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GLASS ONION: A KNIVES OUT MYSTERY Starring: Daniel Craig, Edward Norton, Kate Hudson, Janelle Monáe, Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Jessica Henwick, and Madelyn Cline Director: Rian Johnson NICK Knives Out is a fantastic film that reignited many people’s faith in Rian Johnson as a director. So, to say its sequel, Glass Onion , had a lot to live up to is an understatement. Luckily, the follow-up delivers by providing a new cast of characters and environment for Daniel Craig’s Benoit Blanc to showcase his world-class sleuthing. Not only is it at least as good as its predecessor, but it’s certainly the funnier of the two entries, thanks in large part to Kate Hudson's standout performance. Glass Onion is another win for Benoit Blanc. Bring on the next one to continue the series. JTE As one of the few people that didn't fall head over heels for Knives Out , I'm happy to report that Glass Onion is a lively and entertaining sequel that surpasses the original film in almost every way. One of my complaints about Knives Out was that many of the fantastic supporting characters weren't given enough screen time to shine. With Glass Onion , director Rian Johnson puts all his character actors to great comical use. Meanwhile, Daniel Craig is having the time of his life portraying Benoit Blanc, an energy that can be felt throughout the film. AMARÚ During Glass Onion ’s first act, Janelle Monáe’s Andi mentions “rich people shit”: the absurdity that only comes out of the mouths of the ridiculously wealthy. Subsequently, Daniel Craig’s Benoit Blanc warns someone that it’s folly to mistake speaking without thought for speaking truth. Those two nuggets delivered by those two brilliant actors sum up Rian Johnson’s murder mystery sequel. The script initially leans too eye-rollingly heavy on satirizing the “war on wokeness,” but once Monáe and Craig take center stage, unraveling the mystery in front of our eyes, the film finds its stride. I’ll take part three with just the mystery please. QUENTIN I admit recency bias could be at play, but I think Glass Onion is better than Knives Out . At the very least, it’s just as good. Daniel Craig brings the same goofy southern charm (and accent) to Benoit Blanc as before, but he’s surrounded by a better ensemble and coterie of characters this time around. All involved are doing great work, but Janelle Monáe, Edward Norton, and Kate Hudson (the low-key MVP) almost make you forget that Kathryn Hahn, Dave Bautista, and Leslie Odom Jr. are even in the movie. Plus, the way the mystery subverts expectations while doubling back on itself? Just brilliant. DARRYL While enjoyable, Glass Onion doesn’t hold a candle to the first film. Compared to Knives Out , this feels like a pale imitation, a copy of a copy, a product a filmmaker with lesser talent than Rian Johnson traced over like their hand to make a Thanksgiving turkey outline. The charm of Benoit Blanc still exists and Daniel Craig’s performance is as sharp as ever, but the ensemble cast, while talented themselves, lack any sort of depth or possess any characteristics that will make the audience fear for their safety. The technical makeup is superb, yet the story itself lacks the same punch and flare that its predecessor had. ADRIANO Glass Onion starts off kinda clunky, but it eventually picks up to become a worthy sequel. It’s almost an entirely different film than the original, which I wasn’t expecting. I’m talking about a different tone, different structure, and a different kind of murder mystery altogether. The entire cast is having a blast while crushing it at the same time, especially Kate Hudson and Janelle Monáe. Writer/director Rian Johnson once again crafted a plot full of twists and moments that pull the rug out from under us at every turn. I can’t wait till Benoit Blanc’s (Daniel Craig) next mystery. JACOB Packed with an all-star cast and extravagance from wall to wall, Glass Onion is yet another hit for director Rian Johnson, and a more-than-worthy sequel to Knives Out . While I’m not sure if I personally liked it better than the first, it certainly does everything the best movie sequels and murder mysteries do by playing with its original form by pitting the audience against their own expectations. Some jokes are less effective this time around, and the underlying themes are less interwoven, but the dialogue itself remains stylishly quick-witted, and there’s not a moment Kate Hudson doesn’t steal. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE OUTRUN Starring: Saoirse Ronan, Saskia Reeves, Stephen Dillane, and Paapa Essiedu Director: Nora Fingscheidt PAIGE Saoirse Ronan's vulnerable and nuanced performance carries The Outrun throughout its entire runtime, yet it's not enough to hold one’s attention as this is a cold story that lacks intrigue. Though the film does feature some stunning shots and moments, its storytelling structure ultimately detracts from the overall impact of the movie. It’s told in a disorienting, non-linear way that ends up hurting the rhythm of the film. I respect its honorable intentions, but it doesn’t have the finesse needed to be a meaningful movie about the difficulties associated with addiction. ADRIANO It is crazy how a single performance can elevate a movie. In The Outrun , Saoirse Ronan's erratic outbursts are wonderful, but it's her nuance when she's away from the alcohol that brings loads to the film's themes. That said, while I can see how this movie could be effective for some, it was a chore to get through. The non-linear structure is more confusing than effective, and the meandering tone continuously took me out of it. Had it not been for Ronan's performance, I wouldn't have felt anything for The Outrun . AMARÚ I decided to watch The Outrun because of Saoirse Ronan’s name alone, and while Nora Fingscheidt’s direction is strikingly beautiful, its commanding visual focus reminded me why I don’t really watch Saoirse Ronan movies. Most of them are deeply dramatic and meticulously paced, but this one’s sluggish plot is as boring as her character Rona’s life in Scotland’s rural Orkney Islands. Seriously, you can’t sound more remote than an island off an island. Add in inserts of dissertation-like monologues over alternating aspect ratio shots, and it feels more like a biographical documentary of a recovering alcoholic than a compelling narrative you’d wanna follow.

THE BEAST Starring: Léa Seydoux, George MacKay, Guslagie Malanda, and Dasha Nekrasova Director: Bertrand Bonello QUENTIN The Beast is the type of film that the snootiest of film critics will call a “must see” while regular people find themselves bored out of their minds. It’s big on ideas and, I suppose, it has decent performances, but it’s extremely lifeless, failing to truly engage the audience due to its somewhat confusing and labyrinthine story. It has elements of Eternal Sunshine of the Spotless Mind , Black Mirror , and classic French romance films, but they never coalesce into something worthy of the effort it takes to fully get on board. It’s not unlike a David Lynch movie in that regard. PAIGE If Eternal Sunshine of the Spotless Mind and Cloud Atlas had a baby, it would be The Beast . This bizarre yet intriguing sci-fi-like epic warns of the fear of falling in love through the lens of these characters' entangled past lives. Despite a runtime that certainly overstays its welcome, Léa Seydoux and George MacKay deliver understated performances that deserve to be praised, and while some plot points don’t resolve in a satisfying way, the core ideal to live in the moment, not carry the weight of the past, and not to worry too much about the future is something that we all should take to heart. This film was reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 New York Film Festival, respectively.

THE CROW Starring: Bill Skarsgård, FKA twigs, Danny Huston, and Sami Bouajila Director: Rupert Sanders AMARÚ Throughout The Crow , Bill Skarsgård adds “fuck” to more sentences than Samuel L. Jackson in an attempt to emphasize how tragic his and FKA twigs’ characters’ lives are, but serving us their pain on a silver platter just leaves the film feeling tonally unearned. Skarsgård and twigs’ angst-filled trauma-bonding gives them great chemistry, but is too heavy-handed to create connection to their struggles. Yet somehow, while preparing for an overly disquieting inciting event to create the titular mantle, it came and went without me realizing it, leaving me befuddled at the jumbled pacing, tone, and writing. Honestly, this one could’ve stayed in development hell. ADRIANO The Crow is one awesome gore-fest action sequence away from utter disaster. The ultra-focus on the central romance is weak, and despite Bill Skarsgård and FKA twigs' decent chemistry, the film gave me no reason to actually feel for this crucial love story. I probably wouldn't have cared had it not taken a full hour of the film's 110-minute runtime. On top of that, the revenge storyline is half-assed, unengaging, and rushed beyond words. While the sequence I mentioned earlier is fun, the rest of the gore in the film is nothing more than a crutch. Overall, just yikes. PRESTON I never read the original graphic novel or watched the cult-classic film adaptation from 1994, so I am unfamiliar with how their stories go. I’m assuming, given their popularity, that they don’t use one of the most ridiculous premises to a storyline I’ve ever seen, one that had me justifiably skeptical from the jump. Worse still is that Bill Skarsgård’s (Eric) performance is too reminiscent of the annoyingly, whiny portrayal of Anakin Skywalker by Hayden Christensen. There is a single sequence that feels rewarding, but otherwise, the pain of the titular character is felt through the slog. KATIE After the pessimistic reviews, I was apprehensive about The Crow . However, I really enjoyed it, even if it's far from perfect. The dark visuals are sometimes unclear, the story is thin, and FKA twigs’ performance is uneven despite her and Bill Skarsgård having strong chemistry and a fun, toxic couple vibe. The film takes an unashamedly sincere approach to the edgy romance, which makes it feel like it belongs in the mid-2010s, further emphasised by the gothy neo-noir aesthetic. The violence is excessive and intense, and there is a particular sequence that is impressively brutal. I can see teens making shrines about this film in the years to come.

VACATION FRIENDS 2 Starring: John Cena, Meredith Hagner, Yvonne Orji, Lil Rel Howery, Carlos Santos, Steve Buscemi, and Ronny Chieng Director: Clay Tarver NICK As much as the first Vacation Friends was a fun and ridiculous romp, it really didn't warrant a follow up. Now that I've seen the sequel in question, my opinion remains unchanged. There are some positives, and John Cena's over-the-top Ron is a highlight. Unfortunately, the shock value is diminished, and because of that, the script just isn't as funny this time around. Aside from new additions Steve Buscemi and Ronny Chieng, this all feels like a retread. The bar for comedy in 2023 has been set reasonably high with films like Joy Ride , and unfortunately, Vacation Friends 2 just doesn’t meet it. CALEB I ended up enjoying Vacation Friends 2 a lot more than its predecessor. The humour is still lowbrow and clichéd, but the cast is strong enough to sell most of it. Steve Buscemi, a notable addition, proves to have surprisingly great comedic chemistry with John Cena, and the film is at its best whenever they’re sharing the screen together, busting each other’s chops. While the plot is nothing groundbreaking, it works well enough as an entertaining vehicle for jokes. Vacation Friends 2 certainly won’t change your life, but there are worse ways to spend two hours. KATIE The only thing that saves Vacation Friends 2 from being an utter failure is the dedication of its cast. I found John Cena, playing Ron, genuinely funny and charming, and he was the reason for most of my laughs and favourite comedic set pieces. However, there are many competing and confusing subplots, which, despite the almost two-hour runtime, were all underdeveloped. This was especially disappointing as Emily (Yvonne Orji) and Marcus’ (Lil Rel Howery) baby drama, one of the more interesting deviations from the relentlessly unfunny plot, was seriously underutilized. AMARÚ Just like the original, Vacation Friends 2 constantly sits on the precipice of stupidity, yet somehow never falls over the line. The charming cast keeps you entertained just enough to overlook predictable plot points and ridiculously convenient premises, while John Cena continues to prove his comedic prowess, playing off the delightful chemistry from Lil Rel Howery and Yvonne Orji. But it’s Carlos Santos’ standout dry wit that most often reels the film back from the ledge. Vacation Friends 2 isn’t great by most means, but I once again didn’t regret killing two hours watching its absurdity.

ANNETTE Starring: Adam Driver, Marion Cotillard, Simon Helberg, and Devyn McDowell Director: Leos Carax JACOB Anyone familiar with director Leos Carax will immediately understand that the most conventional transgression of Annette is just how unconventional it is. The Holy Motors filmmaker has crafted such an unusual musical that it's sure to inspire a few walkouts, but one can't help but admire his commitment to the bit. However, just how much of that bit one can stomach will vary (sometimes wildly). For my part, I enjoyed the overlong film's innate weirdness. Although I respect it more than I like it, I can't say I didn't ultimately get swept up in the intrigue. Approach with caution. JOSEPH Annette is an English language opera set in modern times, and it's a little less unique than you'd hope. The performances are good and the singing is fine, even beautiful at times, but there is a sense of grandiose that is missing. Operas should feel larger than life, and Annette just doesn't, even though it boasts fantastic production design and cinematography. If it wasn't so strange at times, it'd be easy to write the film off as boring. In a way, being strange is the film's saving grace.

T BIRD Starring: Trevor Simms, Tom Sizemore, Andy Dick, Bas Rutten, Isabella Racco, Derek Warburton, Don Harvey, Mikaylah Jo-Mae, and Troy Rettino Director: Trevor Simms QUENTIN Although the pacing could have been better, T Bird proves to be a surprisingly effective redemption tale. The day-in-the-life approach to the drug-addled and discarded-by-society T Bird (a weirdly charismatic Trevor Simms) provides incredibly covert character development, so by the time the actual narrative kicks in, you’re fully invested. Simms, who also co-writes and directs, (seemingly) uses a shoestring budget and guerilla filmmaking tactics to portray Los Angeles’ homeless community in a way that is so grounded and grimy you can nearly smell the stench. It’s quite remarkable, and often reminiscent of director Harmony Korine, which means that Simms is a filmmaker to keep an eye on. KATIE T Bird is a wild ride. Featuring unpredictable violence, rampant crime, and vigilante justice, it stars (and is written and directed by) Trevor Simms, who plays a homeless man struggling with issues impacting the entire area, as well as his own past. He also is just as self-destructive and unhinged as he is compassionate and righteous. This deeply engaging character is more than meets the eye, taking us on a chaotic journey to get rid of the perpetrators of child exploitation. The film offers a starkly realistic representation of life on the streets of Los Angeles blended with glimpses of genuine human connection and empathy. PRESTON Bum fights, Bas Rutten, L.A. riots, gold teeth, Bruce Lee, and sweet justice. Now, if those words don’t motivate you to watch T Bird , then I’m not sure why you are reading my reviews. Trevor Simms writes, directs, and stars as a homeless street fighter who becomes an unlikely, self-sacrificing vigilante in order to crush a child trafficking operation. The film features a very realistic view of street life and the difficulties that permeate throughout the community that must endure it. Surprisingly, I found myself rooting for the troubled underdog as he faces his demons and, simultaneously…umm, saves the day?

ALL THE OLD KNIVES Starring: Chris Pine, Thandiwe Newton, Laurence Fishburne, and Jonathan Pryce Director: Janus Metz QUENTIN All the Old Knives , the second straight-to-streaming, spy-related movie starring Chris Pine released in the past week, is a much better film than the first one (The Contractor ). Although it’s slower and quieter, there is a simmering tension (sexual and otherwise) between Pine and Thandiwe Newton that ropes you in. The only real fault is that the film plays its cards too close to the vest, which made me a little lost in the plot at times. However, in doing that, it made for some small twists that I didn’t see coming. It’s a solid, mature thriller for grown-ups, even if it isn’t mind-blowing. JOSEPH I regret ever watching All the Old Knives . It is, quite possibly, the most dull film I’ve seen in years. The two leads are fine, and some of the scenes are well filmed (especially when in the restaurant); However, the story, which should be interesting, is told in such a boring manner. It has all the parts of a good film, yet it simply doesn’t hit the right notes. Prime Video has taken the mantle from Netflix as the home of bad and forgettable originals.

AUDREY'S CHILDREN Starring: Natalie Dormer, Clancy Brown, Jimmi Simpson, Evelyn Giovine, and Brandon Micheal Hall Director: Ami Canaan Mann KATIE Audrey’s Children is a heartfelt and moving film about the legacy of Dr. Audrey Evans’ transformative work. Natalie Dormer is fantastic and brings a passionate energy to the role of Audrey, and has great chemistry with co-star Jimmi Simpson (Dr. Dan D’Angio). I just would have liked more exploration of Dr. Audrey Evans's life before working at the Hospital of Philadelphia, and more insight into what drives her to be the incredible woman she clearly was. Overall, Audrey’s Children is beautifully shot and succeeded in engaging me in a true story I knew nothing about previously, whilst highlighting Dr. Audrey Evans’ impact. AMARÚ As with many biopics that cover extraordinary people in extreme circumstances, Audrey’s Children goes as its performances go. Luckily, Natalie Dormer is electric as pediatric oncologist Dr. Audrey Evans, and she is further bolstered by magnificent against-type support from Jimmi Simpson (playing strong/silent instead of weird/silent) and Clancy Brown (playing good-guy mentor instead of bad-guy badass). Even more fortunate is that Ami Canaan Maan’s direction seamlessly blends a propulsive pace that matches the urgency of cancer research with a contemplative one highlighting its severity. Audrey’s Children is an all-around solid watch that is more than worth your time.

BROTHERS Starring: Josh Brolin, Peter Dinklage, Glenn Close, Marisa Tomei, and Brendan Fraser Director: Max Barbakow ADRIANO After the excellent Palm Springs , I was excited to see director Max Barbakow's latest film, Brothers (the fact that it stars my childhood hero Brendan Fraser also didn't hurt). However, it saddens me to say that this is mostly a wash. It's not horrible, I suppose, as the cast is all very committed, especially the delightfully unhinged performances from Fraser and Marisa Tomei, but for a film so reliant on absurdism, the film's story is wildly familiar, mixed with a lack of jokes that land and a weak familial dynamic. There is talent on display here, but it's mostly an inoffensive waste. QUENTIN At this point, if you see an all-star cast in a straight-to-streaming comedy, you just know there is a reason it didn’t hit theaters. Brothers is no different. An uninspired and lazy mix of Twins , Blue Streak , and Dumb and Dumber To (even Brendan Fraser’s fat cop, Farful, is reminiscent of Super Troopers ’ Farva (Kevin Heffernan)), there isn’t much to recommend here outside of hearing a wacky Marisa Tomei telling Fraser to “suck my balls.” This movie is like the worst of the Farrelly Brothers’ comedies, and an embarrassment for four former Oscar nominees (Josh Brolin, Glenn Close, Fraser, Tomei), two of which are Oscar winners. PRESTON If you are thinking Brothers will be anything like the quality of Step Brothers , look no further. Unfortunately, an all-star cast is not enough to pull this ridiculous “comedy” into the realm of the alliterative, campy comedy classics. Not that there isn’t any hope for some - if you loved White Chicks or any comedy where Rob Schneider is the lead, then this shallow and crude comedy might get the mindless, belly laughs going. It isn’t exactly unwatchable, but it’s close, and it damn sure ain’t great. You get to see Marisa Tomei, though… AMARÚ Brothers has a real My Name is Earl vibe, but it isn’t intelligent enough to be that funny, nor serious enough to have likable characters. It’s a real shame, too, because there are times, especially towards its way-too-late-but-endearing ending, that Josh Brolin and Peter Dinklage’s dynamic finds some magic. They naturally fit as bickering siblings, but the writing never finds the tone to make this more than just a paycheck. Brendan Fraser was the only one who knew what movie he was supposed to be in, but the rest of the film didn’t get the memo that you can do silly, smart, and sweet simultaneously.

SANCTUARY Starring: Christopher Abbott and Margaret Qualley Director: Zachary Wigon QUENTIN Sanctuary , which feels like a stage play (the entire movie takes place in a single hotel room), does a great job of keeping viewers on their toes. One is never entirely sure what is real, what is role play, and what is unreliable narrator. Christopher Abbott and Margaret Qualley bounce off each other exceptionally well, with Qualley especially giving a performance worthy of some non-Oscar awards. The somewhat anticlimactic ending doesn’t make a lot of sense if you think about it too hard, but it still works organically in the context of the story. Overall, a pleasant, and sometimes sexy, surprise. NICK Sanctuary starts off fun. There is a little mystery, some sexual tension, and Margaret Qualley at her scene-chewing best. Then, it just keeps going…and going. I slowly began to feel as trapped as the main characters. What begins as a strong look into differing power dynamics, reaches a point where even the twists wear out their welcome. Were this a 45-minute episode of an anthology series, there's no doubt it would be an award winner, but at feature length, there just isn't enough steam to reach the finish line. ADRIANO Sanctuary had my attention until the very end, and it made good use of that fact. The movie takes place in a single hotel room for the entirety of its runtime, and not once did it feel staged or play-like due, in part, to its vibrant tone and wicked twists. It kept me guessing constantly with its psychological trickery, and, truth be told, I was all in for it. Christopher Abbott is great, but Margaret Qualley is chewing up every single line of dialogue. I loved it. This movie is a success in almost every department. JACOB One of the IP era’s cruelest casualties, the erotic thriller has faded from the cinematic consciousness, especially as the lesser of them are relegated to streaming; leave it to Margaret Qualley to bring it roaring back in fine form. Sanctuary is deliciously fun and deliriously horny, the kind of two-hander that thrives on the strength of its performances and a crackling script from Micah Bloomberg. It is admittedly imperfect, primarily in how it loses much of the eroticism heading into the second act, but the stellar turns from Qualley and Christopher Abbott keep it fresh enough to remain thoroughly engaging. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE UNFORGIVABLE Starring: Sandra Bullock, Vincent D’Onofrio, Viola Davis, Jon Bernthal, Aisling Franciosi, and Rob Morgan Director: Nora Fingscheidt NICK Although it’s nice to see Sandra Bullock in another serious role, The Unforgivable doesn’t cut it. It’s not the actors’ faults, but this film wastes the likes of Bullock, Jon Bernthal, Vincent D’Onofrio, and Viola Davis by moving at a snail’s pace until the final act. When it finally picks up, I was already pretty tuned out, sadly. This is a film that needed exceptional dialogue to work, and it just doesn’t have it. It’s dreary, unimaginative, and it violates the cardinal sin of all - it’s boring. Considering the star power, this is one of Netflix’s bigger disappointments. JOSEPH The story The Unforgivable tells is a bit slow and brooding; a constant reflection of how society will not allow for second chances nor are they willing to hear people out. It’s because of this that the film does suffer a bit. It’s not sad enough to elicit much emotion nor does it have a comedic relief, it’s just a persistent downer, and if it weren’t for a specific subplot, it would probably be boring too. Most of the tension is due to this subplot involving random side characters. At least Sandra Bullock is able to truly shine in this.