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NUTCRACKERS Starring: Ben Stiller, Homer Janson, Ulysses Janson, Arlo Janson, Atlas Janson, Linda Cardellini, and Toby Huss Director: David Gordon Green NICK You've seen this story before: the reluctant father figure who comes into guardianship only to re-evaluate his life. In fact, story aside, Nutcrackers feels like a film from a bygone era, the mid ‘90s to early 2000s boom of family films. What gives it a slight edge are the child performers (all real-life siblings). They are quite good, bringing an authenticity that helps the film land emotionally. It's incredibly predictable and fairly unoriginal, but at the very least, it's a feel-good film that'll bring a smile to your face. You could do worse. KATIE Nutcrackers is disappointingly devoid of Christmas joy. The cliché and predictable plot follows character archetypes that everyone will recognise, but I actually didn’t have an issue with that. In fact, I love a reliably comforting family comedy. The problem is it's hollow, and although the child cast is quite endearing, they are all underwritten. Meanwhile, Ben Stiller’s character, Mike, doesn’t form enough of a bond with them for the emotional impact to hit. It looks nice, with pretty shots of the small town and nostalgia-tinged scenes of the brothers playing outside, but that's about it. PAIGE Nutcrackers may be one of the most cliché and run-of-the-mill Christmas dramedies I’ve seen in a while. Unfortunately for its director, David Gordon Green, he’s had more misses than hits lately, and this falls in the miss category. Instead of trying to get you emotionally attached to the characters, the film asks its audience to fill in the emotional beats, which doesn't help the already shoddy narrative. Despite there being some endearing moments in this family holiday film, it won't make you laugh or pull at your heartstrings. Nutcrackers is simply forgettable, and I don’t foresee it being on my holiday rewatch list. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

WATCHMEN: CHAPTER 1 Starring: Matthew Rhys, Katee Sackhoff, Titus Welliver, Michael Cerveris, Troy Baker, Phil LaMarr, and Rick D. Wasserman Director: Brandon Vietti QUENTIN Watchmen: Chapter I is a well-done and faithful adaptation of the seminal graphic novel that is built on vibrant animation and a decent voice cast. However, it never justifies its existence for those familiar with the material. If you’re too busy to read the classic comic, or are so anti Zack Snyder’s Snyderness that the live-action version doesn’t appeal to you, this is a worthy entryway to the story. However, by splitting it into two chapters, Chapter I is literally half of a movie, so it might be best to wait for Chapter II so you can watch the dark tale in a single sitting. PRESTON Watchmen: Chapter I seems to be dedicated to the true fans of the original graphic novel. My familiarity with the story is limited to a single viewing of the Zack Snyder adaptation, not to mention an appreciably better experience with HBO's miniseries, so the muddled storyline presented did a lot to hurt my rating. As this is really just a stodgier animated retelling of merely half of the mediocre 2009 film, I would have preferred to avoid purchasing the film for an overpriced $19.99, as it’s, strangely, the only current (legal) viewing option.

SKINAMARINK Starring: Lucas Paul, Dali Rose Tetreault, Ross Paul, Jaime Hill Director: Kyle Edward Ball JACOB Skinamarink is more of a movie of atmosphere than of plot, and for that reason, it will not be for everybody. That said, for the true micro-budget horror heads out there, it's a quietly small miracle of theatrical distribution and filmmaking. The first twenty minutes are rather slow as the film builds ambiance, but once a knife is mentioned, the tension holds to the very end. It may very well terrify those who vividly remember dark nights in 90s homes with shag carpet and wood paneling. Director Kyle Edward Ball should be proud of what he achieved here. NICK I’ll never fault someone for taking risks, but director Kyle Edward Ball's Skinamarink certainly brings mixed results. There are positives to be found, mostly a Super 8 film approach that works wonders, and Ball is great at using minimalist filmmaking to find tension. Unfortunately, this style also leads to moments that feel long and drawn out, which would have been overcome by a shortened runtime. This film requires a lot of patience from its viewer and it’s certainly not for everyone, but it did succeed in creating an eerie vibe and giving me one of the better scares I’ve had in some time. JOSEPH If ever a movie could be best described as “a vibe” it would be Skinamarink . It’s a mixed bag of sorts that I wish delivered more heavily on scares, but, that being said, I can’t turn off the lights without thinking about it. TikTok may have oversold it a bit as it’s not for everyone, but it’s a great example of how to capture a mood and force an audience into discomfort. It’s worth a watch, but be warned, it’s highly experimental. This film was originally reviewed by Nick as part of Bitesize Breakdown’s coverage of 2022’s Fantasia International Film Festival.

LONGLEGS Starring: Maika Monroe, Blair Underwood, Michelle Choi-Lee, Alicia Witt, Nicolas Cage, and Dakota Daulby Director: Osgood Perkins ADRIANO Longlegs is the kind of horror film that we don't get nowadays. Nothing about this film is cheap or intends to shock the audience just for shock value. Writer/director Osgood Perkins and star Maika Monroe come together to create an unnerving and sinister tension that’s felt from the opening scene all the way through to the moment the credits roll. From the sound work to Andrés Arochi's cinematography to Nicolas Cage's monster performance, everything converges to make this police procedural film an unforgettable descent into hell that had me shaken. NICK Longlegs is going to get a lot of attention for the performances of Nicolas Cage and the under-casted Maika Monroe, and rightfully so. It's the direction of Osgood Perkins, however, that really caught my attention. What he's crafted is a film in a similar vein to Zodiac, but with a horror tinge, and it makes for a fascinating and unsettling watch. Whether it’s the noir-crime style of the film or Perkins’ decision to use Cage sparingly (which only adds to the mystique and gravity of his character), Perkins has created something sure to keep you on the edge of your seat. QUENTIN First, let me temper expectations. Longlegs is not a traditional horror movie full of traditional horror “scares” (although, there are a couple); however, it’s one of the most unsettling and tense suspense thrillers in years. It’s like Seven , but slathered in a malevolent dread and palpable atmosphere so thick you can cut it with a knife. Yes, Maika Monroe is quietly terrific, but the star of the show, of course, is an unrecognizable Nic Cage, who creates a lasting, nightmarish, and memorable character with very limited screen time. This was one of my most anticipated for a reason (see why HERE ), and, hot damn, did it deliver. AMARÚ My distaste for horror is due to the genre’s eerie tendencies usually having idiotic payoffs, and Longlegs’ first scene initially had me saying, “here we go again,” but writer/director Oz Perkins quickly changed my mind. He created a deeply intense mystery-thriller, utilizing camera work that’s simultaneously intimate and disconnected, enhanced by the excellent acting pairing of Blair Underwood’s practical approach with the fabulous Maika Monroe’s detached affect. Add in Nic Cage’s entertaining brand of crazy, and Perkins delivers a compelling, dread-fueled detective story that intelligently utilizes all the weird shit horror fans love. PAIGE Longlegs ' amazing marketing campaign did not disappoint because you can almost feel the satanic spirit of this movie invading your personal space. It perfectly conveys the diabolical nature of its themes and characters. Writer-director Oz Perkins does a fantastic job of building tension and an eerie atmosphere through the use of great sound design and camera work. Maika Monroe gives an incredibly distraught performance, and Nicolas Cage's unsettling presence is palpable throughout. All things considered, Longlegs is a painstakingly made and disturbing journey into hell that will stick with you long after you've seen it. KATIE Longlegs is not the terrifying horror film that the marketing suggested, but more a chilling criminal procedural thriller that I enjoyed, nonetheless. From the incredible opening scene, the film establishes an atmosphere of increasing dread and continually hints at the malevolent forces driving the evil acts, emphasised by nightmarish sound design and restrained camerawork that doesn’t rely on jump-scares to unsettle the audience. Some aspects of the film didn't quite come together for me, with the supernatural elements distracting from rather than emphasising the detective drama, but the craftsmanship is so evident that I was still immersed in the story. PRESTON Longlegs suffers from a hype train that overpromises and underdelivers. Its stylistic composition is a successful mix of things like The Silence of the Lambs , The Shining , and In a Violent Nature , and Maika Monroe (Agent Lee Harker) helps along the uneasiness that can be viscerally felt throughout the first half of the film. Eventually though, the long, slow buildup allows all adrenaline to peter out. Nicolas Cage (Longlegs) looks like he is having fun while continuing to show off his versatility, but the ultimate conclusion is a let down compared to the buildup, both prior to watching and during it. SHADAN I’m so happy I forced myself to overcome my horror genre bias and give Longlegs a chance. This crime thriller is horrifying, but in subversive and surprising ways. Oz Perkins’ script and confident direction brilliantly set the tension, which radiates from the screen for an uncomfortable, can’t-look-away viewing experience. Nicolas Cage is reliably unsettling, and star Maika Monroe turns in a bold and commanding performance. From top to bottom, Longlegs is an exceedingly well-crafted film.

FROM THE WORLD OF JOHN WICK: BALLERINA Starring: Ana de Armas, Gabriel Byrne, Anjelica Huston, Ian McShane, Norman Reedus, Keanu Reeves, and Lance Reddick Director: Len Wiseman NICK From the World of John Wick ... Ah yes, the world of John Wick , where a stab wound is just a minor inconvenience. Jokes aside, this film is exactly what you'd hope it to be. Ana de Armas fits right into the lead role as she shows off her ass-kicking chops, while Chad Stahelski's fingerprints are all over the innovative action set pieces (some of which are among the best in the franchise). Although Eve's (de Armas) origin story goes a touch too long, she grows to cement herself as another character more than capable of carrying this franchise post-Keanu Reeves. ADRIANO Aside from the magnum opus that is John Wick: Chapter 4 , Ballerina (the full name is dumb) is about as good as any film in this franchise. You may say the story is generic, but I'd argue it builds the universe further, diving into the indoctrinating factor of this assassin world. And the action is pure John Wick . It's obvious that series overseer Chad Stahelski had some hand in the reshoots (Keanu Reeves is just here for the trailers), but when Ana de Armas is shooting down an army of henchmen, I don't care when it was shot in the schedule. So, as a franchise fan, I'm satisfied. AMARÚ There’s a self-aware grandiosity that the John Wick franchise pokes fun at that makes it work so well with its bloody violence, and Ballerina ’s second and third acts find a groove to capture that familiar tongue-in-cheek sensibility. I’m glad it did too, because way too often, both the movie and Ana de Armas take themselves much too seriously. The shallow revenge plot and cliché drama have no personality to start, doing de Armas no favors in helping us connect with her character. But luckily, some familiar faces and standout action pulled me back every time I felt myself losing interest. BODE The last time the John Wick franchise spun-off from its titular character’s hellish journey, it was in the form of a not-very-beloved prequel miniseries (The Continental ). So, what about Ballerina ? Well, the good news is that there’s enough in this interquel (particularly in Ana de Armas and its fun action sequences) to keep it watchable, especially in the (Chad Stahelski-reshot) second half. The bad news is that it often feels like a lesser version of a Wick movie due to its by-the-numbers revenge plot and lack of operatic energy. That said, if you’re not asking for a lot, you’ll be satisfied. QUENTIN For all the talk of superhero fatigue, how come no one is mentioning John Wick fatigue? If you love this franchise, Ballerina is more of the same: neon-soaked fisticuffs rooted in frenzied gunfire and well-choreographed knife-play against waves of faceless henchmen. If that is all you want, it delivers. However, if you want character development, a formidable villain, compelling performances, or an engaging story, it would be better to look elsewhere. Ultimately, this is every female-driven Wick ripoff — Atomic Blonde , Kate , and Jolt all come to mind — except it has official Wick branding. For some, that will be enough. For me, flamethrower fight aside… shrug. KATIE I was disappointed by Ballerina . Aside from some very strong action scenes, it's stitched together with dull dialogue, flat performances, and weak character development that should have just been omitted entirely. It begins with a cliché backstory that goes on for too long, and I’d rather it didn’t even attempt to tell emotional backstories if they’re going to be this insubstantial. Ana de Armas is good in the leading role, but her performance doesn’t stand out, and her character is built on the fact that she’s… a girl?! Unfortunately, Ballerina doesn’t add to the franchise, but relies heavily on it.

HARD TRUTHS Starring: Marianne Jean-Baptiste, Michele Austin, David Webber, Tuwaine Barrett, Ani Nelson, Sophia Brown, and Jonathan Livingstone Director: Mike Leigh ADRIANO I've been awaiting the next film from writer/director Mike Leigh, and while Hard Truths doesn't quite reach the heights of his best, it's still a great outing from the filmmaker. Marianne Jean-Baptiste is a force of nature here, especially in the first half, when she performs Leigh's ruthless dialogue with a natural ferocity that made me laugh a lot. The second half dives deep into the darkness that plagues the lead and her family with some unsettling realizations and heartbreaking facts. The ending will leave many unsatisfied with its ambiguity, myself included, but I was really into Hard Truths , overall. AMARÚ Life can truly be weird. Two people can experience the same circumstances, yet have two completely different outlooks on life. Director Mike Leigh’s Hard Truths is a tense look at the misery and joy people choose to carry with them. Marianne Jean-Baptiste is a force of fury that raised my stress levels to all-time highs, but her interactions with her life-affirming sister and two nieces (Michelle Austin, Sophia Brown, and Ani Nelson) poignantly make you ponder how you regard yourself and your relationships. Hard Truths is a bit overbearing without any true destination, but its performances provide genuine introspection and depth. PAIGE The truth about Hard Truths is that writer/director Mike Leigh gets the most out of his actors, particularly Marianne Jean-Baptiste, who excels in her portrayal of Pansy. She is able to masterfully express unfiltered sadness, frustration, and depression through the discourse. However, although this character-driven drama of generational anguish and rage is aided by the film's slice-of-life narrative approach rather than a structured premise, it doesn't have the necessary character layers for the audience to relate on a deeper level. KATIE Through the juxtaposition of two sisters’ lives, Mike Leigh’s Hard Truths presents a heartbreaking portrait of what clinical depression can look like as it seeps into every aspect of one's life, yet not without flashes of the director’s darkly comedic wit. Marianne Jean-Baptiste’s performance as Pansy is simply ferocious. She spits venom at those closest to her and seethes with unforgiving misery and an unabating sense of agitation, but also a heartbreaking awareness that she is struggling deeply and has been for a long time. The film doesn’t provide a satisfying resolution, but the stellar performances speak for themselves. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

SPIDER-MAN: NO WAY HOME Starring: Tom Holland, Benedict Cumberbatch, Zendaya, Jacob Batalon, Jon Favreau, Alfred Molina, Willem Dafoe, Jamie Foxx, Benedict Wong, Tony Revolori, Marisa Tomei, Angourie Rice Director: Jon Watts QUENTIN It’s damn near perfect. That’s it. That’s the review. NICK Marvel had a tough task ahead of it with this film. Anticipation was through the roof due to casting rumours, and it had to contend with what’s been a lackluster start to Phase 4. All of that considered, this is a difficult film to critique. Fan service and nostalgia aside, it’s an authentic Spider-Man story, blending the right recipe of electric action sequences and grounded humour that the franchise is known for. It’s also a great chapter in the arc of Peter (Tom Holland) and MJ (Zendaya), which is easily the MCU’s best love story. Kudos all around. JACOB No Way Home finds the MCU back in fine form after suffering a misstep with Eternals . But while the film succeeds in its execution, it lacks some of the other Spidey films’ storytelling efficiency. In trying to do so much all at once, the story stretches itself a little thin, filling the space with either jokes or fan service – both of which work – but mostly at a surface level. That said, this is certainly more cohesive and fun than Far From Home , the heart on its sleeve is palpable, and it’s far more emotional than I was expecting. ADRIANO No Way Home is a Spider-Man movie that delivers in every way it possibly could have. While the narrative struggles a bit in the first act, it somehow is able to walk the line between coming-of-age story and superhero epic, resulting in a movie that is both badass and sweet. It has a surprising amount of heart to it too, with some moments being truly emotional, and while there is a lot of fan service, it never once felt like it was there for its own sake. All said and done, it’s an incredible movie. PAIGE Dude… No Way Home swings headfirst into the multiverse as possibly one of the greatest entries in the MCU! The film has some predictable moments and could have been a bit more suspenseful, but it’s full of heart and emotion. It’s also epic to see Willem Dafoe, Alfred Molina, and Jamie Foxx back as the OG villains, forcing MCU Peter (Tom Holland) to confront a past that’s not his. Oh, and let’s not forget that director Jon Watts makes his strongest entry yet behind the camera! Whichever universe you are from, never forget that with great power comes great responsibility. AMARÚ Given the hype and expectations, you enter No Way Home anticipating the weightiness of Endgame , but are quickly reminded that everyone involved has a strong handle on this Spiderverse’s identity. The coming-of-age approach that carried the series’ first two films is refined to produce the grandest, yet most personal, MCU-Spidey story, not to mention Tom Holland’s best performance as Peter Parker. Yes, there is plenty of fan service, but every bit is earned with paralleled emotional weight. This is easily a Top 5 MCU film and arguably the coolest Marvel movie ever made. JOSEPH There’s little more I can say about Marvel’s newest Spider-Man film other than it’s pretty great! It’s hard to go into detail as to why it’s one of the MCU’s best without delving into spoiler territory, but while it may be grandiose and epic, there are also plenty of personal and grounded stakes as well. The humor and in-jokes can be a little tacked on at times, but it’s never too distracting. Thanks to some daring and bold choices, Tom Holland and Marvel have Spider-Man fully realized in this film, further showing their ability to blend spectacle with meaningful stories.

HONK FOR JESUS. SAVE YOUR SOUL Starring: Regina Hall and Sterling K. Brown Director: Adamma Ebo AMARÚ Honk For Jesus. Save Your Soul. ’s subject matter is one that epitomizes “if you know, you know.” Directing/producing duo Adamma & Adanne Ebo address the sometimes swept-up transgressions of the Black church in a way that still feels empathetic and loving, but it’s the knockout performances from Sterling K. Brown and Regina Hall that carry the authenticity with a powerful balance of satire, subtlety, and intensity. The movie as a whole leaves you wanting more closure in the storytelling and more levity in it’s dark comedy leanings, but watching two enthralling performances for 100 minutes will keep you entertained. QUENTIN I’m sure some people will find Honk for Jesus. Save Your Soul. to be a hilarious takedown of religion and megachurches, but for me, someone who watches The Righteous Gemstones and has seen other similar satires, its jabs are more than just a little tired and never quite as sharp as the writers think they are. On the plus side, Sterling K. Brown is magnetic as disgraced pastor Lee-Curtis Childs, but if the only things I’ll truly remember are that Childs’ suit game is on point and that Brown is surprisingly shredded like a superhero, that doesn’t say much for the movie as a whole. JACOB Satires are difficult to nail down, which is why Honk for Jesus. Save Your Soul. probably deserves a little more credit than I’m likely to give it as one of 2022’s hidden gems. While the sendup of megachurch culture does boast dynamic performances from Sterling K. Brown and Regina Hall, it fumbles when reaching for something more sincere underneath the comedic tone. Balancing satire between blistering and tragic often leaves a film struggling to commit to either, this being no exception. It still mostly works, but feels somewhat emotionally hollow, rendering its more pensive second half difficult to fully embrace.

BOYS GO TO JUPITER Starring: Julian Glander, Janeane Garofalo, Tavi Gevinson, Elsie Fisher, Grace Kuhlenschmidt, Julio Torres, Joe Pera, Miya Folick, Sarah Sherman, Cole Escola, Max Wittert, Chris Fleming, Eva Victor, River L. Ramirez, and Demi Adejuyigbe Director: Julian Glander BODE The one thing undeniable about Boys Go to Jupiter is that you won’t see much like it this year. Julian Glander’s debut feature captures teenage isolation, as well as the monotony of “grindset” culture, with a good amount of idiosyncratic charm and subtle melancholy. It’s made all the more unique with its plasticine-looking 3D animation (created entirely with Blender), unexpected musical numbers, and eccentric voice work from a surprisingly large cast. I do wish it meandered less in the back half and that its ending left more of an impact, but this is overall still worth a watch. ADRIANO Boys Go to Jupiter is a strange experiment that, if I overheard someone saying they hated it, I'd partially understand why. As for me, despite its cookiness, I was bizarrely endeared. The animation is not “good” in the traditional sense, but the colours and personality worked for me. Narratively, it's mostly just a series of bits taped together to form a story, but the appeal of the film is primarily vibes. And in terms of vibes, it delivers with sincerity. Again, this isn't a slam dunk, but I found it enjoyable.

MEAN GIRLS Starring: Angourie Rice, Reneé Rapp, Auli’i Cravalho, Jaquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Tina Fey, Jon Hamm, and Tim Meadows Directors: Samantha Jayne and Arturo Perez Jr. NICK If you’re going to remake a film that was released in the 21st century, you need to offer me something new. With Mean Girls , that offer is solely a transformation into a musical with relatively forgettable songs. Beyond that, it’s just a retread of the original with a perfectly fine new cast who, aside from Jaquel Spivey’s take on Damian, don’t outdo their predecessors. All of it has a very Disney Channel Original Movie vibe. With fresh eyes, those new to the films may have differing thoughts, but if you’ve seen the 2004 version, there just isn’t enough new here to warrant checking it out. CALEB If being a musical is the only thing justifying the existence of Mean Girls (2024), then it probably should’ve had some better songs. There are about a dozen musical numbers in this broadway adaptation, and none of them are memorable. The singing isn’t terrible, but the dancing and cinematography are wildly underwhelming. The script was also a lot tamer than I was expecting, relying mostly on jokes from the original. While it isn’t awful, it’s pretty tough to recommend a musical without any good music. I wanted to enjoy it, but this new Mean Girls isn’t very fetch. AMARÚ I don’t blame the Mean Girls’ actors for the numerous times I said “you’re no Amanda Seyfried/Amy Poehler/Lacey Chabert”. I blame writer Tina Fey (who was somehow no… Tina Fey) for not understanding that good remakes don’t recycle story beats without earning it with something original. Nor do good musicals give their leads the blandest musical numbers. I do recognize that Auli’i Cravalo and Jaquel Spivey wholly understood those facts, so two reels go to them. Plus another half reel because along with Reneé Rapp, they had to carry the second half of Fey’s carbon copy script on their backs. ADRIANO As someone who loves the 2004 original and is a huge fan of musicals, Mean Girls should've been right up my alley. Unfortunately, this remake is a lazy carbon copy where everything is worse. Other than an entertaining Reneé Rapp, there was nothing to take away from this film beyond seeing actors poorly recreate well-known scenes and some forgettable songs accompanied by MTV-like musical numbers. I was genuinely taken aback when I found out Tina Fey wrote this. I don't know what happened, but she must have forgotten what made the first film so timeless.

ANNETTE Starring: Adam Driver, Marion Cotillard, Simon Helberg, and Devyn McDowell Director: Leos Carax JACOB Anyone familiar with director Leos Carax will immediately understand that the most conventional transgression of Annette is just how unconventional it is. The Holy Motors filmmaker has crafted such an unusual musical that it's sure to inspire a few walkouts, but one can't help but admire his commitment to the bit. However, just how much of that bit one can stomach will vary (sometimes wildly). For my part, I enjoyed the overlong film's innate weirdness. Although I respect it more than I like it, I can't say I didn't ultimately get swept up in the intrigue. Approach with caution. JOSEPH Annette is an English language opera set in modern times, and it's a little less unique than you'd hope. The performances are good and the singing is fine, even beautiful at times, but there is a sense of grandiose that is missing. Operas should feel larger than life, and Annette just doesn't, even though it boasts fantastic production design and cinematography. If it wasn't so strange at times, it'd be easy to write the film off as boring. In a way, being strange is the film's saving grace.

I'M STILL HERE Starring: Fernanda Torres, Fernanda Montenegro, and Selton Mello Director: Walter Salles ADRIANO I'm Still Here is a powerful history lesson and a tragic family drama wrapped into one wonderful film that sheds a devastating light on the Brazilian military dictatorship of the 70s and pays homage to those who resisted. While some of the images and details can be hard to watch, at the heart of the film is the impact on the central family, which makes way for some emotionally devastating and cathartic moments, led to perfection by Fernanda Torres. It goes on just a little too long, but I was fully enamoured by I'm Still Here . AMARÚ I’m Still Here is a tragic and heartfelt film that highlights the lesser examined side of when corrupt governments fracture families. Director Walter Salles focuses on the familial bonds before, during, and after the forced disappearance of the Paiva family patriarch, and when I say you couldn’t tell me that ensemble wasn’t actually related, I promise you it felt as if I was sitting at my own family’s dinner table. Led by Fernanda Torres’ commanding performance, each cast member does the real-life Paiva family justice, portraying them with authenticity, love, and a powerful connection that made this true-life story that much more devastating and hopeful. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.