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SEE HOW THEY RUN Starring: Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, Charlie Cooper, Pippa Bennett-Warner, Pearl Chanda, Sian Clifford, Jacob Fortune-Lloyd, and David Oyelowo Director: Tom George JACOB See How They Run doesn’t exactly have the most interesting set of characters for its love letter to whodunnits, but there’s an old-timey charm in the way it all comes together. Although the plot is overly convoluted, and Knives Out did this better three years ago, it’s still fun following the meta-infused mystery while watching a delightful Saoirse Ronan nail her comic bits (she’s easily the best part). There’s far too many plot twists and the meta-ness of it does become a bit grating after a fashion, but it’s far from a total waste. And your grandparents will love it. QUENTIN See How They Run isn’t necessarily a bad movie, and I admit that having seen Glass Onion: A Knives Out Mystery mere days before might be coloring my opinion, but it’s an overly bland mystery better saved for your grandparents. It’s going for an Agatha Christie meets Wes Anderson vibe that never really gels, while the whodunnit aspect lacks effective red herrings, good twists, or even interesting breadcrumbs to follow. Saoirse Ronan seems to be having fun, but no one else brings much to the table, not even the usually dynamic Sam Rockwell. How they managed to waste him is the real mystery here.

LUMINA Starring: Eric Roberts, Emily Hall, Andrea Tivadar, Gino McKoy, Sidney Nicole Rogers, Eleanor Williams, and Ken Lawson Director: Gino McKoy KATIE Maybe I didn't understand Lumina , but I was constantly shocked and, at times, impressed by the lack of character development or reasoning for anything that happens. I did not understand the relationships between any of the characters, who are of little consequence and seem to materialise out of nowhere only to disappear just as quickly, and we’re given no insight into their ridiculous motivations. Plus, the excruciatingly shoddy and cheap-looking CGI is about as convincing as the awful performances. Nonetheless, some of the line deliveries and bad CGI are entertaining in their own way, resulting in something so disastrous I nearly had a good time. QUENTIN In 2015, I bought a car for $500. The paint was flaky and faded, the saggy cloth seats had cigarette burns, and when you cranked the AC, the headlights dimmed noticeably. It was an embarrassing and creaky shitbox, but it was, technically, an automobile. After months of “fuck this car,” I donated it for the tax write-off. Where am I going with this? That car was a 2000 Chevy Lumina. Gino McKoy’s sci-fi horror Lumina evokes that car’s memory. Is it technically a movie? Yes. Is it an embarrassing, “fuck-this-movie” shitbox that should have been shelved for the tax write-off? Also yes.

BELFAST Starring: Jude Hill, Caitríona Balfe, Jamie Dornan, Ciarán Hinds, and Judi Dench Director: Kenneth Branagh JACOB Once viewed, it’s easy to see why writer/director Kenneth Branagh's Belfast is a frontrunner for Best Picture. Beautifully photographed in black and white, the semi-autobiographical, coming-of-age tale is deeply sweet and often quite funny while featuring great performances across the board (Caitríona Balfe is a lock for an Oscar nomination). However, there are frequent opportunities in the film for Branagh to comment on larger conflicts, but these moments are mostly just background noise, seemingly important context that remains unexplored. Nonetheless, the subtle charms of the film’s main narrative are undeniable. ADRIANO Belfast is an undeniably sweet film. It takes a bit to get going (the opening sequence is actively bad), but once it picks up, it’s hard not to get swept away by the film's heart. It’s clearly a personal story for writer-director Kenneth Branagh, which makes it super easy to connect with. It certainly hit me right in the feels. On top of that, it boasts very good cinematography and an incredible ensemble, specifically Caitríona Balfe and newcomer Jude Hill. Overall, it’s a beautiful story of family and home that is definitely worth a watch.

AFTERSUN Starring: Paul Mescal, Frankie Corio, and Celia Rowlson-Hall Director: Charlotte Wells JACOB It’s a softer landing than one might expect from an A24 project, but Charlotte Wells nonetheless impresses with her directorial debut in Aftersun . Featuring a Paul Mescal performance that is equal parts charming and heartbreaking, as well as a stunning supporting turn from Frankie Corio, the movie’s themes of mental illness and its many claws ring quiet but crystal clear. Wells’ script is delicate, able to balance on a needle-width thread without ever needing to veer into emotional manipulation or away from realism. It's a truly moving film that only gets better the more one thinks on its many strengths. ADRIANO Let me start off by saying that this film won’t work for everyone. It is very slow and requires tons of critical thinking. Personally, though? I was engrossed by Aftersun , a film that explores the way we view our parents and addresses depression in a truly unique and accurate way. Paul Mescal is fantastic, and Frankie Corio is an absolute revelation in a film that is made with such nuance and empathy that it shattered my heart by the end. I implore everybody to give this film a chance. PAIGE A24 has flourished this year by producing some amazing gems, and I’m glad to say Aftersun is no different. A stellar directorial debut from Charlotte Wells, the film is anchored by the charming performances of Paul Mescal and its young rising star, Frankie Corio. Overall, it’s a beautifully heartfelt film about the passage of time through the lens of a father/daughter relationship, further diving into the desire to preserve shared memories. For that, this film is so precious in my mind, and it was one of my favorite films coming out of the NYFF. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

TRAP Starring: Josh Hartnett, Ariel Donoghue, Saleka Night Shyamalan, Hayley Mills, and Alison Pill Director: M. Night Shyamalan ADRIANO I allowed myself to get sucked into Trap ... mostly. For the first 40 minutes, I was gripping my seat and feeling all the nerves I was witnessing on screen in this cat-and-mouse game, not to mention my favourite performance from Josh Hartnett. I was truly having such a blast that I was fine giving M. Night Shyamalan's typical shortcomings (awkward dialogue, annoying plot threads) a pass. However, as the film kept going, I was less forgiving. It's not awful, but it wears itself thin in the back half as it refuses to end, leaving me to have less fun. QUENTIN M. Night Shyamalan might be the most inconsistent writer-director in Hollywood, and while Trap isn’t as bad as some of his other offerings, it’s still very meh. Despite a premise that has extreme tension inherently baked in, the first hour is pretty lethargic. It’s a cat-and-mouse game with no real cat, meaning it never feels like Cooper (Josh Hartnett giving a not great performance) is at risk. It’s completely lacking suspense until the halfway mark, but even then, that suspense only lasts for about 30 minutes before ultimately fizzling out as the movie just keeps going with ending after ending. I really expected more from this. AMARÚ Director M. Night Shyamalan is playing in the cheesiest of sandboxes with Trap , and I ate up almost every second of it. Led by an all-knowingly chewy Josh Hartnett performance, the dramatic close-ups, melodramatic dialogue, and mysterious conveniences made for an outstanding experience if not a wholly believable completed product. My heart and mind were racing as each plausible and improbable happening unfolded, and though the ending doesn’t clear up every questionable plot point, the journey was well worth what we got. Also, gotta tip my hat for M. Night simultaneously making this a showcase for his daughter Saleka’s music career. Exquisite nepotism. PAIGE Up until its third act, Trap is an amusing and cunning game of cat-and-mouse, and while it might be the most fun I have had watching an M. Night Shyamalan film, it’s surprisingly straightforward, clearly lacking M. Night’s trademark twist. The movie has an intriguing premise, crispy soundtrack, and a great performance by Josh Hartnett as a convincing psychopath, but the storyline and dialogue were, at times, cringy and stilted. Overall, in terms of M. Night's filmography, this one is positioned in the middle of the pack. NICK Going into Trap , there were a lot of positive signs: director M. Night Shyamalan is on a good streak, Josh Hartnett is having a career resurgence, and the concept's potential was clear. Unfortunately, that concept is wasted in a poorly executed film. Tonally, this thing is a mess. It features moments of both intentional and unintentional campiness, yet only the latter provided my audience with laughter. While Hartnett is good, the dialogue he and the rest of the cast have to work with is among M. Night’s worst. I’m sad to say the streak is over because Trap is a complete misfire. SHADAN Bless Josh Hartnett, because his presence is a big reason, maybe the only reason, Trap works as well as it does. I laughed a lot. Was I supposed to? I’m not entirely sure. Despite a trailer that gives away more than I was expecting, there are a good number of surprises left in store. Yes, there are better thrillers out there — better M. Night Shyamalan offerings, even — but I can’t deny watching Hartnett balance the doting dad and maniacal killer personas proved to be a very entertaining time at the movies.

RICKY STANICKY Starring: Zac Efron, John Cena, Jermaine Fowler, Andrew Santino, Lex Scott Davis, Anja Savcic, and William H. Macy Director: Peter Farrelly QUENTIN Ricky Stanicky is a throwback to the second-tier offerings from the circa-2000 heyday of the Farrelly Brothers, conjuring memories of Shallow Hal and Stuck on You . What that ultimately means is that while there are some laughs to be found in the moment, the movie as a whole is mostly forgettable (although, I’m sure I’ll add “air dicker” to my vernacular going forward, and I would absolutely bop to Rock Hard Rod’s (John Cena) Jack-Off Jams). That said, if nothing else, it proves Cena, who is fully committed here, can be a comedy powerhouse when given the right material. He just needs to pick better scripts. PRESTON Ricky Stanicky is what you would get if you asked a 14-year-old aspiring film writer to create an over-the-top (no holds barred, kid!), comedic screenplay, but even then, I think the result would have been better. I could never be accused of being a John Cena mega-fan, but to his credit, he does everything he can to hoist this lackluster script out of the muck. I admit that there are a few jokes that land, but most are full-on misses that had me cringing for all the wrong reasons. So, at almost two hours in length, the joke’s on you, as they say. NICK Fresh off his Bitesize Award for Best Actor in The Iron Claw (check that out HERE ), Zac Efron is back…but with a disappointing follow-up. Ricky Stanicky - which was somehow once on The Black List of best unproduced screenplays - boasts a relatively generic script filled with lame and lazy jokes. The lone bright spot is John Cena, who saves this flick from obscurity as he dives all-in to make the most of the wacky material he’s given. Unfortunately, it’s not enough to save Ricky Stanicky . Look, it's been almost 20 years since director Peter Farrelly has made a good comedy; maybe it’s time for him to give it up.

THERE'S SOMETHING IN THE BARN Starring: Martin Starr, Amrita Acharia, Townes Bunner, Jeppe Beck Lauresen, Paul Monaghan, Kiran Shah, Zoe Winther-Hansen, and Calle Hellevang Larsen Director: Magnus Martens This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. QUENTIN I have no doubt that there is an audience for There’s Something in the Barn , and had it come out in 1987, I probably would have been a part of it. However, as an adult, it’s just a little too campy and goofy for me. Imagine forcing someone to watch Gremlins 2 for the first time as an adult. Without the nostalgia, they almost certainly will think it’s too silly, and Barn is a mix between Gremlins 2 and Krampus . It almost needs that nostalgia to fully work, which means that 10-year-olds who discover this will surely be showing it to their kids in 20-30 years. NICK There’s Something in the Barn has all the makings of a future cult classic, but it didn’t quite work for me. It’s a campy film, so some of the acting and writing are expected to be over-the-top, but even considering that, there are some rough showings. Once we get into the elf mayhem, however, there is some fun to be had. Sadly, even these scenes leave a lot to be desired as they’re just not as wild and crazy as they could be. As far as Christmas horror goes, it’s certainly no Gremlins , and not quite Krampus , but likely falls somewhere just shy of that.

THE FRONT ROOM Starring: Brandy, Kathryn Hunter, and Andrew Burnap Directors: Sam Eggers and Max Eggers PAIGE While the wacky antics are somewhat entertaining to witness, The Front Room 's overarching plot is an M-E-double-S mess. The direction and depth of this unexpectedly campy movie are lacking, and its commentary goes nowhere. It's not terrifying or profound in the slightest, so I'm not sure what this film is attempting to express or accomplish. The movie feels like a short story stretched to its breaking point to become a feature-length film. To be honest, its only redeeming quality is Kathryn Hunter's unforgettable performance. PRESTON With The Front Room , it’s like the directing duo of the Eggers brothers got halfway through filming and decided, “this isn’t working, let’s try going campy.” Unfortunately, neither the serious nor the campy route end up working, resulting in a movie that comes across as a goofy (but disgusting) Goosebumps -like tale that should have been told in the same short-film style format. Additionally, Kathryn Hunter plays the annoying step-mother with such adeptness that the other characters’ reactions seem muted. Everything feels so haphazard and careless that intentions seem unmet. Thankfully, the two-hour plus run-time trend is avoided, but it’s hard to tell while watching.

ODDITY Starring: Carolyn Bracken, Gwilym Lee, Caroline Menton, Steve Wall, Jonathan French, and Tadhg Murphy Director: Damian McCarthy QUENTIN Oddity is an excellent example of how a horror movie can rely on eerie atmosphere and a slow-burn approach without sacrificing narrative (take notes, The Witch and Starve Acre ). This is a movie that captivates from the outset, mixing the tense moodiness of “elevated horror” with the genuine jump scare moments that so many Blumhouse movies try and fail to manufacture. Plus, although the story isn’t entirely unpredictable, the general mystery of it all still draws you in through Damian McCarthy’s direction and Carolyn Bracken’s unnerving performance. All in all, if not for Longlegs , this might be the best horror movie of the year. NICK Some horror films need excessive gore and brutality, while others employ a plethora of jump scares. With Oddity , it's pure atmosphere. Everything works in service of the eerie tone director Damian McCarthy delivers, leaving you chilled to the bone as the story unravels. A story, I may add, that is quite good. There are shades of other films, but this is an original idea. Toss in a lesser known cast who wholeheartedly understands their assignments, and you have a film that is bound to appeal to horror lovers who have found this year's output lacking. PAIGE Oddity is an eerie experience. The story's atmosphere, mood, and unsettling imagery are what make it most effective despite the plot's periodic murkiness and simplicity. Even when I felt this paranormal murder mystery was losing steam, it snuck back up and shook me. Director Damien McCarthy has a great sense of how to execute a jump scare, and he cautiously creates tension with just darkness and silence. Though the ending is a little underwhelming, this original flick is one to definitely catch when it hits Shudder. This film was reviewed by Nick, Quentin, and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival.

DRIVE-AWAY DOLLS Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Joey Slotnick, C.J. Wilson, Bill Camp, and Matt Damon Director: Ethan Coen NICK An 84-minute film should always move along at a brisk pace, and Drive-Away Dolls does that for the most part. However, some of director Ethan Coen’s decision-making halts that pace intermittently, messing with the flow of an otherwise entertaining comedy. If you can get past the psychedelic cut scenes, the pair of Margaret Qualley and Geraldine Viswanathan make for a solid “odd couple,” while Pedro Pascal and Matt Damon entertain in their brief screen time. It may not have reached the heights I was hoping it would, but Drive-Away Dolls still makes for an enjoyable watch. PAIGE Drive-Away Dolls is a zany and horny road trip flick that very much marches to the beat of its own drum. Though the freewheeling queer crime comedy is very much reminiscent of the Coen Brothers’ earlier works Raising Arizona and The Big Lebowski , be prepared for Ethan Coen’s solo offering to be a bumpy ride at times as the movie is a little bit uneven. Still, even if it's not one of the stronger Coen outings, the movie is kept moving by the chemistry and character dynamics between its two leads, Margaret Qualley and Geraldine Viswanathan. CALEB I’m really getting tired of these pulpy, crime-comedy B-movies. The zany, fast-talking heroes, the secret briefcases, the silly accents, the squabbling hitmen, the “witty” dialogue - it’s all so played out. Even at 84 minutes, Drive-Away Dolls drags. The character arcs are generic, the antagonists aren’t threatening, and the protagonists spend most of the movie completely unaware of the stakes. Try as they might, the flashy editing and garish VFX sequences aren’t enough to distract from the dull script. Outside of some decent cinematography and a fun performance from Geraldine Viswanathan, Drive-Away Dolls doesn’t have much to offer. ADRIANO After director Joel Coen's solo outing with modern masterpiece The Tragedy of Macbeth , it's now his brother Ethan's turn with Drive-Away Dolls . With this film, Coen seemingly wanted to make a fun, breezy B-film, and he ultimately succeeds…but perhaps it's a bit TOO breezy. Margaret Qualley and Geraldine Viswanathan's chemistry is endearing, but the crime elements, while funny, are rushed. At 84 minutes, it's the rare film that's too short, as most of it feels like a lucid acid trip, for better and for worse. Drive-Away Dolls can be a blast, but in the end, it’s not enough of one. QUENTIN You may recall that I named Drive-Away Dolls one of my most anticipated movies of 2024’s first half (read about it HERE! ), which makes it all the more disappointing that I didn’t care for it…like, at all. Long story, short: director Ethan Coen is lazily plagiarizing himself, pulling elements from The Big Lebowski , Fargo , The Man Who Wasn’t There , The Ladykillers , Burn After Reading , and more; wrapping them all up in a horny lesbian love story that borders on fetishistic. Add in a terrible accent from Margaret Qualley, insignificant cameos from major stars, the oddly lifeless story, and pacing issues…well, you’ve got a rare Coen miss.

SLUMBERLAND Starring: Marlow Barkley, Jason Momoa, Kyle Chandler, Chris O’Dowd, and Weruche Opia Director: Francis Lawrence PAIGE Slumberland will spark your imagination, and it's a cute and charming film that lets Jason Momoa’s goofiness shine. That said, while I give the film props for its scope and creativity, it ultimately falls flat when it comes to executing its main focus of learning to deal with grief. It just wasn’t as emotionally engaging as it should have been. I understand it’s a family film, but, c’mon, pull at my heartstrings just a little. With a better script, this film could have been the kid’s version of Inception . JOSEPH While Slumberland is not the most unique attempt at detailing a fantasy world of dreams, it is quite fun. It reminded me a bit of James and the Giant Peach , though I wouldn’t say it reaches the highs of that film. Plus, Jason Momoa plays goofy surprisingly well, even if at times it veers into overly childish. Overall, I found Slumberland to be a heartwarming and visual treat that adults and children can both enjoy.

THE SURFER Starring: Nicolas Cage, Julian McMahon, Nic Cassim, and Finn Little Director: Lorcan Finnegan QUENTIN Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. KATIE Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans. This film was reviewed by Quentin and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 BFI London Film Festival, respectively.