ARMAGEDDON TIME Starring: Banks Repeta, Anthony Hopkins, Jeremy Strong, Anne Hathaway, and Jaylin Webb Director: James Gray JACOB James Gray’s Armageddon Time is unlikely to be viewed as a masterwork or a revolutionary act of cinema, but it has more than enough for true cinephiles to enjoy. The film’s messaging is a tad difficult to grasp, but it still mostly works. Gray’s most personal film yet, the semi-autobiographical tale feels like a movie both from its time and of its time, that being 1973 to around 1980. Banks Repeta is great as the lead character, and he gets strong support from the whole ensemble, but it’s Anthony Hopkins who provides the soul of the story. NICK Armageddon Time is a relatively basic coming-of-age story that puts forth many ideas without really committing to one. There are some plot holes that easily could have been filled in, but they are simply glanced over to help move the story along. Also, this film loses a lot of its shine when Anthony Hopkins is not on screen. That's not to say anything of the cast…everyone has a good showing…but Hopkins’ presence ignites something that fades in his absence. This is a film made for awards recognition, and since it’s bound to fall short of that, it must be viewed as a disappointment. ADRIANO Writer/director James Gray’s semi-autobiographical Armageddon Time is unlikely to pull on the heartstrings, but that’s what I liked about it. This film ditches the Oscar-bait sentimentality in exchange for an honest and raw look at Gray’s childhood. While I don’t think all of the political stuff worked, I did like the familial aspects. The entire cast does a great job too, but Banks Repeta does a particularly standup job as the lead while Jeremy Strong and Anthony Hopkins also are fantastic. For many reasons, both good and bad, this film just resonated with me. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

HIT MAN Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, and Sanjay Rao Director: Richard Linklater NICK Who knew director Richard Linklater could be so sexy? What he’s crafted with Hit Man is an edgy rom-com that features dynamite chemistry between stars Glen Powell and Adria Arjona, both of whom made every one of their scenes together bubble with an underlying eroticism. The performance of Powell, in particular, impresses as the role requires some serious range. If there was any question after Top Gun: Maverick and Devotion as to whether Powell could be a star, that’s silenced here instantly. This is Linklater at the top of his game, presenting something that will not only appeal to his fanbase, but reach beyond that. ADRIANO Do you love movies? Yes? Then you'll love Hit Man . There isn't a lot to not love about it, to be honest. Co-writer/director Richard Linklater's latest produces belly laughs nearly non-stop, thanks to sharp writing and instantly lovable characters. Glen Powell's leading man charm is dialed up to 1000, and his chemistry with Adria Arjona is so good that I felt like I was intruding sometimes. As the film keeps going, the plot gets more and more interesting and entertaining, making for a film so calculated, so creative, and so sexy, that it must be seen to believe. QUENTIN Further proving what most people noticed in Top Gun: Maverick , Hit Man reiterates that Glen Powell is a bonafide star as he nimbly bounces between different personas in what may end up as the best pure comedy of the year. Director Richard Linklater, who has already directed several classics, gifts us another one with an effervescent romance crime movie that is dark, hilarious, intelligent, and charming all at the same time. Yes, it’s a sort of rom-com, but it maintains razor sharp edges, refusing to fall down the well of cliché and cheesy genre tropes. It’s like Linklater’s version of a Coen Brothers movie. CALEB Hit Man is remarkably unremarkable. Glen Powell is as charming as ever, but outside of his performance, there isn’t much to elevate this above your typical generic Netflix rom-com. I was expecting something more noteworthy coming from a director like Richard Linklater…maybe something with a bit more style. Unfortunately, everything about this movie is merely fine. The humour isn’t exceptionally funny, the sex scenes aren’t all that sexy, and the narrative doesn’t really become engaging until the third act. If you’re a big rom-com fan, you’ll probably enjoy it, but for me, Hit Man slightly misses its mark. AMARÚ Hit Man is all kinds of surprising that I really enjoyed. A refreshing, if a bit talk-heavy, genre mix-up that isn’t at all what you would expect. Glen Powell continues to flex his star power by making slower-paced, jargon-filled, slightly nerd-troped dialogue enthralling; and easy-to-get-wrong, multi-persona roles hilarious. However, it isn’t until Adria Arjona enters the picture that the film really shines. Their chemistry is off the charts, and by then, you’re already knee-deep into them as characters before you’ve realized you’re watching a charming-as-hell romantic comedy. A thrilling, twisty, wholly delightful romantic comedy. KATIE I found Hit Man underwhelming. Don’t get me wrong, Glen Powell is effortlessly charming, and watching him embody each different persona was very fun and entertaining. However, my engagement waned as it progressed as the film steadily loses momentum before an unexpected but rushed and ultimately inconsequential ending. Powell and Adria Arjona have great chemistry, but their relationship is too simplistic. Plus, Arjona’s character has no substance, seeming to exist only to wear sexy outfits. Coupled with a cast of underdeveloped characters and no sense of stakes, Hit Man is, disappointingly, just fine. PAIGE Even if Hit Man isn't my favorite Richard Linklater movie, it's still a damn good flick that may be one of the most delightful movies of the year. The many hats, or perhaps wigs, Glen Powell dons in the film allow him to fully showcase his capability as Hollywood's next (h)it man, and the chemistry between him and his co-star, Adria Arjona, is sizzling hot. This screwball rom-com is brimming with charisma and lighthearted humor while also doing a fine job of diving into the nature of one’s identity. It’s a perfect movie for a date night. PRESTON I am just amazed that after all of this time, and with so many movies within the rom-com genre, that original, clever works are continuing to be made. Director Richard Linklater shares with us exactly this in his newest Netflix release, Hit Man . What will surely be a common theme amongst any viewer is a newfound admiration, or at least the solidifying of veneration, for actor Glen Powell. His well-stocked rolodex of diverse and fantastic character portrayals demonstrate that he is fit for the most challenging of roles, and I look forward to seeing more of him in the future. SHADAN Hit Man is another solid entry from director Richard Linklater, who has established himself as one of the most consistent (and my favorite) directors in the game. The film is hilarious, twisty, and oh-so-sexy. Glen Powell’s lovable, awkward hitman proves he’s a movie star, but it’s his costar, Adria Arjona, who serves as the delightful discovery in a film filled with surprises. Sizzling chemistry and Austin Amelio’s memorable villain more than make up for a shaky script, delivering a fun romp you’ll want to revisit again and again. This film was reviewed by Adriano, Nick, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 Venice International Film Festival, respectively.

THE ROYAL HOTEL Starring: Julia Garner, Jessica Henwick, Hugo Weaving, Toby Wallace, Daniel Henshall, James Frecheville, and Ursula Yovich Director: Kitty Green ADRIANO Does every narrative beat in The Royal Hotel work? Not necessarily. However, Kitty Green's latest film takes you on a thrill ride that rarely ever lets up. Scenes are tension-filled to an uncomfortable degree from start to finish, all in service of its themes of toxic masculinity and male fragility, anchored by great performances from Julia Garner and Jessica Henwick. The ending left me a little perplexed, if not slightly dissatisfied, but the film's commentaries and approach kept me thinking long after the credits rolled. NICK The Royal Hotel succeeds mainly due to its commentary on toxic masculinity and predatory culture. This is enhanced by the way director Kitty Green contrasts the present and assumed fears women deal with in male-dominated environments with the consequences (or lack thereof) many men face for their actions. Green particularly excels in showing the varying “levels of evil” of the men Julia Garner's Hanna and Jessica Henwick's Liv cross paths with on their journey. The Royal Hotel may not be the most exhilarating film, but it has a lot to say which deserves to be heard. QUENTIN Although it has admirable intent and is overall well done, The Royal Hotel is a surface-level exploration of toxic masculinity and the constant threat women must always endure. However, frankly, setting it at a remote bar with zero women near a roughneck mining camp in middle-of-nowhere Australia (a triumvirate of toxic masculinity) undercuts the message a bit. Look, the things that happen to Hanna (Julia Garner) and Liv (Jessica Henwick) are despicable, but…if an innocent person willfully walks into a lion’s den, pokes the lion, then gets attacked, part of me wonders, “what did you think would happen?” I couldn’t move past that thought while watching. This film was reviewed by Adriano and Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

DOLLY Starring: Fabianne Therese, Seann William Scott, and Max the Impaler Director: Rod Blackhurst This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. QUENTIN While I appreciate the homage to The Texas Chainsaw Massacre , both in general story and 70s aesthetic, Dolly ultimately falters because there is little in the way of character development. There is plenty of violence and blood, including one especially gnarly kill, but the story is nothing more than paper-thin final girl trying to survive a murderous psychopath. That’s not to say there isn’t some fun to be had, but the unrelenting moments of gore, modest thrills, and doll-driven creep factor can’t make up for the complete lack of actual plot. NICK As far as its unsettling imagery, gnarly moments, and a creepy villain, Dolly is great. Unfortunately, you need to build an enticing plot around those aspects, and writer/director Rod Blackhurst never really does. There’s a premise, sure, but there’s only about enough story here for a short film, and this thing runs over 80 minutes. Also, as creepy as the atmosphere and 70s aesthetic of the film can be, the film isn’t particularly scary, which is something you’d want with this kind of “monster movie.” There’s scenes in Dolly that will stick with me, but the film as a whole is fairly forgettable.

THE UNBEARABLE WEIGHT OF MASSIVE TALENT Starring: Nicolas Cage, Pedro Pascal, Tiffany Haddish, Sharon Horgan, Lily Mo Sheen, Ike Barinholtz, Alessandra Mastronardi, Paco León, and Neil Patrick Harris Director: Tom Gormican QUENTIN The Unbearable Weight of Massive Talent is surprisingly successful as a commentary on ego v. family, a buddy comedy, a pseudo-spy actioner, and most importantly, a celebration of Hollywood icon Nic Cage. The This is the End meets Tropic Thunder meta take on “The Legend of Cage” works so well because Cage allows himself to be the butt of the joke, which brings some humanity to a man mostly referenced for his eccentricities. That said, I’m slightly disappointed that it didn’t go deeper with the Cage homages, but that has more to do with my own expectations than anything else. It’s still a fun ride. NICK Don’t let The Unbearable Weight of Massive Talent fool you. What seems to be a film made solely for Nic Cage fans is actually a hilarious meta take on a narcissistic actor, which Cage plays perfectly thanks to his ability to poke fun at himself. He’s joined by Pedro Pascal (with yet another great comedic performance), and the chemistry between the two is undeniable. This film is a ton of fun. Even if you aren’t a Cage fan, you’ll still be able to enjoy this. And if you are one? You know exactly what you’re going to get: NIC FUCKINNNNNNNNN’ CAGE. PAIGE The Unbearable Weight Of Massive Talent is a heartfelt and hilarious love letter to the man, the meme, the legend himself, Nicolas Cage. Who would have guessed Cage playing himself would become my favorite of his roles? He and Pedro Pascal are a brilliant comedic duo that will have you chuckling nonstop throughout the film because their chemistry is through the roof. Yes, the film is very meta, outrageous, and absurd, but this bromance comedy is destined to become a cult classic! ADRIANO The Unbearable Weight Of Massive Talent is a love letter not just to the man, the myth, the legend Nicolas Cage, but also a love letter to film fans. The movie didn’t elicit as many laughs as I would’ve hoped for, but there are still enough to make it a complete blast. Cage goes full parody mode in glorious Cage fashion, playing into the mythology around him perfectly. He and Pedro Pascal have pretty awesome chemistry together too, making the buddy aspect of this film both funny and really sweet. It’s an undeniably fun time at the movies. JACOB A proper class in meta-comic filmmaking, The Unbearable Weight of Massive Talent is one of the year’s greatest joys in moviegoing, especially for fans of Nicolas Cage. Cage owns every second of screen time in this pseudo-buddy comedy about family, career, movie-loving, and fandom. The script is chock full of references to Cage films, but other beloved works of Hollywood as well (a Paddington 2 joke stands out as one of its great moments). Cage’s career renaissance is well underway, and if this reverent film is any indication, one of Hollywood’s greatest actors is truly back – not that he went anywhere. AMARÚ The legend of Nic Cage is mythical, and The Unbearable Weight of Massive Talent understands that legend. It’s as particular and unique as the actor himself, with its self-awareness being the deciding factor in whether you enjoy the Cageness of it all. Pedro Pascal and Cage’s chemistry is palpable, and their sweet buddy-cop storyline helps to acclimate you into the self-referential ridiculousness. Massive Talent won’t be for everyone, but this meta take on the undeniable singularity of one Nic Cage is a fun time if you just ride the wave.

BACKROOMS Starring: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell Director: Kane Parsons ADRIANO For the record, I don’t have any relationship with the source material, and I wonder if that played a part in me not understanding what my takeaway was supposed to be watching Backrooms . Debut director Kane Parsons does show his promise behind the camera, and the titular backrooms present fertile ground for atmospheric tension and an intriguing mythology. However, once the film begins to ground itself in a much more psychologically literal interpretation, it becomes clear that most of this is sequel fodder, which resulted in me feeling unsatisfied once the movie was over, despite what worked before. NICK Backrooms gets off to a hell of a start with an anxiety-inducing scene, shot entirely in first person. What follows never reaches that level of tension again. As the film transitions into the mysteries behind the backrooms, it hits a lull as it relies too heavily on atmosphere over well-developed storytelling. It reminded me of Channel Zero (also creepypasta based) except that show understood you needed to fill the holes of the lore to create a complete story. With Backrooms , you have a lot of unexplainable and unanswered questions that don’t quite work the same when translated to film. Having said that, I’m intrigued. AMARÚ You ever play Portal , where you’re dropped into seemingly endless levels of progressively more complicated rooms where you have to use a portal gun to escape? Well that’s all I thought of watching Backrooms , except you’re given the backstory of two characters, played excellently by Chiwetel Ejiofor and Renate Reinsve, who are despondent enough to understand why they’d do something as stupid as explore a magically demented alternate office space universe. Director Kane Parson’s ever-shifting perspectives, creepily slow pacing, and an equally dark score made this movie about memories interesting enough to leave me intrigued by the unanswered questions instead of annoyed. KATIE I find the liminal, claustrophobic spaces of the backrooms a deeply unnerving concept, so I expected to be thoroughly creeped out by the film. Although it looks fantastic, the set design and cinematography emphasise the limitless yet enclosed spaces, and the performances are great, I didn’t find it as unsettling or scary as I wanted to be. It struggled to pick a thread to focus on and offered too much insight into characters whom we never develop an emotional investment in, so I didn’t feel engaged by the dialogue. Nonetheless, I loved the disconcerting score, and the concept is compelling enough that I enjoyed it overall. Want to hear even more of our thoughts? Nick and Adriano join Shak to take A Bigger Bite out of Backrooms HERE .

DECISION TO LEAVE Starring: Tang Wei, Park Hae-il, Lee Jung-hyun, Go Kyung-Pyo, Yong-woo Park, and Jung Yi-seo Director: Park Chan-wook ADRIANO Decision To Leave is yet another masterclass from writer/director Park Chan-wook. Honestly, it’s a movie that should not have worked. A detective noir that turns into a love story sounds like a mismatch, but it succeeds because the detective stuff is thrilling and engaging while the love story is romantic. The cast also does wonders with Park’s wonderfully written script, and his direction is off the charts as usual. This is a film that had me second-guessing things in ways I didn’t even think was possible, and for that reason, it’s one of my favorite films of the year. JACOB Decision to Leave is not simply one of the best movies I saw at NYFF, it’s one of the best movies of 2022, full-stop. Park Chan-wook’s epic detective love story may feel a little longer than it should be, but it’s never something one wants to leave. With their palpable chemistry, Tang Wei and Park Hae-il are magnetic as the two leads, and the sheer innovation in the editing is enough to land it in at least my Top Four of the year thus far. Go Kyung-Pyo also excels as Hae-il’s partner, bringing most of the jokes with him. 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 as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

TICKET TO PARADISE Starring: George Clooney, Julia Roberts, Kaitlyn Dever, Billie Lourd, Maxime Bouttier, and Lucas Bravo Director: Ol Parker ADRIANO Ticket To Paradise does not reinvent the wheel in any way, shape, or form, and it very well might have fallen apart without the natural charm and chemistry of George Clooney and Julia Roberts, but it’s a textbook rom-com. As a diehard lover of the genre, I enjoyed myself, even if it is predictable to an almost shameless degree. It has some laughs, and the third act gets a little too sentimental, but I fell for it anyway. So, yeah, it’s certainly not paradise, but it’s still a ticket worth purchasing. JACOB There is nothing new, innovative, or remarkable about Ticket to Paradise , apart from the fact that a mainstream old-school rom-com got theatrically released in 2022, and that’s perfectly fine with me. While the George Clooney/Julia Roberts film does almost nothing but perform the usual beats of the genre, they’re beats I was happy to hear again on a theater screen, even if some jokes work and some don’t. There were definitely moments I wish we spent more time with Kaitlyn Dever and Billie Lourd (especially Billie Lourd), but overall, I had a nice time. Other rom-com fans probably will as well.

LIGHTYEAR Starring: Chris Evans, Keke Palmer, Peter Sohn, Taika Waititi, Dale Soules, James Brolin, Uzo Aduba, Mary McDonald-Lewis, Isiah Whitlock Jr., Bill Hader, and Efren Ramirez Director: Angus MacLane AMARÚ Lightyear is a nice addition to the Pixar filmography. Playing heavily as a sci-fi action film, that vibe carries the film’s successes and flaws. The visuals and set pieces are beautiful and tense, which create a steadily engaging pace, and Chris Evans nails the essence of Space Ranger Buzz Lightyear. His chemistry with Uzo Aduba (Alisha) and Keke Palmer (Izzy) is great. But the action focus left the storytelling feeling less cohesive than the usual Pixar fare. Nevertheless, a good Pixar film is a great film from most other studios, and this is no different. Oh, can we please get more Sox (Peter Sohn) EVERYTHING!!! QUENTIN While I suppose Lightyear has some fun elements, the whole affair just feels a little trivial. Outside of Buzz’s (Chris Evans) robot cat, Sox (Peter Sohn), none of the side characters really connect, and the attempts at humor never get enough breathing room to be truly funny. It’s all a tad rushed, to be honest. Interestingly, this is Pixar’s first theatrical release after three straight-to-Disney+ releases, but it feels like the type of movie made specifically for the streaming platform. It comes across more as an IP-algorithm money grab and toy marketing device than a fully thought-out movie, which means kids will probably dig it. JACOB Although it has its moments, Lightyear being “fun” or “solid” is barely enough to genuinely call it “good.” It works on its own terms, for sure, but those terms are fairly plain for an animated sci-fi adventure, as its storytelling never really reaches for something deeper except in gesture. There are some decent action sequences and fun side characters, but little innovation or emotional poignancy to cling to. Each slower moment passes quickly to the next joke or plot point, as if the film is afraid audiences will get bored. It’s not bad , but as Pixar goes, it’s decidedly average. ADRIANO Lightyear is fine, I guess. The animation is stunning - not just life-like, but the sci-fi of it all looks incredible (if you’re gonna watch this, I suggest you see it in IMAX). All the characters are likable, especially Sox (Peter Sohn), who steals every scene, and the film has enough heart and entertainment to justify a watch. However, where it struggles for me is the story. The first two acts? I bought in, mainly because of some genuinely interesting ideas; Then the third act makes some odd choices that just took me out of it. Still, it’s a good time despite its flaws.

WINDFALL Starring: Jesse Plemons, Jason Segel, and Lily Collins Director: Charlie McDowell QUENTIN Given its minimalist approach and confined setting, Windfall feels very much like a “made during COVID” movie. That vibe actually works really well for the film, which plays out like a Hitchcockian stage play (the excellent score does some heavy lifting towards that end too). The three leads are varying levels of good, but it’s Jesse Plemons who shines the most, finally getting away from the sad sack characters he most often portrays. Although the story could have gone deeper in a few places and it drags ever-so-slightly in the middle, Windfall kept me engaged throughout (mostly) on the back of Plemons’ performance. NICK When you’re releasing original films as often as Netflix does, you’re bound to get some misses. That’s exactly what Windfall is, a miss. This under-the-radar release has some good things going for it: an intriguing premise, a notable cast… but, instead, it flounders. The comedy isn’t funny, the thrills aren’t thrilling, and the whole thing just kind of happens. It’s nice seeing Jesse Plemons have fun in his role, but Jason Segel and Lily Collins especially feel miscast. Windfall had a chance to tell a story that built tension and intrigue throughout, but all it did was make me look at my watch. JOSEPH Everything about Windfall is bizarrely captivating. The jazzy score is perfect for the offbeat humor that is tied to the story, while the clever script and dialogue maintain your interest. It’s nice to see Jason Segel play a slightly more serious role, although Jesse Plemons and Lily Collins stand out a bit more. In lesser hands, I think this film could have totally failed, but at the same time, I feel that it could have been better too. Even so, Windfall keeps your interest because of the talented performances, and it will have you chuckling in disbelief.

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.

RYE LANE Starring: David Jonsson and Vivian Oparah Director: Raine Allen-Miller ADRIANO It boggles my mind that Rye Lane is Raine Allen-Wilson’s feature directorial debut. The way her direction turns a fairly simple concept into something that I feel like I’ve never seen before is very impressive. This film is littered with unique framing devices that are both bold and hilarious, not to mention plenty of subtle humor and background jokes that do nothing but make the experience more fun while complimenting the core romance at the center of it all. David Jonsson and Vivian Oparah’s compelling chemistry certainly doesn't hurt either. This one comes highly recommended. DARRYL Starting with possibly one of the strangest meet-cutes in recent memory, Rye Lane is a breath of fresh air in a dying genre. David Jonsson and Vivan Oparah's chemistry is palpable, making it easy for the audience to root for them to succeed in the opening scenes. Sonically, the film's soundtrack gives the story a soulful feel that helps to elevate the sharp writing. The natural progression of events, while following the typical rom-com formula, still feel original and inventive, making the story of Dom (Jonsson) and Yas (Oparah) a strong contender for one of the better movies that (almost) takes place in the span of a single day. JACOB Imperfect though it may be, with a shooting style that annoyed me more than it interested me, I nonetheless was won over by the very cute Rye Lane . Its first act is very choppily edited, but once it balances out, it becomes a sort of one-day rom-com filled with fun banter, subtly impressive performances, and genuine heart. The parts of it that don’t work – mainly the lack of dimension around some supporting characters and an ending that feels appropriate but slightly rushed – stick out, but even if I never return to the film, I’d be happy to recommend it. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.