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A COMPLETE UNKNOWN Starring: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holdbrook, and Scoot McNairy Director: James Mangold AMARÚ A Complete Unknown is a solid enough movie filmed by a damn good director in James Mangold, who captures the essence of 1960s New York and the fighting spirit of the decade’s folk movement. Through his vision, the cast effortlessly fills their gigantic subjects’ shoes, especially Timothée Chalamet who absolutely disappears into the role of Bob Dylan. Even more impressive is that, considering there’s probably more performances than dialogue, Chalamet sings each song himself. His acting and singing talent, Edward Norton’s great supporting performance, and Dylan’s wonderfully descriptive lyrics allow this concert movie to tell an entertaining story, if not a wholly in-depth one. ADRIANO If you want an introspective look at Bob Dylan that gives the artist an enigmatic aura while still feeling the weight of his influence, watch I'm Not There . Otherwise, you’ve got A Complete Unknown , a movie with a hypnotic performance from Timothée Chalamet as Dylan, but also a bland story filled with both compelling concert sequences and undefined character motivations. I understand the concept of shrouding Dylan in mystery, but this film's storytelling feels distant, insisting on his importance to music history without having a faint idea as to why. It could've been worse, but I'll never see this again. NICK A Complete Unknown is a terrific example of great performance not being the same as a great film. In fact, I'd argue there are two great performances, Timothée Chalamet (Bob Dylan) and Monica Barbaro (Joan Baez). It's the film they're featured in that leaves much to be desired. Aside from some excellent musical performances, the story of Dylan is distant and cold with many of the supporting characters' motivations untold. Perhaps this mirrors the man, but when your protagonist comes off as more of a jerk than a rebel, it doesn't make for a lead you can get behind. PRESTON I have to admit that I didn’t know very much about Bob Dylan (Timothée Chalamet) and, although I like his music, I don’t know that I could have picked out any of his songs prior to this film. Timothée Chalamet hasn’t impressed me much in the past, but he turns in what I consider to be one of the best lead performances of the year. Even coming in at over two hours, director James Mangold’s A Complete Unknown is a breezy and satisfying watch for all of us who can appreciate the trailblazing, artistic contrarians who can inspire us all. PAIGE Because of its shallow screenplay, A Complete Unknown is more of a compilation of Bob Dylan's greatest hits than a comprehensive biopic of the musician, but that, I think, is part of its appeal. This is a voyage of an artist who goes against the grain and does what he wants, when he wants, so don't expect to gain more insight about this contrarian, or you'll be a little let down. Timothée Chalamet perfectly channels a mysterious Dylan, and is bolstered by similarly captivating performances from Monica Barbaro, Elle Fanning, and Edward Norton. QUENTIN As a person who isn’t a massive Bob Dylan fan and someone who doesn’t get Timothée Chalamet's appeal, I was unsure what to expect with A Complete Unknown , even though I'm usually forgiving with musical biopics. Surprisingly, I was given a rushed, poorly developed, and borderline trash story that works only because of Chalamet's magnificent turn as Dylan and the folk icon's song list (convincingly performed by Chalamet). Those two elements, as well as great supporting turns from Edward Norton and Boyd Holbrook, are enough to keep you entertained even as you realize you aren’t learning a damn thing about the counter-culture hero.

GRAN TURISMO Starring: Archie Madekwe, David Harbour, Orlando Bloom, Djimon Hounsou, Geri Halliwell Horner, and Daniel Puig Director: Neill Blomkamp JACOB As video game movies go, Gran Turismo isn’t terrible, but as a racing movie, it lacks the ferocity that it needs to stand out. The first act might actually move too fast for the film’s own good. Although we follow Jann Mardenborough’s (Archie Madekwe) journey into professional racing, we don’t really get to know him as a person, apart from vocationally, and we have almost no tangible relationship to any other characters besides Jack Salter (David Harbour). The climactic race of the film works well, and there are some emotional moments, but overall, this one could have used a tune-up. PRESTON I must qualify my remarks so you know that I am a sucker for underdog stories, especially if they are based on true events. That said, sure, Gran Turismo may be formulaic and take generous liberties in its storytelling, but my heart was still racing from start to finish. David Harbour’s performance is singular, while Archie Madekwe and Djimon Hounsou assist beautifully. I think Gran Turismo will be the underdog film that will most defy expectations this year with surprising universal appeal. I was even pumped for a soundtrack that included the likes of Kenny G! I highly recommend racing to see Gran Turismo today! AMARÚ With its so-unique-it-could-only-be-true premise and Neill Blomkamp’s frenetic direction, Gran Turismo has a surprising amount of heart to make up for the otherwise standard underdog fare. For a racing film, it suffers from having some unceremonious finishes to very intense driving sequences. But with David Harbour charmingly carrying the rest of the cast through cliché dialogue, and one breathtakingly shocking scene that cuts through the mostly by-the-numbers sports movie plot points, there is just enough here to stick with this film to its somewhat satisfying ending. KATIE I enjoyed Gran Turismo far more than I expected to. I have no interest in the video game, yet I was charmed by the feel-good underdog story and captivated by the thrilling racing sequences. Despite the against-the-odds victories being completely predictable, I found myself invested in the drama, sitting on the edge of my seat as Jann Mardenborough (Archie Madekwe) fought to prove himself on the race track. The reconciliation of Jann’s relationship with his father even brought a tear to my eye. Amplified by a pounding soundtrack, this cut-and-dry sports drama hits all the right beats. QUENTIN As a person who digs racing movies, I can overlook most flaws if the racing sequences are exciting enough. Sadly, Gran Turismo is so rough across the board that it’s hard to be forgiving. Aside from the dull race sequences and cliché story, the acting is wooden (David Harbour, notwithstanding), the rival racer angle is half-baked, the love interest subplot is forced, the dronework is somewhat nauseating, and, frankly, nothing about underdog Jann (Archie Madekwe) makes me want to root for him. That doesn’t even get into the PlayStation and Nissan commercial of it all. Again, I'm left wondering: what happened to director Neill Blomkamp? ADRIANO I’m genuinely confused by Gran Turismo . On one hand, the story is Walk Hard -levels of obvious. Every biopic beat in the book, you name it, it’s in Gran Turismo , and with the exception of David Harbour, the performances are pretty stale, which unfortunately extends to the film's lead, Archie Madekwe. On the other hand, the racing sequences are so exhilarating that I found myself excited when the lead succeeded and at the edge of my seat when he failed, even though I correctly guessed the outcome of each race. It’s by no means a great movie, but it’s a worthwhile ride. PHILL Gran Turismo as a movie is better than it has any right to be. Yes, it’s the classic underdog story seen hundreds of times, about a man who finds himself thrust into an environment his peers don’t think he belongs in. However, the performances and characters are entertaining enough to drive this film forward despite suffering a very one-dimensional villain and an overt amount of cliché, corny dialogue that pump the brakes on this being any kind of masterpiece. The race scenes are ramped up with terrific sound design and genuine suspense, though, and while Gran Turismo doesn’t break the mould, it’s certainly enjoyable. PAIGE Director Neill Blomkamp seems to be coming back into form with his craftsmanship, as he manages to do something truly exhilarating with this adaptation. From a technical aspect, this film will get your blood pumping. On the other hand, the script is very subpar. The story off the track feels like the most generic underdog story of all time, but once it gets in the racecar, the film manages to pick up speed. By no means is Gran Turismo the best racing movie out there, but it’s still a fun ride for all to enjoy, especially those that played the game growing up.

CLOWN IN A CORNFIELD Starring: Katie Douglas, Aaron Abrams, Carson MacCormac, Vincent Muller, Kevin Durand, and Will Sasso Director: Eli Craig KATIE Clown in a Cornfield is a slasher film I would recommend to those who don’t like slashers. From the outset, it self-consciously employs tropes in an effort to take a modern approach to the genre, with satisfying and creative kills that don’t indulge in the exploitative gendered violence common of its predecessors. The performances are great, striking a balance between seriousness and B-movie excess, and I laughed out loud more than a few times. However, the mystery surrounding the clown is obvious early on, and it needlessly over-explains itself in the final act. BODE Director Eli Craig made a name for himself over a decade ago with Tucker & Dale vs. Evil , a loving parody that took many clichés associated with horror and twisted them on their head, providing plenty of laughs and gore in the process. Clown in a Cornfield sees Craig taking a somewhat more serious (but still self-aware) approach, and though it never really elevates itself beyond its YA trappings (especially in its generational commentary) or its televisual lensing, it’s still a fun enough slasher that delivers what it promises: a clown, a big cornfield and some old-fashioned bloody mayhem. NICK I will give Clown in a Cornfield credit for trying something outside the box because this isn’t your typical slasher. That doesn’t mean it's good, though. Yes, it’s filled with forgettable performances and pedestrian kills, but the biggest sin is the way the premise is fumbled. What could have been a fun meta angle just turns into a campy adaptation of The Boy Who Cried Wolf . Even with that direction, however, there was still a chance to salvage it if only Frendo had an Art the Clown aura, but it’s not even close. Just another forgettable antagonist in another forgettable horror film. ROBERT I appreciate the newfound recognition that B-level actors have regarding the worthiness of starring in or contributing to a fun horror experience like Clown in a Cornfield . It checks all the boxes: clowns, murder, cornfields. But beyond that, it is easy and breezy enough to stay inoffensive. It is super tropey and some of the best jokes are spoiled in the trailer, but if you rode for Thanksgiving , you will find value in this effort. Just remember, the real villain isn’t the homicidal clown, but high fructose corn syrup.

PERPETRATOR Starring: Alicia Silverstone, Melanie Liburd, Kiah McKirnan, Casimere Jollette, Christopher Lowell, Tim Hopper, Josh Bywater, Sasha Kuznetsov, Ilirida Memedovski, and Greta Stolte Director: Jennifer Reeder QUENTIN Despite the intriguing synopsis and its Midnight Madness horror vibe, this movie just did not do it for me. It’s never lacking in gore or violence, but the whole affair feels like a slightly elevated student film, from the amateurish acting to the over-the-topness of it all. It’s angry, visceral feminist horror, which isn’t a bad thing when done well, but Perpetrator plays more like a visual art experiment than a coherent movie, overstuffed with too many ideas and big swings at extreme and campy rawness. All that said, Cronenberg die-hards might find something here worth their while. KATIE Perpetrator presents a plethora of compelling ideas on feminism, girlhood, and violence, and while it’s difficult to specify precisely what the film is trying to say, it effectively uses surreal imagery, gory visuals, and oozing blood to confront issues familiar to young women everywhere. My only issue is that it's too ambitious. I loved the unsettling, almost Lynchian vibe of the town setting, the dramatically gothic interiors of Hildie's (Alicia Silverstone) house, and the nightmarish logic at play in the school, but there are too many competing ideas; some of the more impactful ones become distracted or lost entirely. CALEB It feels wrong picking on Perpetrator . It has some really ambitious concepts, and a scrappy, can-do attitude that just makes you want to root for it. Unfortunately, amateur filmmaking can only be charming for so long before it starts to become unwatchable. The mediocre cinematography, abysmal effects, and corny editing make this feel more like a poorly realised student film than a worthwhile feature. Kiah McKirnan tries her best, but her performance isn’t strong enough to save the muddled script. While I applaud the passion put into Perpetrator , I can’t deny its severe lack of polish. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

MONKEY MAN Starring: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala, Sikandar Kher, Vipin Sharma, Ashwini Kalsekar, Adithi Kalkunte, and Makarand Deshpande Director: Dev Patel QUENTIN There is nothing bad about Monkey Man , other than since it’s reminiscent of so many movies I’ve seen before, I found myself losing interest as it went on. John Wick , Kill Bill , and Batman Begins are all there…they just have an Indian flavor now. Plus, I think the story would have been more engaging had it been told in a different order. That said, on a positive note, this is a tremendous debut for Dev Patel behind the camera. The shots he created demonstrate that he has an excellent eye, and if nothing else, Monkey Man has made me eager to see what he directs next. ADRIANO In Monkey Man , Dev Patel steps behind the camera for the first time with the ambition and talent of an experienced director. I do wish the movie's writing was more engaging and less of a sloppy mess, though. For the first 40 or so minutes, I was thinking to myself, "can we move on?" That said, once the action hits, it HITS; it's stylized, precise, gory, and so intensely brutal. I was eating every second of it, especially during the wildly kick-ass third act. I'm very excited to see what Dev Patel's directorial career has in store. NICK With Monkey Man , Dev Patel, in his directorial debut, becomes the latest actor to jump into the role of action star. In terms of his performance, he is badass, violent, and commands the screen. The direction and script need work, though. Patel shows promise behind the camera, but whether it’s him or the editors, the action in the first half of the film is far too frenetic and hard to follow. Also, the social and cultural commentary lack the development they need to carry weight. It’s a fine first crack, but I look forward to Patel’s growth in his next effort. AMARÚ Damn, Dev Patel did not have to go that hard. From the epic needle drops to his forceful direction and powerful performance, Monkey Man is his tour de force as writer, director, and action star. Even amongst massive pacing whiplash in the second act that made the film drag a tad bit too long, you can feel the sheer focus of Patel’s voice and the intense passion he put into each frame. This directorial debut is a helluva statement, and if his next outing can tighten up the narrative structure, we may have the next event filmmaker on our hands. KATIE Monkey Man is an electrifying directorial debut from writer, director, and star Dev Patel, who gives an exceptional performance as the titular action hero. Patel’s passion for the project is evident in every frame, and the film is not only an impressive addition to the action-revenge genre, but also sets itself apart by diving into themes of political unrest. The action is ultra violent and frantic, beautifully choreographed with enough sweat and grit to have an impact and appear authentically brutal, while the camera fluidly follows every punch thrown and bone broken. I cannot wait to see what Patel does next. PRESTON Monkey Man could be reductively classified as an Indian John Wick , but that may be giving the film a little too much credit. While I think Dev Patel does a great job with his acting, the film suffers from a lack of focus overall. Patel’s directing style, featuring crazy whip pans, shaky handheld shots, and zooms are ambitious but disorienting. For a style that is usually right up my alley, I quickly lost interest, and coming in at two hours, the editing could be much more robust. The potential is there, though, and I hope Dev Patel continues on this well-intentioned path. CALEB Although it has some problems, Monkey Man is still an extremely impressive directorial debut from Dev Patel. It’s a blood-soaked revenge-thriller that’s bursting at the seams with adrenaline and grit. The action sequences are undeniably fantastic, but the narrative occasionally stumbles. Although I can commend the second act for addressing some important cultural and political problems, I wish it didn’t have to grind the film to a halt in order to do so. Despite the wonky pacing, Monkey Man is still a solid action flick with amazing cinematography, passionate performances, and one hell of a finale.

STRAYS Starring: Will Ferrell, Jamie Foxx, Will Forte, Isla Fisher, Randall Park, Josh Gad, and Rob Riggle Director: Josh Greenbaum NICK Growing up, talking animal films (mainly for kids) were a dime a dozen. Although they're less common now, they still feel overdone. Strays tries to combat this by going the adult route – think what Sausage Party did for animated films - and it does its job in providing the laughs. However, like many comedy films, the trailers really do the movie a disservice by undermining many of the jokes. The voice performances are good, and the speaking visuals aren't off-putting, yet there’s just a familiarity with the content that made Strays feel like I’d seen it before. Something is missing here, I just can’t pinpoint what. ADRIANO Strays does nothing to reinvent the comedy genre. In fact, Strays is pretty stale in terms of story and writing. But I get the sense the goal was “let’s make a funny, R-rated comedy about dogs,” and you know what? They succeeded. This film may not be for the squeamish, but it made me laugh a lot, thanks in part to some great voice work from the cast. To top it all off, it’s got a decent amount of heart as well. So, while it’s nothing to write home about, it’s dependable if you want a good laugh. QUENTIN I imagine that Strays , which is known by the much better name Doggy Style in Germany, is probably pretty hilarious to someone who hasn’t seen many comedies, be it because they were sheltered or they are just young. I admit there was a time when I would have found it laugh-out-loud funny. But now? It’s merely breathe-a-bit-harder-through-your-nose amusing. This is mostly because the jokes are obvious (did you know dogs don’t like mailmen?), or worse, they are ripped directly from Family Guy . As if it pooped on the rug, this Homeward Bound with Sausage Party sensibilities should have its nose rubbed in it. JACOB Strays is hardly the disaster Letterboxd would have you believe, but the juvenility of its overly repetitive humor is what keeps it from being anything more than surface-level. The voice cast doesn’t exactly stand out, but the script also doesn’t offer them any opportunities to really shine. The characters are one-note at best, only one or two jokes made me chuckle, and it all plays out exactly as one thinks it will. That said, if you enjoyed Good Boys on any level, this is more or less the same thing, just with dogs. Truthfully, I didn’t hate it. AMARÚ Dogs are the cutest and bestest things in this world, and 95% of the reason why Strays is getting this rating. As the movie progresses, it moves away from the try-hard raunch that has stifled Will Ferrell’s worst outings to focus more on the dog-related humor. The lewd gags get a few good laughs, but they work best when having a clever connection to our four-legged friends. Once the incessant cursing stopped being there just to be there and started adding to the surprisingly heartfelt story of worth and friendship, Strays moved from almost unbearable to unexpectedly alright. PHILL Strays is one of the worst films to be released in 2023. This review may seem cynical, but for a film that is supposed to be a comedy, it’s just plain sad, both for the characters’ journeys AND the state of comedy as a whole if this is considered funny enough to be given a worldwide release. It’s grotesque and nauseating white noise, with almost every joke involving dog’s genitalia or dogs going to the toilet. All of that is thrown in with some cheap cameo choices that only work if you’ve seen the films they’re very lightly referencing, making Strays heinously terrible.

IF Starring: Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, Phoebe Waller-Bridge, Louis Gossett Jr., and Steve Carell Director: John Krasinski AMARÚ There has to be something said about the legend that is composer Michael Giacchino. It’s his outstanding score that allows IF to be so wondrous. I love me a great family film, and this one has magic that filled every part of my soul, and poured freely out of my tear ducts. With Giacchino’s Oscar-worthy score, John Krasinski’s whimsical direction, and imaginatively heartfelt performances (especially from its tremendous voice-cast), IF reminds us all of the importance of one’s inner-child, and leaves you feeling warm and cuddly, looking around for your long-forgotten imaginary friend. ADRIANO IF has a handful of unavoidable flaws, namely the script and its wonky structure, its predictable story beats, and foreseeable twists. That all said, writer/director John Krasinski's heart is so in the right place, it's hard not to fall for the film's pure and admittedly corny ambitions. Mix Michael Giacchino's magical score with some impressive cinematography from Janusz Kamiński, and Krasinski was able to pull off something sweet. A film that'll be a blast for kids and a heartfelt reminder to adults of the importance of retaining a childhood spirit. Not a great film, but one I couldn't help but enjoy. PRESTON If IF was intended for the littles, then it missed the mark, as it was more of a love letter to the littles inside each of us adults. The problem here may be one of expectations; for a film made by and starring John Krasinski, Steve Carell, and Ryan Reynolds, there is surprisingly little to laugh at in a very one-note story. Yet and still, it is impossible to include a cast like this without it being at least slightly above-average, which is where it can be safely categorized. Incidentally, with a script re-work this could’ve qualified as an incredibly terrifying horror film.

SEVEN VEILS Starring: Amanda Seyfried, Douglas Smith, Vinessa Antoine, Rebecca Liddiard, Ambur Braid, Michael Kupfer-Radecky, Mark O’Brien, and Lynne Griffin Director: Atom Egoyan NICK As a last-minute addition to my TIFF schedule this year, I was not expecting Seven Veils to floor me like it did. The way director Atom Egoyan explores trauma by using parallels between life and the remounting of Salome is sensational, and it’s all held together by a fantastic performance from Amanda Seyfried. Egoyan takes you through the inner workings of the opera, with a focus on everything from the cast to the props designer, and manages to make it all gripping in what must be viewed as his career highlight. A true triumph across the board. KATIE I found it difficult to decipher the point of Seven Veils. Admittedly, I was unfamiliar with the opera Salome before watching, which may have contributed to my confusion, but I was still left struggling to decipher the uneven tone and various dramatic subplots. The film throws up some contentious issues without properly addressing them, including ambivalent attitudes towards intimacy co-ordinators, which were tough to understand alongside the themes of childhood trauma and inappropriate relationships. Nonetheless, Amanda Seyfried’s controlled performance is fantastic, and she was the only character I cared about, especially as she made the oddly unnatural dialogue emotionally engaging. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE WRATH OF BECKY Starring: Lulu Wilson, Seann William Scott, Michael Sirow, Courtney Gains, Aaron Dalla Villa, Matt Angel, and Denise Burse Directors: Matt Angel and Suzanne Coote NICK I don’t know who has been clamouring for a sequel to 2020’s Becky , but The Wrath of Becky is here for them, and while there’s certainly some entertainment value throughout, it’s pretty much worse in every way. Seann William Scott’s villain isn’t near as menacing as Kevin James’, the tone changes into something more campy but lacking in humour, and the kills are less memorable. That said, I can’t say I hated it. It’s dumb fun, and Lulu Wilson is clearly having a blast. I don’t particularly want Becky 3 , and I don’t particularly need Becky 3 , but if it happens, I’ll likely be back. QUENTIN I’ve never seen a movie more perplexing in its existence than The Wrath of Becky , a sequel to 2020’s Becky , a movie only notable because Kevin James played a neo-Nazi. The weird thing is that it’s not terrible despite shifting from a gritty handheld approach to more fluid Steadicam. It also leans more into almost literal winking-at-the-camera camp. However, at 80 minutes, it never overstays its welcome. Lastly, the ending incredulously sets up a franchise and mysterious MacGuffin for the future…which, okay, sure...and honestly, I’d probably watch another one, especially if they continue casting comedic actors as Nazis getting their comeuppance (Seann William Scott, this time).

SINNERS Starring: Michael B. Jordan, Hailee Steinfeld, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, Li Jun Li, Miles Caton, and Delroy Lindo Director: Ryan Coogler AMARÚ I’ve never felt chills during a movie, but thanks to director Ryan Coogler, it happened twice in one sitting. For some, Sinners may be a slow build to what they came to see, but to me, it's extraordinary filmmaking and acting. This is amongst Michael B. Jordan’s greatest roles, exuding charm and gravity while being surrounded by an absolutely substantial ensemble, including its most essential character, music. Every bit of soul, freedom, drama, humor, and intensity is felt through song perfectly matching Coogler’s stunning visuals, making for one of this decade's most entertaining films. 4.5 reels for the film, and that extra 0.5 for the chills. QUENTIN I really wanted to like Sinners , but unfortunately, the marketing department did it dirty by revealing way too much in the trailers, which only adds to the pacing issues, lack of scares, undercooked plotlines, and a Michael B. Jordan who doesn’t have the range to pull off dual roles (or a southern accent). On top of that, for a movie being hailed for its originality, it’s not far from From Dusk Till Dawn meets O Brother, Where Art Thou? with some added racial commentary. That said, it’s not a total misfire; it’s handsomely made and surprisingly funny. But it’s probably my least favorite Ryan Coogler movie. PAIGE Sinners is Ryan Coogler’s most daring and audacious film to date, as he expertly weaves the horrors of history and passion together through Jim Crow-era vampires. This film is just bursting with cinematic brilliance. The entire cast is outstanding, but Michael B. Jordan stands out for his effortlessly cool dual performance, which not only anchors the story, but adds complexity and flair. Newcomer Miles Caton makes a noteworthy debut with his powerful voice, too, while the bluesy score by Ludwig Göransson elevates the movie to a new level, creating an arthouse blockbuster. All things considered, Sinners is 2025’s spiritual awakening. ADRIANO Ryan Coogler proves once again that he's one of our best genre auteurs. After his previous IP successes, it's amazing seeing him take on more original territory with Sinners , and it’s a hell of an adrenaline rush. While the first 40 minutes take their time to establish the characters and setting, the rest of the film's swagger, suspense, gore, and visual wonder make for a masterwork that has interesting themes underneath all the flourish: temptation may be fun, but it ain't living. The last thing I expected was for this vampire flick to be oddly life-affirming, and for that, I'm floored. ROBERT When I think about Sinners , I think about a host of other films I revere, as it makes its fresh and impactful homages without feeling rote or derivative. This is a movie about power and ubiquity, and that is exactly how I would describe it as an experience: powerful and ubiquitous. Its musicality, its set pieces, and a complete euphony of on-camera and behind-camera endeavors come together to deliver something meaningful. The best genre stories reflect society subtextually while being entertaining with what it puts in front of you, and Coogler sets a complete feast out for audiences to devour. BODE When director Ryan Coogler stepped into the world of franchise filmmaking, starting with Creed and later the Black Panther movies, he balanced rich subtext with the conventions of their respective series (Rocky and the MCU) with ease, infusing both with fresh blood. With Sinners , Coogler does so again with a concept entirely his own, and it succeeds as both a portrait of Black creativity and liberation in the Jim Crow era and a pulpy, fun vampire flick, accentuated by great performances (including a breakout turn from Miles Caton), great music, and stunning cinematography. It’s not perfect, but it’s thrilling, nonetheless. NICK Don't get me wrong, I really liked Sinners . I just didn't love it. Some of the negatives were out of the film's control (trailers spoiling too much, hype reaching unattainable levels, and missing out on the theatrical experience), but even with those caveats, I can’t see this as an all-timer. Maybe the use of music, as that is Sinners’ undisputed highlight, but not overall. It's visually impressive, with a first half that’s paced and built better than its second, and features strong showings from the ensemble cast, but no career-best performances. This is a very good film but it doesn’t scream best of year. Want to hear even more of our thoughts? Amarú, Adriano, Paige, and guest Amanda Guarragi join Matt to take A Bigger Bite out of Sinners HERE .

SUNBURNT UNICORN Starring: Diana Kaarina, Kathleen Barr, Brian Drummond, and Laara Sadiq Director: Nick Johnson This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK Sunburnt Unicorn is a tricky film to navigate. By all accounts, it’s a children’s movie featuring themes and characters made for kids. However, there are times when it’s nearly only masquerading as a children’s film due to the inclusion of some startling imagery and story threads. This is arguably its biggest flaw because I’m not sure who exactly this is made for, ideally. If you can get past that, though, it’s an interesting story with some colourful visuals and a solid message about the relationship between fathers and sons. I just wish the animation was a little more mature to match its themes. PAIGE Sunburnt Unicorn is a coming-of-age desert fable that is less of an adventure and more of a fever dream. It tries to have a unique and vibrant animation style, but it comes off feeling unpolished. Furthermore, even though I found the various creatures that our lead character, Frankie (voiced by Diana Kaarina), encounters throughout his journey to be intriguing, I found Frankie to be quite obnoxious. In the end, I am not quite sure who this metaphoric story about a father and son’s relationship is intended for; its themes are too mature and explicit for kids, but its underdeveloped dialogue is too childish for adults.

MEN Starring: Jessie Buckley, Rory Kinnear, Gayle Rankin, and Paapa Essiedu Director: Alex Garland NICK Three films into Alex Garland's directorial career, female empowerment has been a recurring theme in each of his features. In Men , it’s the strongest theme. Jessie Buckley gives a great performance in the lead role, but this is as slow a burn as you can get, which definitely causes some pacing issues. That said, when the film leans more into body horror in its latter half, I found myself wishing we’d stayed the course, as the slow burn tale felt incomplete. Garland takes big swings here, and I can see Men being divisive for it. Personally, I think it’s his weakest offering. JACOB Whether Men succeeds or not depends on whatever the viewer thinks its goal is. On the one hand, the horror – driven more by ideas than by narrative – is arresting whilst watching it. Jessie Buckley once again wows as the lead, while Rory Kinnear’s chameleonic performance is a near masterclass. On the other hand, it is one of the least commonly accessible films Alex Garland has made, and its unforgettable ending does a lot to boost that distance from the mainstream. For better or worse, this will likely be one of A24 and Garland’s most divisive works. ADRIANO Men is odd, that’s for sure. For the first two thirds of the film, I was completely enthralled by it. Writer/director Alex Garland masterfully crafted a film that makes you feel uneasy the entire time. Even small, innocent moments can feel unsettling because, deep down, you know something is boiling under the surface. Also, Jessie Buckley is absolutely phenomenal. The last third goes off the rails, though. I do feel there are some things that Garland is trying to convey that I wasn’t able to catch on the first viewing, so a rewatch could help out. It has some issues, but overall, a worthwhile experience.