ECHO VALLEY Starring: Julianne Moore, Sydney Sweeney, Domhnall Gleeson, Kyle MacLachlan, Fiona Shaw, Edmund Donovan, and Rebecca Creskoff Director: Michael Pearce QUENTIN While Echo Valley certainly goes over the top with some of its twists and turns, I can’t deny I enjoyed each and every patently ridiculous, get-the-fuck-outta-here moment. The cast deserves most of the credit for that enjoyment because they keep their performances grounded and (generally) believable even as the story goes for broke with big swings that would be right at home in a soap opera. This movie could have easily devolved into predictable and campy melodrama, but Julianne Moore, Sydney Sweeney, and Domhnall Gleeson will it to be something better. It truly caught me by surprise with how it all plays out. ADRIANO I counted at least seven different movies in Echo Valley . I certainly see the intrigue of what director Michael Pearce and writer Brad Ingelsby were shooting for, trying to give us a dark look at what a parent will do to protect their child, and Julianne Moore is excellent; however, this would have benefited from being a limited series since so many drastically rushed plot jumps happen in order to get to an even more rushed “gotcha” moment that felt uncharacteristic. Its stale look and retreading of tropes make this mess quickly forgettable. KATIE Echo Valley appears to begin as a standard drama about a parent struggling with a child battling drug addiction, but turns out to offer a lot more. The bleakness can sometimes feel overwhelming, but luckily, it’s driven by Julianne Moore and Sydney Sweeney’s electrifying performances. Moore is deeply moving as the grieving mother who would do anything to protect her daughter, and Sweeney’s fierce performance swings from frenzied rage to seemingly like an innocent child. Overall, Echo Valley is compelling, has gripping performances, and provides a satisfying resolution despite some ridiculous plot contrivances. ROBERT For the first act of Echo Valley , I was getting real The Horse Whisperer meets Thirteen vibes, with a splash of Stepmom . However, the turn in the second and third acts completed a tonal shift I didn’t think possible, but was glad they perpetrated, as I was infinitely more invested after that. There were some logical leaps that string you along until the end, but the beauty of the agrarian landscape and the performances of the three leads (Julianne Moore, Sydney Sweeney, Domhnall Gleeson) keep you contained within the world crafted so that you always feel reined into its environment. BODE Films like Echo Valley tend to frustrate me, because you can see what it could’ve been if it were more surefooted in its efforts to strike the balance between the couple different movies it wants to be (in this case, it’s caught between being a pulpy, twisty thriller, and a drama focused on familial grief and addiction). Because director Michael Pearce seems to struggle with this (and writer Brad Inglesby’s script is fairly clumsy to begin with), the movie, while not unwatchable thanks to its cast, comes up pretty half-baked and, even with a satisfying conclusion, instantly forgettable.

BOSTON STRANGLER Starring: Keira Knightley, Carrie Coon, Chris Cooper, Alessandro Nivola, Rory Cochrane, David Dastmalchian, Morgan Spector, Robert John Burke, and Peter Gerety Director: Matt Ruskin QUENTIN To me, the best part about journalism movies is the discovery that comes with the investigation. Those “a-ha!” moments when the reporter finally finds a break in the story. Sadly, while Boston Strangler is a fine movie with some solid performances (Keira Knightley with an American accent is discombobulating), it lacks that extra oomph that is present in similar movies like Zodiac and Spotlight . Don’t get me wrong, I definitely learned things about the case, but the revelations just fall a little flat. Still though, considering this is a Hulu original, there isn’t too much to complain about. PAIGE As a chick from Massachusetts, I’ve always heard stories about the Boston Strangler, but this film brings the investigative side of the story to life from the perspective of two women reporters in the 60s. The film dives right into the plot, but decides to focus more on the sexism that these women dealt with while trying to expose the truth and less on the brutality of the actual crimes. While it lacks suspense, it's still a solid film that’s worth watching for the fine performances from Keira Knightley and underrated Carrie Coon.

BREAKUP SEASON Starring: Chandler Riggs, Samantha Isler, James Urbaniak, Brook Hogan, Carly Stewart, and Jacob Wysocki Director: H. Nelson Tracey NICK There’s an authenticity to Breakup Season that makes it more relatable than clichéd. From how frustrated I became with Ben (Chandler Riggs) and his inability to get out of his own way to the hectic and annoying family moments (and members) of the holiday season, everything feels like a lived experience. This approach works for what this film is: a grounded, cozy indie that plays things fairly safe. There are spots that call for a big dramatic moment, but director H. Nelson Tracey instead goes the route of subtlety, which left me wanting, but still works within the context of the film. KATIE Breakup Season is a simple and endearing, if slightly underwhelming, romantic comedy-drama that follows Ben (Chandler Riggs) and Cassie’s (Samantha Isler) sudden and inconvenient breakup during the Christmas holidays. The performances are not bad individually, but their relationship doesn’t feel very authentic and it lacks chemistry, which makes it difficult to believe they were madly in love only recently. I would have liked it better if it leaned more into the awkward moments and tension between the couple, but it meanders from conversation to conversation. Nonetheless, it looks very pretty, and it makes for an easy and cozy watch.

MY DEAD FRIEND ZOE Starring: Sonequa Martin-Green, Natalie Morales, Ed Harris, Morgan Freeman, Gloria Reuben, Utkarsh Ambudkar Director: Kyle Hausmann-Stokes ROBERT War and family drama often coincide as worlds bleed over and compartmentalization becomes impossible. My Dead Friend Zoe expertly overlays each side for Merit (Sonequa Martin-Green) to unveil a complete mosaic of trauma. Zoe (Natalie Morales) anthropomorphizes that for Merit as the part of her subconscious that won’t let go and forgive herself, but not for the reasons you think. With the gravitas of Ed Harris and Morgan Freeman buoying the peripheries, this is a story made by soldiers, with soldiers, but is ubiquitous in its message on easing the struggle with support. PAIGE Kyle Hausmann-Stokes' beautiful directorial debut, My Dead Friend Zoe , is based on a true story about his experiences after serving in the military that sheds light on those that hold onto the past and struggle to push through the pain. Despite the film's weighty subject matter, Hausmann-Stokes handles it in a surprisingly lighthearted and wholesome way. Because of Sonequa Martin-Green and Natalie Morales' sincere performances, you will laugh and cry throughout this movie. All in all, even though the movie has a somewhat inconsistent tone, I didn't mind because it has a satisfying emotional payoff that makes it worthwhile to see. BRYAN Kyle Hausmann-Stokes’ directorial debut, My Dead Friend Zoe , showcases a devastatingly raw turn from Sonequa Martin-Green in a heartbreaking yet surprisingly heartfelt tale about a military veteran battling PTSD and regret. Tackling a story with this subject matter requires a lot of thought and care, which Hausmann-Stokes thankfully does. It was impressive to see the balance of making one laugh one minute and cry the next, even if the tone does come off as inconsistent at times. A solid debut from a filmmaker with lots of promise. I definitely won’t be listening to a certain Rihanna song the same way again. NICK My Dead Friend Zoe was firmly on my radar due to the overwhelming praise of Ed Harris’ performance, and although he is very good here, I was more impressed with Sonequa Martin-Green. She’s tasked with balancing a range of different emotions as a post-war veteran and comes off incredibly honest throughout. Director Kyle Hausmann-Stokes injects levity into the darker subject matter to keep it from ever feeling too heavy. This in turn gives you a film which is less about grieving and more so about healing. Even without being a veteran myself, it makes for quite a cathartic watch.

WENDELL & WILD Starring: Lyric Ross, Keegan Michael-Key, Jordan Peele, Angela Bassett, James Hong, Sam Zelaya, and Ving Rhames Director: Henry Selick ADRIANO I was excited for Wendell & Wild , but walked away disappointed. I’ll begin with the positives… I loved the stop-motion animation, and the character designs are very creative and visually striking. However, the film’s story is nonsensical. I’m pretty sure it’s a metaphor for the prison system, which is a weird and specific message for a kids’ movie, but, also, maybe I’m wrong about that being the point. Either way, the story is so all over the place, with something about amusement parks and hair cream, that I couldn’t really make sense of it all. I really wish I liked it more than I did. NICK My respect for the difficulty and precision put into stop-motion animation will always factor into a rating. To that point, on a technical level, Wendell & Wild is fantastic. The character design feels fresh, and different types of animation are used seamlessly throughout. Director Henry Selick is back, folks. However, the story feels oddly familiar. For a unique plotline, many of the story beats feel overdone, as if I’d seen this film before. Perhaps the idea of Wendell & Wild would be better served as a series so we could flesh these characters out more because, as it stands, it’s a tad forgettable. QUENTIN Netflix’s Wendell & Wild boasts a ton of top shelf talent behind the camera, including legendary director Henry Selick (The Nightmare Before Christmas , Coraline ) and the reuniting of Key & Peele (Keegan-Michael and Jordan, respectively); however, despite the impressive stop-motion animation, the movie struggled to hold my interest through its too-long runtime. Admittedly, maybe I’ve just outgrown this kind of kid-driven “horror,” but neither the humor nor the more macabre elements landed for me. The voice talent does a solid job, and there is a nice message to take away, but this one is probably best left for the children. AMARÚ The works of director Henry Selick, as iconic as they may be, have never resonated with me for some reason, and Wendell & Wild is no exception. The voice cast is great, and the animation is beautiful; however, the story is messy, quickly moving from one plot point to the next without much room to breathe. Instead, too much focus went into building creepily unique characters and spooky set pieces, making it that much harder to connect with much of anything. Those with a fondness for The Nightmare Before Christmas may enjoy this admittedly cool movie, but alas, it just ain’t for me. JACOB I’ll always give films that take chances a chance of their own, but unfortunately, Wendell & Wild is one of those weird experiments that just doesn’t work. The stop-motion movement is accomplished exceedingly well, but the characters are fairly thin and the script is even weaker. Several bits of dialogue hold no conviction or comic power, while others actively made me cringe. The film is also packed with too many ideas that never get fully explored. As such, they only get minimal screentime, and the story isn’t good enough for that approach to flow correctly. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

STOPMOTION Starring: Aisling Franciosi, Caoilinn Springall, Stella Gonet, Therica Wilson-Read, and Tom York Director: Robert Morgan KATIE Robert Morgan’s feature debut, Stopmotion , tells a familiar tale of an artist being consumed by their work in a similar vein to Saint Maud and Censor , but it is elevated by the deeply unsettling use of stop-motion animation combined with compelling live-action performances. The stop-motion creations are the stuff of nightmares, and they imbue the film with a distinctively creepy quality, emphasised by its spine-tingling sound design. Aisling Franciosi is amazing as Ella, delivering a performance that embodies her character’s emotional journey and anchoring the viewer’s engagement with the story. Overall, Stopmotion delivers on both style and substance. PAIGE Stopmotion is a nightmarish film directed by Robert Morgan that explores the psychological agony of an artist's fixation with pouring too much of oneself into their work. Even though the concept is intriguing and has the potential to be thematically rich, the delivery of the ideas is often too obvious, dull in dialogue, and missing pieces of the narrative. The story just isn’t developed enough to feel like a coherent movie. In my eyes, this would’ve worked much better as a short film. However, I will say that the stop-motion animation used throughout the movie is really eerie. CALEB For a scrappy, low-budget horror flick, Stopmotion manages to pull off some really impressive sequences. All the stop-motion scenes are wildly creative, so it’s a shame that the rest of the movie pales in comparison to them. The acting ranges from decent to mediocre, the cinematography is drab (outside of the animated sequences), and some of the editing and sound mixing decisions are frustratingly tacky. The narrative itself is rather uninspired too, delivering on most of the “elevated” clichés that you’d expect from a horror movie about a tortured artist. While Stopmotion has some great ideas, it never fully manages to take shape. NICK Although, conceptually, it's a fun idea, Stopmotion - much like the execution of the film's subject - is very tedious. I was all in on the eerie wax characters and every second that the film used stop-motion animation, but those moments were sadly fleeting. Instead, I got a film bogged down by one dimensional human characters, a muddy plot, and an unnecessary hallucinogen-fueled cut scene. All director Robert Morgan had to do was tell the story of an animator trying to make a spooky film as it begins to take hold of her, and we were set. Sometimes less is more.

KINGDOM OF THE PLANET OF THE APES Starring: Owen Teague, Freya Allan, Kevin Durand, Peter Macon, and William H. Macy Director: Wes Ball NICK Although director Rupert Wyatt started it, it was director Matt Reeves that cemented the most recent Planet of the Apes trilogy as something special. So with Wes Ball - who has only directed the Maze Runner trilogy - attempting to fill those shoes, I was reasonably trepidatious. That said, Ball has made a film I believe both directors would be proud of. He has not only maintained the look of the previous entries, but he also manages to keep Reeves’ darkness while adding religious themes to the mix. I was curious how this story continued without Caesar, but Ball has delivered an exciting pathway for additional chapters. ADRIANO Look, there was no world where Kingdom of the Planet of the Apes would live up to the previous two entries because there is just too wide of a difference between directors Matt Reeves and Wes Ball for comfort. That said, while there’s a noticeable narrative and visual downgrade, I gotta say…I was really into this movie. There certainly needed to be some trimming, but the emotional depth and world-building are still intact, and it offers fascinating philosophical inquiries into the lore of what the previous films set up. I was more than happy to be proven wrong, and I'm excited for what's next. AMARÚ The one “issue” I have with Kingdom of the Planet of the Apes is that it’s too glossy. That said, with the only downside being a visual comparison to the overwhelmingly looming legacy of its predecessors, I’m extremely happy with Kingdom . Director Wes Ball took his time to endear us to new characters, and while the pacing slows to that of an exposition-filled franchise starter, it lets us breathe in the re-introduction to this world, never becoming a bore. That care allows us to appreciate the visceral action, deeply feel the thrilling drama, and be intrigued to explore more of Ball’s take on this well-established franchise. QUENTIN Considering the Apes trilogy ended perfectly, meaning nobody was asking for another one, and director Wes Ball is no Matt Reeves, I went into Kingdom of the Planet of the Apes with fairly low expectations. Surprisingly, though, Kingdom is a worthy entry to the franchise and a solid start for new Apes stories. It's not flawless, making some questionable leaps in logic and lacking Caesar’s (Andy Serkis) soulfulness, but the action, world-building, beautiful CGI, and performances successfully deliver the thrills and emotional beats that made the first three movies so damn underrated. I’m happy to have been proven wrong with this one. CALEB Kingdom of the Planet of the Apes is simultaneously impressive and disappointing. I wasn’t sure franchise newcomer Wes Ball would be able to maintain the high bar set by Dawn and War , but his direction demonstrated a firm understanding of the motion-capture performances and special effects wizardry needed to pull off a project like this. Unfortunately, his talents are in service of a script that fails to explore its themes of corruption and legacy in any impactful ways. Kingdom isn’t the franchise's best, but even a weaker Apes entry is impressive enough to put most other blockbusters to shame. PRESTON I have not been a fanboy of the previous Apes installments, outings, or trilogies; Kingdom of the Planet of the Apes isn’t a mind changer. Without significant buy-in to the “universe,” it is hard to imagine a casual viewer caught riveted by the lengthy two-and-a-half-hour investment, which is essentially just a setup for whatever films are to follow. Setting aside my own pet peeves regarding conflicting strength, intelligence, and physics realities set within a world that they created, there is still little human involvement, which makes it hard to care and results in an “ok, I guess” experience.

SKETCH Starring: Tony Hale, D’Arcy Carden, Bianca Belle, Kue Lawrence, and Kalon Cox Director: Seth Worley NICK Director Seth Worley describes Sketch as “Inside Out meets Jurassic Park, ” which is a pretty accurate description, although I may sprinkle a little Honey, I Shrunk the Kids and Jumanji in there too. Either way, this is a fun children’s adventure with delightful visual effects, an entertaining cast of youngsters (they can get a tad annoying at times, but that just means it’s authentic), and some solid messaging. I could see this becoming required viewing for families looking for help during the necessary but difficult conversations with their children, and for that alone, I think the film succeeds. AMARÚ You have no clue what you’re in for with Sketch . On the surface, it looks like a family comedy, but it’s a horror movie through-and-through; a horror film for the whole family, and it’s freakin’ awesome. Writer/director/editor Seth Worley constructed a creatively intense and emotionally resonant thriller centered around a family drama, brilliantly portrayed by Tony Hale, Bianca Belle, and Kue Lawrence, the latter two who match Hale’s comedic timing and dramatic chops. Alongside co-stars D’Arcy Carden and Kalon Cox, Worley’s great pacing and the main trio create an honest, scary, hilarious, and impactful story about the importance of healing no matter your age. BODE Some say that grief is a monster. Writer-director Seth Worley’s feature debut, Sketch , explores this idea pretty much literally, as a child’s angry drawings - created in the wake of her mother’s death - are brought to monstrous life thanks to a magic pool. Though it’s a little too broad in its nature (especially in places where restraint would’ve been more beneficial), there’s enough heart and imagination to this Amblin-esque fantasy adventure that families could very well latch onto it, especially thanks to its fast pace, colourful visual effects, and charming cast of youngsters and veterans alike. QUENTIN I saw Sketch as a Surprise Mystery Movie, and once I saw the title screen, I expected hokey drivel like IF or Harold and the Purple Crayon . Thankfully, I couldn’t have been more wrong, as Sketch capably fits alongside the classic Amblin movies of yesteryear. Imagine Jurassic Park (there are obvious homages) but with the tween-geared “horror” sensibilities of 1989’s Little Monsters and 1995’s Jumanji . On top of that, there is an extremely resonant message about dealing with grief. As a single dude in his 40s, I’ll probably never watch this pleasant surprise again, but parents should add it to the Family Movie Night rotation immediately. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

Previous Next September 22, 2026 The Raccoon City outbreak has officially begun and we are here to break down the performances, practical effects, terrifying mutant designs, and everything else Zach Cregger's wild, blood-soaked reboot of Resident Evil has to offer. Amarú is joined by Nick, Shak, and Harrison to dive deep into why Cregger's claustrophobic, real-time approach is being called one of the greatest video game films ever made. From Austin Abrams' phenomenal turn as Bryan to the Umbrella Corporation lore, and most importantly, what that ending means the future of the franchise. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

DROP Starring: Meghann Fahy, Brandon Sklenar, Violett Beane, Reed Diamond, Jacob Robinson, Jeffrey Self, and Gabrielle Ryan Director: Christopher Landon ADRIANO Bigger doesn't always equal better, as perfectly evidenced by Drop , because with its very simple concept, the movie accomplishes a whole lot. The interesting plot is easy to follow, and it makes way for some very exciting stylistic editing and lighting choices. The funny and intense script left me on the edge of my seat, too. It even has a sincere message about PTSD amongst abuse survivors that Meghann Fahy plays amazingly. Admittedly, the third act goes way off the walls, but I had already had too much fun by that point. AMARÚ Director Christopher Landon puts on a clinic of atmosphere with his latest Blumhouse release, Drop . He utilizes great lighting, camera angles, and a slow ramp in pace to transition the thriller from an intense whodunit? (or in this case, who is it?) with an old-school mystery feel to an exhilarating horror slasher. Hints of pulp enhance performances from a mostly fresh-faced cast led by the great chemistry between Meghann Fahy and Brandon Sklenar. With a tight script in an even tighter 100-minute runtime, Drop is a more than worthy April watch leading up to the blockbuster season. NICK Although the trailer for Drop looked a little cheesy, I gave it the benefit of the doubt because of director Christopher Landon's previous work. It's certainly better than it looked, but it’s still missing something. Perhaps it's the lack of any standout performances, or maybe it's just that the self-aware humour doesn't often hit. There are moments within this that are entertaining, and I think the premise could have made for a terrific short film, but as it is, it didn’t fully grab me. It's clear what this film wanted me to feel, and it didn’t succeed in doing that, so I found it underwhelming. BODE Director Christopher Landon has built a career off of high concept horror (Happy Death Day , Freaky , etc.) that balances tongue-in-cheek humour with genuine earnestness, earning him a deserved cult following in the process. Drop , his latest film, is a departure from that, as a mostly single-location thriller that relies on building tension. Turns out Landon is good at that too, taking a tight script, and injecting it with plenty of style, momentum, and sincerity (the latter helped by Meghann Fahy and Brandon Sklenar’s grounded performances). If you’re looking for a fun time, Drop delivers. PAIGE Drop very much feels like a contained, Hitchcockian throwback, as what could’ve been a cliché thriller about the awkwardness of first dates turns out to be a well-paced, twisted take on just how dreadful they can really be (especially when there’s a third party involved). Is it a bit cheesy and excessive at times? Yes, but it’s an enjoyable watch thanks to the undeniable chemistry between its two leads, Meghann Fahy and Brandon Sklenar. As the movie progresses, the focus smartly shifts from “Who is sending these airdrops?” to “Why are they doing it?“, which makes it all the more entertaining.

FANCY DANCE Starring: Lily Gladstone, Isabel Deroy-Olson, Blayne Allen, Patrice Fisher, Crystle Lightning, Ryan Begay, Shea Whigham, and Audrey Wasilewski Director: Erica Tremblay KATIE Erica Tremblay's feature debut, Fancy Dance , is a multi-faceted drama that explores themes of culture, family, disenfranchisement, and resistance whilst also drawing attention to the crisis of missing and murdered indigenous women. Alongside the tensions and struggles, the film is interspersed with beautifully affecting moments that foreground the tender relationship between the protagonists Jax (Lily Gladstone) and her niece Roki (Isabel Deroy-Olson), complemented by gorgeous cinematography. Gladstone is the highlight of the film, and her exceptional performance brings the same emotional intensity and warmth that I loved from her in Killers of the Flower Moon . ADRIANO Fancy Dance' s nature of being patient and observant can, at times, offer mixed results in its pacing; however, overall, it's a worthwhile experience. What operates as a sweet and harrowing family drama also acts as a fascinating look at life on the reservation, with two excellent performances from Lily Gladstone and Isabel Deroy-Olson. That said, the standout of the film is Erica Tremblay's feature debut direction, which is understated while still speaking volumes about the themes it's exploring. For a film where everything feels authentic and non-sensationalized, Fancy Dance shines bright and impacts you long after the credits roll.

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.