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BRING THEM DOWN Starring: Christopher Abbott, Barry Keoghan, Colm Meaney, Nora-Jane Noone, Paul Ready, Aaron Heffernan, and Susan Lynch Director: Chris Andrews KATIE Bring Them Down is a tense tale of revenge and cyclical trauma with a pervading sense of intensifying rage bubbling quietly but ferociously beneath the surface. The story is simple but very powerful, thanks to the incredible performances that drive it, especially Christopher Abbott and Barry Keoghan. Director Christopher Andrews doesn’t waste time pinning the blame on a particular character instead exploring the way that each of the men perpetuates violence and refuses to take accountability. Bring Them Down is engaging but bleak, and although I was engrossed in the drama, I won’t return to it anytime soon. QUENTIN Despite solid performances from Christopher Abbott and Barry Keoghan, Bring Them Down is a slow-moving and unrelenting slog that was a struggle to sit through. If you can imagine The Banshees of Inisherin but bleaker, grimmer, grittier, and with absolutely zero humor, then you are picturing Bring Them Down . Overdone themes of patriarchal relationships, toxic masculinity, and the violence both can wreak are depressingly explored, and although a mid-movie perspective switch attempts to add something new to the discussion, it doesn’t do near enough to make this a movie worth suffering through, especially with the unsatisfyingly limp ending. PAIGE Bring Them Down is a moody and somber film featuring restrained yet impactful performances from Christopher Abbott and Barry Keoghan. With that said, this unsettling drama doesn’t have much going for it besides the aforementioned performances and the non-linear storyline that divides the tale into two perspectives, which allows the viewer to sit with both leads’ points of view. The sluggish and dreary narrative just left me not caring about the onscreen rivalry plot that turns somewhat tragic. AMARÚ I can’t pretend to understand the cultural and economical significance of the events that kick off Bring Them Down ’s central conflict, but I do understand respect. So when shit hits the fan, which it does fairly quickly, even though I was ignorant about the circumstances of such escalation, I had no question that the antecedent was disrespect. Chris Andrew’s intense direction, Christopher Abbott’s fierce performance, and Barry Keoghan’s perfectly honed dickheadery make for a fiery start filled with feuding, loathing, and downright disdain. However, it all tapers out to a dreary whimper, amounting to catching the aftermath of a deadly car wreck, just barely missing the action. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.

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.

ANATOMY OF A FALL Starring: Sandra Hüller, Swann Arlaud, Milo Machado-Graner, Antoine Reinartz, Samuel Theis, and Jehnny Beth Director: Justine Triet ADRIANO I'm still in awe of what Anatomy of a Fall pulled off. Co-writer/director Justine Triet crafted a mystery/courtroom procedural that needed every single moment to work or else it would fall apart. I can’t believe she pulled it off. Everything we learn about the case, we learn through Sandra Hüller's character, and Hüller is more than up to the task, giving a breathtaking performance. For a film that's mostly dialogue, the two-and-a-half-hour runtime breezes by, and by the end, the portrait of dysfunctional domestic relationships stays with you as you question everything you've been told. A true work of art. PAIGE Anatomy of a Fall is a riveting courtroom drama that is subtle and brilliant all at once, featuring sharp dialogue and a thought-provoking story that will keep you guessing throughout. While Sandra Hüller (Sandra) delivers a gripping performance, it’s the boy who plays her son, Daniel (Milo Machado-Graner), that is the true standout in my eyes. I was truly blown away by his performance. But, even with all of that, the film’s real beauty is that it allows its audience to determine its true outcome, which will have you thinking about it long after it’s over. QUENTIN While I admit it’s complex and layered, Anatomy of a Fall is also way too long, way too wordy (in French), and way too dry for me to call it anything more than just above okay. The court scenes are relatively well done, especially in the way director Justine Triet shifts perspectives during testimonies, but the overall, matter-of-fact vibe harkens back to something like The People’s Court in the 80s. Also, the mystery just isn’t that compelling. I never really had an opinion as to whether Sandra (Sandra Hüller) committed the murder or not, which means the ending lands unsatisfyingly. It’s probably for Oscar-hounds only. NICK With Anatomy of a Fall , director Justine Triet has crafted one of the most authentic fictional trials I've ever seen on screen. Triet never shows her cards, which leaves you unsure how you want things to go, but also makes Antoine Reinartz's prosecutor so relentless that you can't help but feel for Sandra Hüller's character. The performances are solid across the board and will likely lead to accolades (for Hüller, especially), but the proceedings do feel a little long in the tooth. When all was said and done, I was left with tons of respect for the film, but not the adoration I had hoped to have. AMARÚ Director Justine Triet envelops Anatomy of a Fall with a kind of emotionless execution similar to death’s cold, unfeeling nature. The score is damn near non-existent, the cinematography is documentary-like, and the dialogue is blunt and unyielding. Usually, such a lack of emotion is a film’s downfall, but here, the detached way the audience experiences the story only intensifies its thrilling premise. So, when passion is sporadically jolted into this uniquely dispassionate film, the resulting 150-minute see-saw of emotion is one you can’t help but watch with non-stop, heart-pounding fervor, generating one of the year’s most interesting films. CALEB While the performances in Anatomy of a Fall are undeniably impressive, I found the film to be a little too understated for my liking. I enjoyed the cold, oppressive atmosphere that director Justine Triet brought to the courtroom scenes, but the mystery at the heart of the trial never fully managed to grip me. The film’s view of the proceedings felt clinical and far removed, treating the audience as bystanders, never letting us get too close to the characters. While I can admire that subtlety, I can’t deny that the lack of emotion occasionally left Anatomy feeling hollow. This film was reviewed by Adriano and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.

ASTEROID CITY Starring: Jason Schwartzman, Scarlett Johansson, Jake Ryan, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Steve Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum Director: Wes Anderson NICK Wes Anderson films aren’t exactly my style, so there’s a good possibility those enamoured with his work will enjoy Asteroid City more than me because this is an Anderson film to the core. It’s bright and vibrant, and features moments of humour amongst the absurdity. But it also boasts an overstuffed cast, thin plot, and is emotionally hollow. These attributes permeate many of his films, so I guess if you like Wes’ work, you’ll like this. To me, it’s another picture stacked with star power, yet none are given the chance to outshine Wes himself, which is par for the course with his filmography. JACOB There is always a distinct pleasantness baked into Wes Anderson’s projects, and Asteroid City is no exception. While it is decidedly less propulsive than some of his more celebrated works, the dialogue is as sharp as ever, and as production value goes, it ranks with some of his best material. However, that same production (and some of the editing) can be quite distracting as the film loses grip on its narrative momentum almost every time it gets going. That said, the entire cast does solid work, and the film’s underlying themes are well worth exploring. ADRIANO As someone who isn't totally into Wes Anderson’s unique style, I find Asteroid City perplexing. It’s better than his recent efforts, but it suffers from a filmmaker indulging himself a little too much. It's funny, it looks stunning - expected from an Anderson film – and when we’re in the titular Asteroid City, the film is at its best; however, it feels like Anderson had too many ideas, to the point where the film’s narrative structure stopped me from feeling the emotions I was meant to feel. If you’re a Wes head, you’ll probably find more to appreciate than I did. PAIGE While I quite enjoyed Asteroid City , this film is the definition of style over substance. Director Wes Anderson, who is notorious for having remarkable cinematography and production design, once again delivers on that front, making for one of the most visually stunning films I’ve seen all year. There’s also no denying that this is one of Anderson’s most profound films in recent years. That said, the film’s biggest issue is that its approach is so all over the place that it loses momentum at times.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS Starring: Benedict Cumberbatch, Elizabeth Olsen, Benedict Wong, Xochitl Gomez, Chiwetel Ejiofor, and Rachel McAdams Director: Sam Raimi AMARÚ Dear Mr. Raimi, Thank you for Doctor Strange in the Multiverse of Madness . I haven’t felt this giddy since 2004. The action, horror, and absurdity are so much fun. But now it’s time to relinquish the director’s chair as it is, in fact, no longer 2004. You built a fantastic world with great tone, but your character relationships and dialogue didn’t age as gracefully. If not for Ms. Olsen’s terrifyingly emotional performance proving that Scarlet Witch is, without question, the MCU’s most powerful character, I may have tuned out. Thanks again, had a blast, will definitely re-watch. I appreciate your visit. JACOB Director Sam Raimi’s trademark zaniness lines Doctor Strange in the Multiverse of Madness just enough to make up for some of its larger shortcomings. Though the film can’t always handle everything it sets out to accomplish, it’s as much fun as a superhero movie has been in a long time. Embracing horror and camp is a good look for this franchise; however, it is not without fault. The film’s mistreatment of Wanda Maximoff (Elizabeth Olsen) is the largest stain clouding what is otherwise a refreshingly different MCU adventure despite Olsen’s continued excellence in the role. That said, I’d still recommend the film. NICK Style over substance - that’s the best way to describe Doctor Strange in the Multiverse of Madness . Visually, there are some spectacular images and horror elements, but otherwise, this thing is a bit of a mess. The writing is rough, doing a disservice to a few of its characters, and director Sam Raimi's signature camp and cheese seem out of place in an MCU film. Even the cameos feel kind of cheap. When you consider where we started and ended, it feels like a standalone film rather than a Phase 4 entry. Aside from the introduction of America Chavez (Xochitl Gomez), I am disappointed. ADRIANO I liked Doctor Strange in the Multiverse of Madness more than I didn’t. Marvel allowed director Sam Raimi to go "Full Raimi,” which made for a glorious experience. I loved the departure from the MCU formula, especially the awesome horror elements, but Elizabeth Olsen stole the whole damn show as Wanda Maximoff. Although I loved what they did with Wanda in this movie, Stephen Strange (Benedict Cumberbatch) is a bit underdeveloped and rushed. Overall, the film felt more like a filler episode than the massive-scale, multiversal blockbuster event that was advertised, which left me feeling underwhelmed. QUENTIN The Doctor Strange sequel is a lot. It’s bursting at the seams with exposition, cameos, trippy visuals, and easter eggs, not to mention the overwhelming Sam Raimi-ness of it all that tries to incorporate horror elements, attempts at being heartfelt, and his special brand of cheesiness. And while it doesn’t quite gel all the time, there are more than enough interesting bursts to keep the viewer engaged. In the pantheon of MCU movies, it’s one that you’ll enjoy while watching it, especially as you consider the ramifications of what everything means going forward, but probably not one that you’ll make an effort to watch repeatedly.

THE NAKED GUN Starring: Liam Neeson, Pamela Anderson, Danny Huston, Paul Walter Hauser, CCH Pounder, Liza Koshy and Kevin Durand Director: Akiva Schaffer NICK By my account, the original The Naked Gun is one of the greatest comedies of all time, so needless to say, this had big shoes to fill. Well, we ended up with probably the best modern version of this film you could make. The spirit of the original is there, but Liam Neeson (Frank Drebin Jr.) has added a hint of anger to the aloofness Leslie Nielsen brought as Drebin Sr. Although some jokes are overplayed or don’t hit, the ones that work outweigh the ones that don’t, including a few that brought on tears. It’s not perfect, but I’ll gladly take more of Neeson’s Drebin Jr. ADRIANO Going into The Naked Gun , I only wanted to laugh at utter stupidity, which I got in spades. Director/co-writer Akiva Schaffer delivers on the type of satirical humour that would make the spoof comedy legends The Zucker Brothers blush, with all the ridiculous visual gags, bits, and misinterpretations you could ask for. Liam Neeson fills the large shoes of Leslie Nielsen's deadpan delivery flawlessly, complete with hilarious chemistry with an equally funny Pamela Anderson. The entire crew's commitment to this bizarro universe made this a film I regularly cried laughing at. I don't know what else to say: it's perfect. AMARÚ The Naked Gun remake has the right cast for the job. Liam Neeson, Pamela Anderson, and Danny Huston understood the balance of serious and silly to deliver on what director Akiva Schaffer wanted to do. It’s too bad that whatever it is he wanted to do isn’t remotely funny. Even in the tremendously short 85-minute runtime, I was ready to escape the half-hearted pity chuckles heard throughout my theater within 15 minutes. Now, the jokes may land for some, and I’m happy for you if that’s the case, but aside from three references I personally smiled at, this remake beat their comedy to an unfunny death. QUENTIN I’ll be the first to admit that trailers for The Naked Gun have been painfully unfunny. That said, once you’re in it, and you’ve recalibrated your sense of humor to the wavelength at play, it surprisingly works. Gun delivers jokes at breakneck speed, and while they don’t all hit, even a 50 percent success rate provides enough legit giggles to make this rebootquel worth a watch. I admit this is a bold comparison, but Gun could easily be the next Anchorman or Zoolander , where every initially dumb joke gets funnier during every rewatch. This was genuinely a pleasant surprise (pre-show beers helped, to be fair). ROBERT In the realm of internet comedy clips, Liam Neeson’s stint on Life’s Too Short is legendary; he blends absurdity with stoicism as well as anyone. As such, it wasn’t overly shocking to hear him be tapped for the lead in The Naked Gun reboot. When you combine that with the comedy instincts of Akiva Schaffer and Seth MacFarlane, the design was there for a rare success in the laughter department. I was chuckling more than not, especially at sight gags and long-running joke bits, but I was expecting more consistency. Pamela Anderson, at least, was a real shot of caffeine that kept the film energized. BODE Perhaps it’s ironic to root for a reboot of The Naked Gun to revive theatrical comedies, but when the state is so dire, you take what you can get. It certainly helps that this new edition is very funny. Director Akiva Schaffer gets close to the absurdist spirit of the original movies without being overly referential, with plenty of jokes and gags that had me consistently laughing (or chuckling, at least). Liam Neeson fills Leslie Nielsen’s deadpan shoes quite comfortably, and Pamela Anderson, Danny Huston, and Paul Walter Hauser are game scene partners. It’s a genuine delight from start to finish. KATIE I love the kind of humour typified in the original Naked Gun films, and I was worried this new reboot wouldn't do it justice. Like other recent comedies, I was concerned it’d rely too heavily on nostalgia and modern references, but my worries were quickly quelled as I was able to sit back and enjoy one of the funniest films I’ve seen in ages. Director and co-writer Akiva Schaffer clearly understood the absurd, spoofy tone he needed to emulate, providing gags that never let up, whilst Liam Neeson is completely perfect in the leading role, masterfully balancing silliness with deadpan delivery. Want to hear even more of our thoughts? Nick, Amarú, and guest Harrison Martin join Matt to take A Bigger Bite out of The Naked Gun HERE .

POOR THINGS Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, and Jerrod Carmichael Director: Yorgos Lanthimos QUENTIN Poor Things is a hilariously dark and incredibly horny fairy tale oddity that is deserving of every award it is sure to win this year. The world created by director Yorgos Lanthimos is gorgeously brought to life through powerhouse performances from the entire cast, but especially Emma Stone and Mark Ruffalo in career-best showings. On top of that, themes of feminism and self-discovery, as well as a commentary on the patriarchy, are executed brilliantly. It’s unlike anything I’ve ever seen, it’s near perfect, and it’s easily the best movie of the year. PAIGE Poor Things is a brilliantly bizarre exploration of rebirth that offers a beautifully deranged portrait of what it means to be human, turning the very idea on its head. It allows Emma Stone, who deserves all the praise (including the Best Actress Oscar), to breathe life into her odd character. That said, the second half of the film drags a bit, and it can feel somewhat repetitive. However, that doesn’t take away from the fact that this is one of the most stunning films of the year, from its performances to the steampunk production design to the magnificent costumes. This film truly is the full package. AMARÚ I’ve watched plenty of straightforward movies and asked, “WTF was that for?” But with Poor Things , I immensely enjoyed every WTF-moment director Yorgos Lanthimos and writers Tony McNamara and Alasdair Gray presented (there are a lot). It’s best not knowing WTF this movie is about before watching because all involved create a cinematic WTF-of-an-onion textured with progressively entertaining layers that are anxiously waiting to be discovered. Everything from the idiosyncratic script to the madcap score is heightened to bolster the insanely hilarious cast, capped by perhaps Emma Stone’s best performance to date. Poor Things is absolutely bonkers, and I adored every WTF it made me utter. NICK If you’ve never seen a Yorgos Lanthimos film, Poor Things will likely take you by surprise. If you have… I think Poor Things may still take you by surprise. This absurdist Frankenstein -inspired story is bound to be the most visually impressive film you’ve seen this year, and it has the performances to match it. Emma Stone, Willem Dafoe, and Mark Ruffalo (who is my personal highlight) all portray their own interpretations of real-life cartoon characters, but much like the cartoon world they inhabit, they are grounded in dimension and realism. This is a film you need to see to believe. A spectacle in the truest form. ADRIANO There is no limit to the zany imagination of director Yorgos Lanthimos and writer Tony McNamara, and Poor Things is further proof of that. Its third act drags just a little bit, but beyond that, I found Poor Things to be unflinching and fully devoted to its bizarre concept that offers a hilarious examination of individuality in women. Beyond its unique craftsmanship, the film features Emma Stone at her most committed as Bella Baxter, alongside a cast fully on board with Lanthimos' vision, namely a hysterical Mark Ruffalo and a soulful Willem Dafoe. There's truly nothing like Poor Things . CALEB I’m not sure how to feel about Poor Things . I adored the visuals, but I was torn on the narrative. Tony McNamara’s script is undeniably hilarious, but I’m not sure I understand what he’s trying to say about femininity. Most of the film is about a woman with the brain of a child finding herself by having sex, which is well… yeah. It’s all pretty tongue-in-cheek, but Poor Things seems to be making the point that feminine development is primarily driven by men. Maybe there’s some truth to that, but it’s still a tad too freudian for my liking. This film was reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 New York Film Festival, respectively.

GLADIATOR II Starring: Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Connie Nielsen, and Denzel Washington Director: Ridley Scott NICK With the way that Gladiator ended, Gladiator II is here to offer another shot at the redemption of Rome – its Rocky II , so to speak – and does so admirably. There are some challenges, mainly a bland score and a miscast Paul Mescal, but the latter is merely a case of the wrong man for the job rather than a bad performance. Plus, it’s evened out by a supremely interesting and magnetic Denzel Washington performance. Is it as good as the original? Not quite. But, it’s a worthy successor and has me invested in a continuation of a franchise I had long closed the book on. ADRIANO In what’s a massive step-down from the first, Gladiator II is... another Ridley Scott movie. From a production standpoint, it's well put together, with excellent set pieces, and the coliseum sequences are sick, even if it mostly ditches the first film’s viciousness for silliness. Plus, Denzel Washington having the time of his life means me having the time of my life. However, the script has none of the first film's heart, the story failed to capture my interest, Paul Mescal is miscast, and overall, the movie just felt thematically dull. So, for the most part, I was not entertained. KATIE Gladiator II is everything I hoped it would be. Stuffed with ludicrous spectacle, bloodthirsty violence, non-stop thrilling action, incredible performances, and compelling political themes, there is no denying its outrageous entertainment value. It strikes the perfect balance between melodrama and almost-camp in its extravagance, and whilst the script doesn’t quite achieve the dramatic impact of its predecessor, the performances make up for it. Paul Mescal uses his subtle emotional intensity that helps him thrive in smaller roles to elevate his otherwise brutish character, and Denzel Washington relishes each line in a scene stealing performance. AMARÚ Ridley Scott clearly has zero qualms about what others think, because with Gladiator II , he chose to follow up the award-winning original with a blockbuster that’s more epic, if less prestigious, than the Best Picture winner. Scott basks in Roman lavishness, utilizing grandiose dialogue, Harry Gregson-Williams’ booming score, and a melodramatic screenplay as vehicles for each impressively executed set piece. Pieces driven by a naturally heroic Paul Mescal, and an utterly delicious Denzel Washington. There’s no doubt the film is missing its predecessor’s weight, but Scott packs it with ambitious style, and dammit if I wasn’t entertained. PAIGE The gods have spoken, calling Gladiator II a solid and adrenaline-fueled sequel. Although its emotional beats may not be as strong as its predecessor’s, the action is certainly next level. This sword-and-sandals epic is more brutal and bloodier than the original, proving that director Ridley Scott is still capable of creating grand spectacles. While I do wish Paul Mescal’s character had more to do than just feeling like a plot device, his and the rest of the cast's performances are still great, so I believe most will find the film as entertaining as I did. PRESTON “Artificial” is the best word to describe Gladiator II . Everything from the extras constantly fist-pumping in the background to the Praetorian guard turning their bows on the crowd feels unreal and laughable, not to mention the f’ing sharks! Denzel Washington is an amazing actor, of course, but why is he here?! His unaccented speech and mannerisms are all wrong. I mean, “hose him down” is an actual phrase he uses in the film. The "creative license" defense is inexcusable since the original is used as a touchstone throughout. The historical inaccuracies, hollow storyline, uninspired writing, terrible casting, and unnecessary length make for a summarily disappointing experience. QUENTIN Gladiator II feels like someone asked Ridley Scott to remake his Oscar-winning original, but in the style of Troy or Oliver Stone's Alexander . Gone is the prestige and gravitas in exchange for campy ridiculousness and a rushed storyline. On top of that, it doesn’t seem like there was any consensus amongst the cast as to what kind of movie this is supposed to be. Denzel Washington and Joseph Quinn are chewing all the B-movie scenery while Paul Mescal and Pedro Pascal are taking everything very seriously. Perhaps I would be more forgiving if it didn’t have the Gladiator legacy attached to it, but ehhhh.

JURASSIC WORLD REBIRTH Starring: Scarlett Johansson, Jonathan Bailey, Mahershala Ali, Rupert Friend, Ed Skrein, Manuel Garcia-Rulfo, Luna Blaise, Audrina Miranda, and David Iacono Director: Gareth Edwards AMARÚ Although Jurassic Park 3's Amanda Kirby (Téa Leoni) is the most annoying character in the franchise, Rebirth features someone who almost takes the crown. However, this character’s trajectory mirrors the film’s, as both grew on me with time. Tell-not-show exposition gives way to a simple formula: charming cast runs for their lives from awesome looking dinosaurs in scary action sequences. Not to mention, a moment of wonder I haven’t felt since the original, which banks a massive amount of goodwill. Despite its lows, including a disappointingly anticlimactic ending, Rebirth is better than the last two films, a win in and of itself. NICK Unlike Dominion , Jurassic World Rebirth isn't terrible, but it sure is disappointing. The first hour is cold and heartless (including an exploitation of the original score). The second is an improvement, thanks to the introduction of the Delgado family (led by Manuel Garcia-Rulfo) and some memorable dino moments (we finally got the river raft scene!). But that's been the issue with these Jurassic World films: they all have their moments, but can't seem to put together a quality film. There’s no doubt this franchise will continue, but I think this should be the retirement of the Jurassic World moniker. ADRIANO I'm not sure how Universal has managed to screw up the basic concept of surviving from dinosaurs four times. Jurassic World: Rebirth is another massive miss. The first hour is genuinely unbearable, and while it picks up a little when they get to Ile Saint-Hubert, the emptiness of the two conflicting storylines and the weightless dinosaur action makes this excruciating. A Jurassic Park movie should never be as dull as this was. It'll make its billion dollars and get a sequel greenlit, but I'm begging the next one sticks to the basics by actually being thrilling. QUENTIN Technically, Rebirth is the best of the Jurassic World movies, though I concede that is an incredibly low bar. The dinosaur sequences are top-notch, riding a wave between semi-horror and thrilling action, and if that is all you need for a good time, then Rebirth mostly delivers. However, it struggles with the human cast. The performances are serviceable but nothing special, while the character development is, frankly, piss-poor. More egregiously, though, the final 20ish minutes jumped the shark to such a degree that I audibly giggled, not to mention the eye-rolling amount of nostalgia bait. Still, Jurassic Park 7: Jurassic World 4 is an improvement…technically . BODE I don’t expect a Jurassic World sequel to live up to the original, but I wish they fulfilled even the bare minimum. Rebirth proves that they still can’t do that. While director Gareth Edwards doesn’t embarrass himself technically, as he knows how to manage scale, the same can’t be said for returning screenwriter David Koepp, who saddles Edwards and its cast with a mediocre script needlessly swinging between two storylines. The momentum dies every time it happens. Yes, there’s some fun set-pieces, and no, this isn’t the worst one in the franchise. But at this point, is that enough? Want to hear even more of our thoughts? Nick and Amarú join Matt to take A Bigger Bite out of Jurassic World Rebirth HERE .

THE LAST DUEL Starring: Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck Director: Ridley Scott JACOB There's not much in The Last Duel that sets it apart from other narratives like it, but enough of it works that it remains worth one's time. The Rashomon -style perspective shifts may allow the audience to see each side of the story, but it also means the film takes too much time away from moving the plot forward in order to recap things we already saw, making it feel sometimes painfully long. That said, the performances mostly work well (especially Jodie Comer), and the titular fight is a brutal battle that effectively demonstrates Ridley Scott still has immense directorial skill. ADRIANO I expected to hate The Last Duel , but it ended up being far better than expected. The way the story unfolds through a multi-chapter setup works much better than I thought it would. Granted, the first chapter is incredibly boring and atrociously edited, but the second and especially third chapters are extremely engaging. The film's subject matter is effortlessly dealt with in a way that connects it to modern times. The cast is great, but it's Jodie Comer who is absolutely superb in the last chapter, which features the impressive feat of the titular duel. Definitely check this one out. QUENTIN Given the number of medieval epics Ridley Scott has directed, you’d think he’d be better at it. Unfortunately, aside from the actual duel, The Last Duel is a lengthy bore. It’s over two hours of “he said, he said, she said” (told as three separate chapters) before the exciting 15-minute showdown. And since those chapters are mostly recounting the same events from different perspectives, it makes much of the film feel like a retread of scenes you’ve already seen. That ending duel is violent and visceral, though. The movie needed more of that and less talk of 12th century litigation.

TÁR Starring: Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong Director: Todd Field NICK One minimalist description of film is "a series of conversations," which may be the most apt way to describe Tár . The early portions work like acts in a play, consisting of Cate Blanchett performing some expertly written dialogue in extended scenes. It's odd to consider recent work from someone with as storied a career as Blanchett to be her best work, but it's certainly in the conversation. Her performance is so airtight that it was enough to make me search out whether Lydia Tár was a real person. Sadly, her showing here wasn’t enough to warrant the near three-hour runtime. It’s so unnecessary. JACOB A ferocious return to theaters for director Todd Field, Tár is a magnificent rendering of speech, atmosphere, performance, and power…and what happens to all of them in the face of a public scandal. Cate Blanchett commands the screen in a career-best performance as Lydia Tár, and a pin-sharp script pokes at precisely who she is, both as a larger-than-life artist and citizen of the world, if the two can even be separated. Every shot is meticulously composed, every edit near-expertly placed, and classical music fans especially will have a field day with all the film’s many references and revisitations. ADRIANO I couldn’t get enough of Tár . I already loved how writer/director Todd Field writes, and the dialogue in this movie is just so snappy and engaging. There is a brilliant tracking shot early on that is so well done that I was in awe. The whole movie is well done, to be honest. It’s extremely dialogue heavy, yet the almost 3-hour runtime zooms by because Cate Blanchett is so absurdly fantastic. She imbues the character with amazing nuance, leading to a captivating performance. Admittedly, the ending is abrupt, so it felt kinda anticlimactic, but it still nailed the film's themes of fame and power masterfully. JTE I'll give you three good reasons to see Tár : Cate Blanchett, Cate Blanchett, and Cate Blanchett. Tár dives into the dynamics of power and the psychological tendencies of someone who is at the peak of their profession, and Todd Field hasn’t missed a beat as he returns to the director’s chair for the first time in over a decade. But at the center of his story is Blanchett, and this is her film from the opening scene to when the credits finally roll. While some may find the film to be too long, it's never dull thanks to Blanchett's Oscar-worthy performance. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY Starring: Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, Clarke Peters, Daniel Washington, Bailee Lopes, Bria Danielle Singleton, JaQuan Malik Jones, Kris Sidberry, and Dave Heard Director: Kasi Lemmons JACOB I Wanna Dance with Somebody does not have an identity. It goes through the motions of biopic tropes in chronicling the rise and fall of pop superstar Whitney Houston (Naomi Ackie), but it doesn’t actually have anything important to say about her or a viewpoint from which to approach her story. Ackie works in the part, but it’s not exactly transformative material. Thankfully, the film does touch on Houston’s love life as being not entirely straight, so that’s not hidden from the audience; however, what is hidden is a sense of purpose as to why the film was made beyond “we haven’t done Whitney yet.” ADRIANO I Wanna Dance With Somebody is yet another chapter in the “bland musical biopic” series of films. It lacks any semblance of nuance or dedication while being a great Naomi Ackie performance away from being the non-parody version of Walk Hard . I learned nothing new about Whitney Houston (Ackie), and whereas previous by-the-numbers musical biopics like Elvis or Bohemian Rhapsody had flashy stylistic choices, this film is stale, dull, and lifeless throughout. Whitney Houston deserves much better than this trash.