 2 nonetheless.

EDEN Starring: Ana de Armas, Vanessa Kirby, Sydney Sweeney, Jude Law, Daniel Brühl, Felix Kammerer, Toby Wallace, and Richard Roxburgh Director: Ron Howard NICK The true story of Eden takes a little while to get going, but once it does (coincidentally once Ana de Armas shows up?), it settles into quite an engaging picture. The film isn’t what you’d expect from director Ron Howard, but that’s part of its intrigue. The cast (again, highlighted by de Armas) understands their assignments, preventing the material from becoming too campy. There are laughs (I’d have liked a touch more comedy, though), but they’re well balanced in a story about humanity and survival. I, for one, would welcome Howard going this direction more often. ADRIANO As low a bar as it may be, Eden is director Ron Howard's best effort in a while. Granted, it's visually very bland, and it starts off pretty thin and uninteresting; however, once Ana de Armas kicks down the door with her new energy and show-stealing performance, the movie kicks into a much different gear. While still not excellent, the movie becomes an eye-opening rush of adrenaline that keeps upping the ante with its thrilling exploration of human nature and how ugly it can be when ego takes over. I wasn't expecting to be into it, yet I was. QUENTIN Eden — Ron Howard’s darkest film since 2003’s The Missing — struggles to maintain its early momentum once the main pieces are in place. By no means is that the ensemble’s fault, as each performer is operating at the top of their game. It’s the characters that are the problem. Through the skillful examination of human nature in the face of ego, power, jealousy, and entitlement, the entire cast embodies the despicable real-life people they are portraying so well that it’s near impossible to root for any of them. Since the audience has no “in,” it’s hard to be fully invested despite the story having inherent tension-building elements. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

FRIENDSHIP Starring: Tim Robinson, Paul Rudd, Kate Mara, Jack Dylan Grazer, Josh Segarra, and Billy Bryk Director: Andrew DeYoung ADRIANO As a long-time fan of Tim Robinson's I Think You Should Leave , I'm delighted to say his comedic sensibilities aren't exclusive to sketch comedy. Thanks to Robinson's pitch-perfect delivery, Friendship contains plenty of laughter throughout. The constantly excessive absurdism of the plot and Paul Rudd's delightful straight-man act also add a lot to the experience when it comes to the hilarity. Did I think the movie's message on loneliness could've been executed better? Perhaps. But if you need to laugh consistently for 97 minutes, I don't know how Friendship wouldn't be exactly what you're looking for. NICK I think you should leave... That’s what I thought about 10 minutes into Friendship as I realized this wasn’t going to be my kind of comedy. I stayed until the end, sure, but my suspicions were correct. Aside from the rare gag I found to be clever, at best, I couldn’t muster much more than the odd smirk. Had I not expected the laugh-out-loud comedy this was promoted as, I could have gotten deeper into the concept of this bizarre character study. Instead, I was left with Tim Robinson’s repetitive antics and question of “why?” It’s safe to say this one just wasn’t for me. AMARÚ The desire for personal connection is universally relatable, and the team behind Friendship utilizes over-the-top humor to emphasize that basic human need. However, what some call cringe comedy, I call flat out annoying. Really, what the hell did I just watch? I get what Tim Robinson and writer/director Andrew DeYoung are going for, but there’s only so much self-inflicted pain you can cause before it crosses the line into embarrassment. They are habitual line-steppers, and my urge to walk out of the theater to avoid the next uncomfortable situation that the unlikable characters put themselves in is not an experience I want to repeat. BODE It’s probably easy to assume that Friendship is an extended I Think You Should Leave sketch, especially given that it stars Tim Robinson, one of the new masters of cringe comedy. You wouldn’t be totally off, as writer/director Andrew DeYoung leans into Robinson’s trademark discomfort for everything it’s worth, ensuring that this demented portrait of male loneliness never takes a conventional path (even in moments where you think it will). It’s not only funny as a result, but unexpectedly poignant as you peel back the layers. It can be a little scattershot at times, but even with that, Friendship manages to linger. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

STARVE ACRE Starring: Matt Smith, Morfydd Clark, Erin Richards, Sean Gilder, Arthur Shaw, Robert Emms, Melanie Kilburn, Robert Goodale, and Roger Barclay Director: Daniel Kokotajlo PRESTON Starve Acre ’s folksy eeriness is advanced through a slow-burning subtlety that is reminiscent of other 1970s horror films while being a kind of twisted, stylistic mix of The Wicker Man , Saltburn , and Pet Sematary . The cinematography and sound design are absolutely stunning, and Matt Smith and Morfydd Clark perform adeptly, even with a relatively sparse script. Some of its weirdness kind of lost me in the end, but I was mostly captivated throughout. If you watch the trailer, you should be able to ascertain whether you will love it or hate it - trust your gut. QUENTIN Like The Witch , Starve Acre is sluggish folk-horror that relies solely on eerie atmosphere, a mysterious animal, and a quiet farmhouse setting. It’s also a movie that movie nerds might tell you is amazing despite middling audience scores saying otherwise (The Witch won a slew of awards but has a mediocre audience score on Rotten Tomatoes — I even called it the worst movie of 2015). Movies like this are billed as great horror, yet have no suspense, even fewer scares, and almost zero narrative, all of which end up disappointing. So, use The Witch as your litmus test when deciding if this is worth your time. PAIGE Like other folk-horror films, Starve Acre moves slowly, but also has the moody atmosphere, eerie score, and strikingly desolate scenery that personifies the genre. While the film is primarily an exploration of grief and trauma, it is too tame and meandering, as it takes its time to get to where it wants to go. This mediocre horror film is more unsettling and weird than horrifying despite the hauntingly good performances from Matt Smith and Morfydd Clark. Ultimately, in the end, the film left me starving for more depth.

THE LIFE OF CHUCK Starring: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mark Hamill, Mia Sara, Benjamin Pajak, Carl Lumbly, Matthew Lillard, Annalise Basso, Samantha Sloyan, Jacob Tremblay, and Nick Offerman Director: Mike Flanagan NICK When you hear the names Mike Flanagan and Stephen King, you’re likely expecting a horror film, but you’d be mistaken with The Life of Chuck . Among Flanagan’s best works, I’m not sure I’ve seen a film look at death and mortality through as beautiful a lens as this film does. I could break down the technical specs (no complaints) and the performances (once again, no complaints), but it’s really about the purity of the film. There are multiple dance numbers, dark comedy, and apocalyptic dread, but Flanagan never loses sight of the hopeful message he wants to send. I wish all films were this sincere. ADRIANO The Life of Chuck will make you want to dance and fall in love with life. Writer/director Mike Flanagan ditches his horror comfort zone in favour of a movie that boasts a great ensemble, a fascinating structure that allows one to piece the film together as it goes, and not an ounce of cynicism in sight. Just a movie about allowing your love to guide the things you do, and enjoying the rewards that come with it. If I had to criticize, the movie looks a bit too polished, but I nonetheless loved The Life of Chuck . BODE Mike Flanagan has built a reputation as a humanist of horror, prioritizing empathy and emotionality over cheap thrills, which only make the scarier moments hit harder. It’s what makes him the perfect filmmaker to tackle Stephen King; and while I wouldn’t say his latest adaptation, The Life of Chuck , is his best (it’s a little less than the sum of its parts), I still enjoyed seeing his trademarks (non-chronological editing, monologues, etc) applied to one of King’s non-horror works, where even the most sentimental moments of this meditation of memory and mortality feel haunted in a sense. Solid! AMARÚ The Life Of Chuck is the most interesting movie about nothing in particular that I’ve seen in some time. That’s because making it about nothing specifically made it about absolutely everything. Director Mike Flanagan utilizes his amazing horror sensibilities to highlight the tragic beauty of life, which sets up the movie’s unique storytelling style and singular universe in ways that prove that even the smallest of details contain multitudes of meaning. Tom Hiddleston and company are brilliant in this extraordinary look at one solitary life, and demonstrate how exquisite it is to live yours to the fullest. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE IDEA OF YOU Starring: Anne Hathaway and Nicholas Galitzine Director: Michael Showalter ADRIANO The Idea of You has greatly grown on me. It certainly has its pitfalls, as it follows familiar beats and director Michael Showalter seemingly has no directorial vision for any of his movies, including this one. However, while the rom-com stuff is endearing and Anne Hathaway and Nicholas Galitzine are great together, the movie is very mature in its handling of the subject, doing a great job in its sincere approach to age-gap relationships and tabloid culture. Dare I say it, I got pretty emotional towards the end, making this a successful rom-com. KATIE The Idea of You is a fun and appropriately unrealistic fan-fiction-inspired rom-com that is elevated by Anne Hathaway’s undeniable star power. Playing 40-year-old mother Solène, there is a searing chemistry with 24-year-old Hayes Campbell, played by Nicholas Galitzine, although her glamour and beauty make it hard to believe anyone would question his attraction to her. Nonetheless, I was pleasantly surprised that the film touched on some interesting points about age-gap relationships and the unique type of misogyny that affects women in the public eye, but it would have been more satisfying if it interrogated these issues further. CALEB I’m not above a schmaltzy, feel-good romance, but there’s no fun to be had with The Idea of You . There’s no romantic chemistry or sexual tension between Anne Hathaway or Nicholas Galitzine, and the whole narrative feels overwhelmingly sad (but not in the right way). The sincere attempt to explore aging is occasionally effective, but it is hard to take it seriously amidst all the boy-band melodrama. The cinematography reminded me of a bad Hallmark movie too, and it's surprising Hathaway would attach herself to something so cheap. I know she’s rom-com royalty, but The Idea of You is well below her usual standards. PAIGE The Idea of You turned out to be a more thoughtful and sophisticated romantic movie than I had anticipated. While the story is predictable and feels like fan-fiction at times, it strikes a decent balance between its light and heavy moments fairly well. Plus, the chemistry between Anne Hathaway and Nicholas Galitzine keeps this film ticking along. You can't take your eyes off of them as they radiate through the screen, producing an intense passion. Overall, despite being cheesy and cliché, this movie is easy to swoon over because of its warmth and lightheartedness.

LOUSY CARTER Starring: David Krumholtz, Martin Starr, Olivia Thirlby, Luxy Banner, Jocelyn DeBoer, and Stephen Root Director: Bob Byington AMARÚ If there was a cinematic representation of the term “smart ass,” Lousy Carter would be it. It’s an irreverently dry comedy that is the perfect vehicle for David Krumholtz’s vindictively hilarious brand of humor. Director Bob Byington utilizes disjointed editing and a cheeky score to emphasize sardonic performances that fit together into a charming ensemble of delightful assholes. Like many assholes you know and love (or at least tolerate), Carter can, at times, be too smart for its own good, meandering in its sarcastic wit, but it’s shockingly flippant bluntness definitely delivers an unequivocally unique experience you can’t help but enjoy. NICK Lousy Carter is another entry into the sub-genre I like to call “British-styled humour in American film.” It's dry… like, sandpaper dry. It’s awkward, occasionally veering towards the point of cringe. Most importantly, though, it's funny. Sure, it doesn't set the world on fire, but it's a perfectly cromulent indie comedy enhanced by an oddly engaging David Krumholtz as the grumpy curmudgeon left to face his own mortality. Although a strong argument could be made that this would have been better served as a short film, it's still a brisk watch that provides solid entertainment.

NOBODY 2 Starring: Bob Odenkirk, Connie Nielsen, Christopher Lloyd, John Ortiz, RZA, Colin Hanks, Daniel Bernhardt, Gage Munroe, Paisley Cadorath, Colin Salmon, and Sharon Stone Director: Timo Tjahjanto NICK If you liked Nobody , I can’t see how you would dislike Nobody 2 . Although it doesn’t reach the heights of John Wick — or even something more tonally similar like Fight or Flight — Nobody 2 is still an upgrade on the original. The action is on point, and Bob Odenkirk wonderfully infuses this action hero with his own comic sensibilities. Plus, the supporting cast, particularly the women (including a delightfully cartoony Sharon Stone), fill out the story around him well. Two films in, I can’t say I love the Nobody franchise, but I have no qualms in seeing Hutch (Odenkirk) back in action. AMARÚ You can’t help but want to root for Bob Odenkirk, and while Nobody was a surprise hit out of nowhere, Nobody 2 surprises you with how much you care for the Mansells (Odenkirk, et al) family drama. There’s a surprising heart, especially with Odenkirk and Connie Nielsen’s chemistry, that allows the camp and action to blend into the exact amount of fun and awesomeness you want in this sequel. Add in Colin Hanks and Sharon Stone understanding their silly assignments, and the perfect cherry on top that is RZA, and bong bong… you've got a helluva good time. ROBERT In 2021, Nobody was a decent hit with its theatrical run happening amidst the pandemic. It didn’t set itself up directly for a sequel, but considering Hutch (Bob Odenkirk) was back in the saddle as a government operative, it could still trade on its fun action for more films. Nobody 2 doesn’t do anything to expand the story, but it does involve the family more in the fight scenes, and it ups the body count with more creative kills. Sharon Stone is unhinged and it’s sick, but emotional pathos and writing take a backseat to a fun, albeit derivative, second ride with the Mansell family. ADRIANO Nobody is a film I love and consider to be a modern action gem, but I'm sad to say that Nobody 2 doesn't reach those heights. It's not awful, mind you. Bob Odenkirk is still a lot of fun, toeing the line between serious and silly wonderfully; however, the substance it tries to provide regarding burnout and generational trauma is lacking. The action hits at times, but director Timo Tjahjanto mostly traded the bone-crunching, closeup brutality for big explosions, which is just less effective. I'm certainly disappointed, but I'd be lying if I said I wouldn't watch another one of these.