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THE SMASHING MACHINE Starring: Dwayne Johnson, Emily Blunt, Ryan Bader, Bas Rutten, and Oleksandr Usyk Director: Benny Safdie ADRIANO With all the chatter of Dwayne Johnson's big Oscar transformation, I was shocked to see just how un-awards-bait The Smashing Machine was. Director Benny Safdie shoots this film in a documentary kind of way, not so much watching a typical triumph sports film, but a stripped-down look at what makes Mark Kerr (Johnson) tick. Johnson himself, while physically unrecognizable, gives off more of a gentle giant performance, a soft nuance I wasn't aware he was capable of. All that to say, despite it coming off as rather stake-less, I fell for the calm approach here. NICK Despite a couple of teases, I’ve been waiting to see what Dwayne Johnson can do in a serious film. Well, The Smashing Machine is his chance, and he shows how much potential is there. Going into the film, I questioned why Mark Kerr (played here by Johnson) deserved a biopic, and after leaving the film… I still question why Mark Kerr deserved a biopic. As a vehicle for Johnson to finally spread his wings, it’s a great first step. As a sports biopic, it’s fine, but an echo of countless other stories within the MMA world. Now let’s see if Johnson can keep this up. PAIGE The Smashing Machine is propelled by its stylish documentary-style filmmaking and a surprisingly vulnerable performance from Dwayne Johnson, who arguably delivers his best performance to date. He does a great job of capturing both the tough side of Mark Kerr in the ring and his more sensitive, softer side. That said, the film stands out more for its craft than its actual story; a story I found a bit too broad. With sluggish pacing, the film doesn’t know what plotline to focus on or fully expand upon, whether it’s Kerr’s turbulent relationship with his girlfriend, his career in the ring, or his struggle with addiction. As a result, Mark Kerr's story loses some of its emotional impact. AMARÚ While Dwayne Johnson delivers a tender portrayal of UFC pioneer Mark Kerr, The Smashing Machine lacks the momentum to take advantage of his performance. The film primarily takes place in Japan, and much like Kerr’s interactions with the locals, the conversation between the screenplay and the audience gets lost in translation. Every time the script picks up steam, it stumbles into the next scene without any true emotional understanding of what just happened. The fights were brutal, and the score tonally fit, but those disparate elements couldn’t come together for what amounted to a Cliff Notes version of three years of Kerr’s life. QUENTIN While the story stays a little too wavetop, never fully exploring the toxic relationship between Mark (Dwayne Johnson) and Dawn (Emily Blunt), Mark’s drug use and recovery, or the initial rise and controversy surrounding UFC, The Smashing Machine is a showcase for Johnson’s mostly unseen dramatic acting ability. He is magnetic, carrying the film on his unbelievably hulking frame. That’s not to discount Blunt’s performance or Benny Safdie’s direction — both are noteworthy — but I simply couldn’t look away from Johnson even as some emotional beats felt unearned. If this signals a definitive career pivot for the superstar, I can’t wait to see what’s next. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

REALITY Starring: Sydney Sweeney, Josh Hamilton, and Marchánt Davis Director: Tina Satter QUENTIN I have personal thoughts about Reality Winner (Sydney Sweeney) and her crimes, and most coverage has gone in the opposite direction of what I think. However, I give director Tina Satter credit, because for most of the film’s 83-minute runtime, she doesn’t paint Winner as hero or villain, and her incredibly inventive approach creates a surreal pseudo-documentary that establishes a matter-of-fact point of view. Plus, Sweeney is absolutely remarkable, playing a character that evolves from innocent naiveté to terrified realization with aplomb, and the chemistry and tension built between her, Josh Hamilton, and Marchánt Davis is off the charts. This will net HBO some Emmys. PAIGE If you’re looking for a compelling and anxiety-inducing character study, then Reality is the film for you since it’s a self-contained thriller that is remarkably tense throughout. Not to mention, it’s just a gripping true story. That said, if it weren’t for Sydney Sweeney’s raw and remarkable performance, I don’t know if it would’ve worked as well as it does. She carries this tight-knit film on her shoulders, delivering one hell of a performance. Also, I would recommend that you familiarize yourself with the actual story before jumping into this so you can fully appreciate what is happening on screen. JACOB Though it amounts to little more than a conversation piece, Reality is a thoroughly engaging, genuinely tense TV movie that would be one of the better episodes of television this year if it were part of its own series. Everyone aces their parts, but the two-handed back and forth between Sydney Sweeney and Josh Hamilton is what gives the narrative its juice. Given the confidential nature of some of the more specific information the film alludes to, the redaction of that information presents opportunities for some interesting filmmaking techniques, and director Tina Satter is more than up to the task. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

WILDCAT Starring: Maya Hawke, Laura Linney, Philip Ettinger, Rafael Casal, Cooper Hoffman, and Steve Zahn Director: Ethan Hawke NICK To make a good biopic, you need to leave the audience caring about the focal point of the film. Sadly, Wildcat did nothing to make me care about Flannery O’Connor (Maya Hawke). Although this is a subject both Hawkes (Ethan and Maya) are passionate about, that passion never translates to the screen. Instead, we have a film bogged down by religious undertones (and overtones) that ramble on in aggressive southern accents without saying anything particularly concise. The Hawkes are both clearly committed in their roles, but aside from a surprise cameo, they fail to turn that into an entertaining watch. ADRIANO I still don't believe that Wildcat is a movie and not a bizarre fever dream. The way the movie begins, I was into it; however, it collapses from there. Maya Hawke does some heavy lifting, but her father? Not so much. Co-writer/director Ethan Hawke's storytelling abilities reek of pretentiousness without giving reason to care about the subject. On top of that, there are countless baffling creative decisions that had me holding back laughter; not to mention, sadly, a horrible Laura Linney performance. For what it's worth, Wildcat is a very funny movie, but not intentionally. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

FIGHT OR FLIGHT Starring: Josh Hartnett, Katee Sackhoff, Julian Kostov, Charithra Chandran, Danny Ashok, and Hughie O'Donnell Director: James Madigan AMARÚ “Are you telling me that plane is full of killers?” By the time Fight or Flight gets to this line, you’re already invested in how much this movie understands what it is. You’re even more invested in how deeply Josh Hartnett and Katee Sackhoff understand that understanding. So when that line hits, I perked up even more, anticipating the ensuing chaos. What actually ensues is a combination of action, tension, ridiculousness, and comedy that knows exactly how seriously to take itself. Kudos to Sackhoff, Hartnett, the cast (especially standout Charithra Chandran), and director James Madigan for delivering on more than a bloody good time. NICK Although I can’t say Fight or Flight does anything particularly new in the genre (it's very similar to Bullet Train , and to a lesser extent, Crank ), it is nonetheless a fun 90-minute thrill ride. Josh Hartnett proves he's here to stay and is more than adept in the role of action hero, while debuting director James Madigan clearly understood the assignment he was given. Fight or Flight is never in jeopardy of taking itself too seriously, which keeps things light and bouncy. When paired with the unhinged and cartoony violence, it’s just the recipe for a good time. QUENTIN Calling back to fun, gleefully violent, and almost cartoon-ish assassin action movies like Smokin’ Aces and Bullet Train , Fight or Flight is a total blast. Josh Hartnett is clearly having the time of his life as he progresses through this ludicrous video-game scenario, and director James Madigan does an excellent job of using the confined airplane cabin to enhance the fight choreography. There is one major reveal that is a little random, but overall, this is a bloody, hilarious, and action-packed thrill ride that has me hoping it’s the next out-of-nowhere action franchise à la John Wick and Nobody . I’d watch a dozen sequels.

AFTER THE HUNT Starring: Julia Roberts, Andrew Garfield, Ayo Edebiri, Michael Stuhlbarg, and Chloë Sevigny Director: Luca Guadagnino QUENTIN I’ve been underwhelmed by Luca Guadagnino’s films thus far, but After the Hunt , though imperfect, is easily my favorite work of his. As the battle on political correctness and performative wokeness rages on, Guadagnino captivatingly explores modern-day snowflake syndrome and the cultural divide between Gen X, Millennials, and Gen Z. As a result, this is a film that may trigger you or make you feel seen, or both; the ability to effectively elicit such divisive yet accurate opinions, even within oneself, is evidence of a master filmmaker. The excellent performances he pulls from the perfectly cast ensemble is icing on the cake. PAIGE Luca Guadagnino’s After the Hunt raises interesting ideas but fumbles its narrative since it doesn’t dive deep enough into any of its themes. As the film goes on, it begins to drag because it’s not clear what it wants to say. The performances are great across the board, especially Julia Roberts, who delivers some of her best work in a long time; however, due to the film’s ambiguity and messy approach, it's hard to care about any of the characters. It's honestly a shame the script is as sloppy as it is because with stronger writing, this could have been a powerful, thought-provoking film. ADRIANO It's with a heavy heart that I say director Luca Guadagnino struck out with After the Hunt . His direction is interesting, but the overwritten script is a problem. On one hand, there's something there about Gen X being as sensitive as the young folks they criticize. However, while wanting to have its cake and eat it too, it doesn't find effective criticism for Gen Z beyond "they're annoying.” It proudly proclaims it wants to make you uncomfortable, but ultimately muddies the waters too much, especially while handling serious subject matter. Despite excellent performances, After the Hunt is a misfire. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

FREESTYLE 101: HIP HOP HISTORY Starring: Open Mike Eagle, Iron Solomon, Ice-T, and Chuck D Director: Frank Meyer AMARÚ While Freestyle 101 delves into interesting aspects of freestyle rap (region-specific definitions, scientific research, battle rapping), the film’s piecemeal structure creates major lulls through its first hour. Video quality fluctuates between interviews, certain freestyle breaks overstay their welcome, and identical clips are used multiple times, making it seem like the filmmakers weren’t sure how to fill the runtime. It wanders listlessly until they channel the storytelling through independent artists Open Mike Eagle and Iron Solomon. Once they focus on these subjects, the documentary is an alright addition to this year’s celebration of 50 years of Hip-Hop. QUENTIN While the montages of people freestyling make for a decent enough distraction, the history and interview aspects of Freestyle 101 leave a lot to be desired. Between the rudimentary history lessons, the testimonials that feel dated and cheaply done like a workplace training video, and the overall repetitiveness, this doc is probably best for people who know absolutely nothing about freestyling and hip-hop. On top of that…and obviously this won’t be the same for everyone…but despite his reputation, I don’t think Iron Solomon, one of the main focal points here, is all that great (or he at least pales in comparison to Open Mike Eagle).

DARKEST MIRIAM Starring: Britt Lower, Tom Mercier, Sook-Yin Lee, and Jean Yoon Director: Naomi Jaye This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. PAIGE Through layers of enigmatic depression and alienation, the quietly reflective film Darkest Miriam aims to depict intangible human emotions and experiences. Though it wants to explore such themes, it seems to be running on autopilot since it doesn't know where to go or even what to do with its premise despite moments of a poetic quality coupled with delicate performances. I really couldn't connect with or care for this movie as nothing really significant occurred throughout it. All in all, this is a hollow movie without any depth. QUENTIN Have you ever seen a movie that is such a nothingburger you don’t know what to say when asked, “is it good?” Darkest Miriam is that type of bland; the kind that fails to incite any real response one way or the other. I just don’t know, man. It exists, I guess. The characters never do anything worthy of your investment, but the performances aren’t bad. The story never really goes anywhere either, so why are we here? Then, it just ends with a close-up on an empty chair, which ironically, is probably how Miriam will play out in theaters – ending with empty seats.

THE ROSES Starring: Benedict Cumberbatch, Olivia Colman, Andy Samberg, Kate McKinnon, Allison Janney, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, and Zoë Chao Director: Jay Roach ADRIANO The Roses presents itself as a wild domestic comedy, but it only really delivers on that towards the back half. Don't get me wrong, Benedict Cumberbatch and Olivia Colman are excellent, and even when the movie doesn't quite deliver the hilarity, it does present a seemingly accurate portrayal of a diminishing marriage. Still, Jay Roach's flat direction makes it feel mostly dull, and is only really elevated by Tony McNamara's whip-smart dialogue. The movie started making me laugh consistently again when it devolved further and further into chaos, but perhaps it was a little too late to make The Roses fully worthwhile. NICK By all accounts, The Roses should have worked better. You have Benedict Cumberbatch, a more than serviceable leading man, and Olivia Colman, one of the unsung comedy actors working today… yet, it doesn't. There are moments that work, and the leads keep things engaging, but the film is either too afraid to be as cruel as it needs to or too hesitant to be as wacky as it could be. Even the Mr. & Mrs. Smith of it all is relegated to a single scene. The relationship drama aspects work, it’s just the “war” of these Roses that leaves a lot to be desired. KATIE The Roses is a delightfully entertaining rom-com driven by the absorbing lead performances. Olivia Colman, as always, is an absolute pleasure to watch, and Benedict Cumberbatch seems to have a lot of fun with the chance to be funny and romantic. I found that the American comedy sometimes clashed with Cumberbatch and Colman’s very English humour, which was slightly jarring, but I loved the unexpected ending. However, it made me wish the film had achieved the tone of the second half sooner, as it’s so much funnier and more engaging when it isn't afraid to be a little darker.

RAGING GRACE Starring: Leanne Best, Jaeden Paige Boadilla, Max Eigenmann, and David Hayman Director: Paris Zarcilla This film has been reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Raging Grace does several things very well. The acting is solid, the score is one of the best horror scores I’ve heard in quite some time, and an overbearing feeling of dread permeates the viewing experience as you’re constantly waiting for the other shoe to drop. That said, once it dropped, so did my general interest as major reveals land with more of an “oh” than an “oh!” Also, writer-director Paris Zarcilla clearly wants to talk about social inequalities (it’s often reminiscent of Parasite ), but those themes aren’t fleshed out terribly well. It’s not a total dud, but I didn’t love it either. PAIGE Raging Grace showcases the hardships and struggles one may face due to immigration and colonialism. While the film is categorized as horror, I personally think it plays more like an atmospheric mystery movie. With that in mind, one of the major things this Fantasia offering has going for it is its score, which enhances the ominous tone that lingers throughout. That said, there needed to be way more rage from Grace for this film to be titled Raging Grace .

JOHN WICK: CHAPTER FOUR Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Lance Reddick, Ian McShane, Shamier Anderson, and Hiroyuki Sanada Director: Chad Stahelski NICK With this being the fourth entry in the franchise, you know what you're going to get from a John Wick film: minimal, almost robotic dialogue from Keanu Reeves, top-notch fight choreography, and a high body count. Bingo. Beyond that, you get the series’ best cinematography yet (including some incredible aerial and tracking shots) and a magnetic performance from Donnie Yen. The build-up is a little slow (yet deliberate), but once it kicks into gear, it’s a non-stop barrage of exceptionally high-octane action. Add in some jaw-dropping set pieces, and there’s no doubt, The Baba Yaga is back. JACOB If you’re a fan of the John Wick franchise, Chapter 4 is more than enough of what you want. The stunt work, cinematography, and sheer number of action sequences keeping the film feeling like two hours (as opposed to three) are likely to thrill audiences looking for an entertaining time in theaters. That said, the film does have its drawback: namely, there’s less story here than in any previous films, and it does overindulge itself on the action quite a bit, with some sequences long overstaying their welcome. Still, those sequences are flawlessly choreographed, and Keanu Reeves remains impossibly watchable. AMARÚ Laurence Fishburne perfectly encapsulates Chapter 4 two minutes into the film, proclaiming that “you are now in the presence of the motherf*****g KING.” The action, cinematography, and world-building are the series’ most epic, and the supporting cast (Clancy Brown, Shamier Anderson, Hiroyuki Sanada, Bill Skarsgard) bring the best balance of badassery and emotional resonance since the original. But it’s Donnie Yen that’s the MVP, forgoing the strong, silent archetype for his most charming stateside performance since Rogue One . Pairing Yen and this cast with Keanu Reeves’ titular character delivers the pinnacle example of this action genre royalty. QUENTIN If all you want from a John Wick movie is over-choreographed, neon-soaked gunfights with hordes of faceless henchmen, Chapter 4 more than delivers. It’s action-packed and entertaining, if not a bit exhausting. That said, I would have liked to see director Chad Stahelski take a creative step forward instead of just giving us more of the same. Donnie Yen adds some interesting spice as a blind badass, and there is an overhead tracking shot that might be the best sequence of the franchise, but some creative kills with outside the box weaponry, as well as a truly formidable antagonist, could have made for a better film. ADRIANO The John Wick franchise is a special one that has elevated the action genre to whole new levels, and even still, Chapter 4 is leaps and bounds better than the first three films. Storytelling isn’t anything to write home about other than the way they deepen the universe’s mythology, but the action sequences are mind blowing. The choreography is insane, incorporating techniques that feel like nothing I’ve seen before, and every single moment of this movie is shot incredibly by cinematographer Dan Lausten. If this is the standard the franchise now has to live up to, I can’t wait for what’s to come. DARRYL Chapter 4 not only makes for the best entry in the franchise thus far, but one of the best action movies of the last decade. Director Chad Stahelski's dedication to the genre pays off, as he delivers a nonstop thrill ride that will leave audiences just as exhausted as the character. Keanu Reeves once again brings a touch of heart to John Wick, making it impossible for viewers not to root for him as he scrapes to survive every known assassin in the world. With a number of dynamite action scenes set on lavishly produced sets, this is a must see on the biggest screen. PAIGE Chapter 4 is a masterclass in how a kickass action flick should be executed. The team behind the film delivers flawless stunt choreography, stunning camera work, and breathtaking cinematography. While it may not have the strongest story of the franchise, there's no denying that this installment is an exhilarating thrill ride from beginning to end with an exponential death count. I admit it’s a tad bit long with a nearly 3-hour runtime, but it makes use of it with massive action set pieces and incredible fight sequences. I’m honestly convinced that Keanu Reeves isn’t even an actor anymore, but an actual certified badass assassin.

THE GOOD NURSE Starring: Jessica Chastain, Eddie Redmayne, Nnamdi Asomugha, Kim Dickens, and Noah Emmerich Director: Tobias Lindholm QUENTIN Despite being hamstrung by the trappings of the true story on which it’s based, The Good Nurse features a great performance from Jessica Chastain (and even a decent one from Eddie Redmayne). The problem is the synopsis, trailer, and actual history kill any semblance of suspense. We know who the killer is, so there is zero mystery to be found even though the film wants to be a mystery so very badly. The details of the story are eye-opening, but they would have played better in a straight drama. Still though, it’s one of the better Netflix Originals, especially for true crime fans. NICK The real life story of a nurse suspected of killing patients, starring Academy darlings Eddie Redmayne and Jessica Chastain, what could go wrong? A lot, apparently. This dreary offering from Netflix moves at a snail's pace, and fails to build tension in a film that desperately needs it. Even Chastain and Redmayne give fairly pedestrian performances by their standards. This film had the potential to be really good, but instead, it’s another dour effort from Netflix. The true story of one of America's most notorious serial killers deserved a better adaptation. ADRIANO I’ll be honest, I wasn’t expecting a good movie in The Good Nurse , but it surprised me. That is not to say it’s flawless. The pacing is not great, and it didn’t have too much to keep me engaged. Not that the true story at its core isn’t interesting, but it’s obvious who the killer is (I’m not sure if that was intentional or not, but why do it that way?). Jessica Chastain is good, and I never thought I’d say this, but Eddie Redmayne is actually great. Overall, while it isn’t perfect, it’s not the trainwreck I expected either. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE LITTLE MERMAID Starring: Halle Bailey, Jonah Hauer-King, Melissa McCarthy, Javier Bardem, Daveed Diggs, Jacob Tremblay, and Awkwafina Director: Rob Marshall NICK I've long been adamant that The Little Mermaid was the film with the best shot to shed the “soulless” criticism many Disney live-action adaptations have faced. But even in saying that, I wasn’t expecting it to feel so magical. I have some minor quibbles: the VFX has its challenges, and the reliance on lifelike creatures makes Sebastian a little scary looking. Otherwise, this film is fantastic. It shines in its musical numbers, and Halle Bailey is a revelation as Ariel. Ignore any outside noise about her casting, she’s pitch perfect. I can’t think of a better way to introduce a new generation to this story. ADRIANO Colour me surprised! As someone who has been very against Disney’s live-action remakes, The Little Mermaid stands above them all as being able to retain the magic of the original. Did we need it? Maybe not, but it did give us a magnificent performance from Halle Bailey. I don’t think they could have picked someone better for Ariel. Admittedly, the visuals are rough, especially in the underwater scenes and the horrifying design of Sebastian, but there actually is a soul here. That’s not something I can say about the other live-action remakes. A delightful trip under the sea that I’m glad I went on. AMARÚ Something’s always missing from these live-action Disney remakes, and director Rob Marshall’s lack of cohesion is what holds back The Little Mermaid . The film begins like one big music video, with interludes of dialogue bloating the first hour. Luckily, once we hit land, he uses Halle Bailey’s star-making performance as Ariel, her chemistry with Jonah Hauer-King (Prince Eric), and great voice-over work from Daveed Diggs (Sebastian) and Awkwafina (Scuttle) to tell a story with musical accompaniments instead of the other way round. The Little Mermaid doesn’t justify these live-action adaptations, but it found enough footing to avoid being another disappointment. JACOB While noticeably imperfect in most of the ways these things usually are, The Little Mermaid is easily the best Disney live-action remake in years (and probably since Pete’s Dragon ). Although it’s visually uninteresting to look at with direction that is fairly bland, the characters and their motivations are somewhat evolved in the translation. Everyone seems to be genuinely trying here, but no one can quite compare to Halle Bailey’s star-sounding turn as Ariel. Admittedly, the new Lin-Manuel Miranda songs are occasionally more distracting than pleasant, but what worked before pretty much works again. Kids are sure to have a great time. PAIGE While this live-action rendition of The Little Mermaid is swimmingly cute and charming, it lacks the magic touch of the 1989 animated classic. At times, director Rob Marshall’s remake is bogged down with pacing issues and filled with mediocre visual effects. The story also lacks added lore to allow it to stand on its own two feet. However, don’t let that take away from Halle Bailey’s portrayal of Ariel because this girl is a star in the making with a voice of an angel. Bailey’s and Daveed Diggs’(Sebastian) performances are what keep this film from drowning.