THE GREATEST HITS Starring: Lucy Boynton, David Corenswet, Justin H. Min, Austin Crute, Retta, Nelly Furtado, Tom Yi, Jenne Kang, and Andie Ju Director: Ned Benson KATIE The concept of The Greatest Hits is far more compelling than its execution because it never commits to the interesting idea at its core, treating it as an obstacle rather than exploring its potential. We also aren't given enough time with protagonist Harriet’s (Lucy Boynton) former boyfriend, so I didn’t care about him or understand her infatuation with their relationship. As soon as the new love interest (Justin H. Min) is introduced, it's obvious what will happen; however, he and Harriet lack romantic chemistry, which is a shame since I can forgive pretty much anything in a romance if the leads have a strong connection. PAIGE The Greatest Hits is a great love letter to the power of music, but as a love story, it falls flat. Even though the movie doesn't spend much time establishing the concept, it was probably necessary so that the story could add weight to the heavy themes of pain and loss. The general beats of the plot feel a bit out of tune despite there being some touching, sentimental moments strewn throughout the film. All in all, The Greatest Hits is a charming yet unsatisfying romance movie.

GOOD LUCK TO YOU, LEO GRANDE Starring: Emma Thompson, Daryl McCormack Director: Sophie Hyde JOSEPH Good Luck to You, Leo Grande has everything going for it and it delivers on every level. It is an intimate character piece that focuses solely on its two leads, yet it never feels lacking. Some may find the film too dialogue heavy, but I loved it. Not enough films are done this way. It’s a uniquely bold film with the sole intent of challenging taboos and de-stigmatizing sexuality. It’s one of the better films I’ve seen this year despite its simplicity. JACOB Good Luck to You, Leo Grande doesn’t really stand out on a technical level, though truthfully, that’s likely more due to it being a Covid-conscious production than anything else. What it does do is illuminate those unfamiliar with the realities of sex work to some of its more positive benefits rather than focusing solely on its dangers. The thoroughly nuanced conversations between co-stars Emma Thompson and Daryl McCormack make up nearly the entire runtime, and the two have a palpable bond from the moment they meet. Luckily, that bond is enough to see the film through to the finish line.

THE THING WITH FEATHERS Starring: Benedict Cumberbatch, David Thewlis, Richard Boxall, and Henry Boxall Director: Dylan Southern QUENTIN I admit my thoughts on The Thing with Feathers may be a little biased because my mother passed away earlier this year, but this unsubtle metaphor about grief and loss worked for me despite some pretty notable flaws. To be fair, it’s easy to overlook said flaws when Benedict Cumberbatch gives such an emotional performance. That said, the film is a tonal mishmash, jumping from emotionally heavy drama to jump-scare horror to even unintentional comedy at the drop of a hat. This could easily undercut the story for some people, but for me and my personal context, I found it to be rather cathartic. KATIE Grief is the Thing with Feathers is a book that’s very close to my heart, so I went into The Thing with Feathers feeling very defensive over the story. Thankfully, Dylan Southern’s adaptation takes a wonderfully honest approach to the source material, not over-explaining the presence of the Crow, voiced perfectly by David Thewlis, and remaining true to the fragmented narrative of the book. Crow has a costume design that’s nightmarish but also theatrical, and I loved the use of drawing to portray Crow’s effect on Dad, played brilliantly by a grief-stricken Benedict Cumberbatch. Overall, it’s beautifully gruesome and very affecting. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

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.

X Starring: Mia Goth, Jenna Ortega, Martin Henderson, Brittany Snow, Scott Mescudi, Owen Campbell, and Stephen Ure Director: Ti West ADRIANO X is an absolute blast! The first half of this movie is a fun, raunchy, 70’s bop, and all the performances are pitch perfect for the tone it’s going for. It also builds some great tension. The second half is when shit goes down. As a massive slasher fan, I was definitely delighted by the creepy and brutal direction the film took. Writer/director Ti West’s slow building tension made me want to look away, but for the life of me, I couldn’t because I was so desperate to know what would happen next. NICK We often talk about films’ ability to transport us to a different time. Well, writer/director Ti West succeeds on that in droves with X . This film feels like it was filmed in the 70s thanks to its attention to detail and shooting style. In fact, the setup and slow burn are so well done that when things go off the rails later in the film, it lost that authentic feel for me a little. Saying that, the film is still an admirable entry into the horror genre, boasting some great performances and some good ol’ southern-fried murder.

THE OLD WAY Starring: Nicolas Cage, Ryan Kiera Armstrong, Noah Le Gros, Clint Howard, Shiloh Fernandez, Nick Searcy, and Abraham Benrubi Director: Brett Donowho QUENTIN As far as westerns go, The Old Way is nothing remarkable, playing out like a dime store True Grit knockoff, but it’s not a total loss. Tonally, it’s kinda weird, randomly bouncing from jaunty to menacing, an issue made even more noticeable by the conflicting musical choices. However, the performances, while not career-making, are better than what a straight-to-VOD movie in January deserves, and the chemistry between Nic Cage and Ryan Kiera Armstrong carries the movie enough to make it a decent, if forgettable, watch. All that said, it admittedly feels like a movie left over from before Cage’s comeback. DARRYL The Old Way delivers nothing new or exciting, nor does it elevate the Western genre in any meaningful way. It’s a rote story that fails to take any risks or deviate from its straightforward storytelling, making the 95-minute runtime a sweet blessing. It’s also hindered by a hammy screenplay that borrows from some of the greats without adding its own flavor, which makes for a clichéd by-the-numbers story that was a dime a dozen in the 1950s. In a role unsuited to his talents, Nic Cage’s wooden performance is only slightly balanced by the gleeful nature of Noah Le Gros’.

GODZILLA MINUS ONE Starring: Ryunosuke Kamiki, Minami Hamabe, Yûki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, Kuranosuke Sasaki, Miou Tanaka, Yûya Endô, Kisuke Iida, and Sae Nagatani Director: Takashi Yamazaki CALEB Minus One understands Godzilla . Director Takashi Yamazaki harkens back to the original 1954 film Gojira , telling a profound story that celebrates the resilience of the human spirit when faced with the devastation of war. It delivers jaw-dropping spectacle, that’s made even more impressive once you factor in its relatively small budget. Godzilla looks phenomenal, with the VFX properly utilizing weight and scale to make him feel larger than life. Outside of some pacing issues, I had very little to complain about. With terrifying monster mayhem, and a genuinely touching human story, Minus One is the movie Godzilla fans have been waiting for. QUENTIN For a person who is Godzilla agnostic, Minus One has essentially the same issue that every other Godzilla movie I’ve ever seen has, namely too much focus on the human characters. In this case, that extra focus makes for a movie that starts too slowly and is about 20 minutes too long (not to mention the somewhat cowardly ending). That said, when we finally get to the kaiju action, it’s remarkable, exhilarating in ways I’m not sure a Godzilla movie ever has been. It’s still a good movie, don’t get me wrong, but it was *this close* to being one of the best movies of the year.

THE BURIAL Starring: Tommy Lee Jones, Jamie Foxx, Mamoudou Athie, Jurnee Smollett, Alan Ruck, and Bill Camp Director: Maggie Betts NICK I’ve always been a sucker for a courtroom dramedy, so The Burial certainly had my interest. Plus, after Jamie Foxx’s resurgent turn in They Cloned Tyrone , I was curious to see if he was back -back. Oh, he’s BACK. Foxx is electrifying every second he’s on screen, which is only enhanced by the quiet demeanor of Tommy Lee Jones. Together, the pair had me fully invested in their case as it went through ups and downs. Yes, it’s a little formulaic, but that’s forgivable when bolstered by good performances and solid storytelling, which is exactly what The Burial supplies. ADRIANO I didn't fully know what I expected out of The Burial , but it wasn't this. I'm not saying it's unlike anything out there (believe me, that's not the case), but I wasn't expecting something this funny to hold this much weight. Tommy Lee Jones is mostly just being Tommy Lee Jones (not bad, just expected), but Jamie Foxx and Alan Ruck are particularly hard to keep my eyes off of. This is a breezy watch, for sure, but the dramatic depth this film had in its storytelling caught me off guard and left me emotionally satisfied. PRESTON The Burial makes sense as a straight-to-streaming release since it won’t blow your socks off while providing a feel-good win for the “little guy.” Tommy Lee Jones plays his role with a quiet assuredness that probably accurately reflects the affect of the real-life person he portrays, but still comes across as a little flat. The “inspired by true events'' story is already a win, but there was little added to bolster the appeal…except for the addition of Jamie Foxx. The talented actor is ELECTRIC, and his singular performance provides the emotional substance that makes the film a recommended watch. AMARÚ I went into The Burial anticipating a legal thriller, but left having experienced what wanted to be a feel-good dramedy. It has an unexpectedly charming energy that’s carried by Jamie Foxx’s second top-tier performance since June (They Cloned Tyrone being the other). However, while I enjoyed the film, it relies too heavily on that energy to the detriment of genuinely exploring any of its themes. From the courtroom battles to the racial undertones, many scenes and performances feel like shortcuts to the next applaud-worthy moment, and it’s a shame that much of this great cast and healthy story seem downsized to prop up emotional platitudes. QUENTIN If not for Jamie Foxx’s charismatic performance, I suspect that The Burial would be a serviceable but forgettable courtroom drama. Don’t get me wrong, Tommy Lee Jones is good too, especially as he plays the somber straight man to Foxx’s brilliant flamboyance, but the court case at the center of the film feels a little vanilla despite touching on weighty themes of race and one percenters v. the poor. It’s decent enough as a functional crowd-pleaser, but it could have used a bit more gravitas to make the messaging hit harder. Still, for a straight-to-streaming release, it’s worth watching, particularly for genre (or Foxx) fans. KATIE The Burial really surprised me. It’s feel-good and humorous, yet still an engaging and fast-paced courtroom drama with some timely and significant themes. I was fully invested in the relationship between the protagonists, Jeremiah O’Keefe, played by Tommy Lee Jones; and Willie E. Gary, portrayed by Jamie Foxx with an inspiring and electrifying performance. Their shared values and honourable fight against an unethical corporation are heart-warming and easy to root for, making for a crowd-pleasing and unquestionably entertaining film. PHILL The perfectly cast Jamie Foxx absolutely shines, commanding every scene and stealing the entire show in The Burial. Despite hitting the all-too-familiar story beats of a courtroom drama, there remains an undeniably wholesome charm to this film that you can’t help but root for the underdog as they take on the stereotypical super-rich one-dimensional villain. Granted, the pacing feels a little sluggish, and it could have probably dove a little deeper into some of the heavier subject matter; however, the courtroom scenes are always exceptionally engaging, as is the dynamic between Jamie Foxx and Tommy Lee Jones. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

CONFESS, FLETCH Starring: Jon Hamm, Marcia Gay Harden, Annie Mumolo, Kyle MacLachlan, Lorenza Izzo, John Slattery, Ayden Mayeri, and Robert Picardo Director: Greg Mottola JACOB Having never seen the other Fletch films or read the books, I can’t speak to whether Confess, Fletch is a faithful adaptation or a working translation from era to era. What I can speak to is how Miramax and Paramount absolutely dropped the ball on marketing it, because this movie is an absolute delight. The mystery is somewhat so-so as mysteries go, but it’s also not really the point. Jon Hamm is hilarious as the title character, and there’s all manner of bit parts that dial up the funny, especially when Marcia Gay Harden or Annie Mumolo are on screen. QUENTIN While Confess, Fletch isn’t quite good enough to have been a theatrical hit, it features enough humor and throwback charm to have been a success for a major streaming service. Although not fantastic, it deserved better than to be quietly dumped on VOD. It’s rarely laugh-out-loud hilarious, but Jon Hamm proves he can deliver snappy one-liners with the best of ‘em, even if they are mostly just chuckle-worthy. Meanwhile, the mystery, though convoluted, will keep you interested. For better of worse, it feels like the classic 80s movies, and it could have been an inexpensive franchise starter for Netflix or Hulu. I’d certainly watch another one.

THE ADAM PROJECT Starring: Ryan Reynolds, Walker Scobell, Jennifer Garner, Mark Ruffalo, Zoe Saldana, and Catherine Keener Director: Shawn Levy NICK Following the success of Free Guy , director Shawn Levy and star Ryan Reynolds bring us another success with The Adam Project . It’s not quite as comedic as their previous effort though, as this one delves more into a surprisingly emotional family story. Still, newcomer Walker Scobell has some great comedic moments amongst an A-list cast who do a lot of the heavy lifting for him. However, the film isn’t flawless. Catherine Keener feels miscast and it has notes of family film cheesiness, but it still makes for a fun Netflix blockbuster. We’re two films into the Levy/Reynolds partnership and so far, so good. PAIGE The new dynamic duo of director Shawn Levy and actor Ryan Reynolds are back with The Adam Project , their brand new sci-fi adventure film. This flick harkens back to the cheesy-but-fun Amblin films of the 80s, mixing the emotional elements you would expect with Ryan Reynolds' razor sharp sarcasm. Furthermore, Walker Scobell was perfectly cast as a younger version of Reynolds’ character. This is just one of those movies that will make you want to call your family right after seeing it and tell them you love them! AMARÚ The Adam Project is simply awesome; not because the action is thrilling, or because the stacked cast is all in with each role, or because the effects are surprisingly refreshing for today’s go-to sci-fi trope (time travel/multiverses). While all of those things are true, it’s because Walker Scobell (Young Adam) brings the heart of the entire film together. His chemistry with Ryan Reynolds (Big Adam) brings new life to the Ryan Reynolds-ness of it all (that makes sense, right?). The Adam Project is just a good ass time, and the sweetness of the relationships are what make it a good ass time. JOSEPH I’m not exactly sure what I expected from The Adam Project . I guess something along the lines of an Amblin-style, coming-of-age adventure flick. While it does have some of that, it lacks a sense of wonder. I expected a little more use of sci-fi elements and technology, but it just wasn’t present enough for my taste. For better or worse, Ryan Reynolds brings his trademark charm, while Walker Scobell is annoyingly perfect at emulating it. Still, The Adam Project boasts some spectacular and heartfelt scenes that make it fun and worthwhile.

WAR MACHINE Starring: Alan Ritchson, Stephan James, Esai Morales, Dennis Quaid, Jai Courtney, Blake Richardson, Daniel Webber, Keiynan Lonsdale, and Alex King Director: Patrick Hughes AMARÚ You can’t help but root for Alan Ritchson. So much so that he makes a movie that unsuccessfully tries to blend two different, individually predictable movies together watchable and enjoyable. The character-driven war movie about redemption is much better than the video-game-like sci-fi battle against extraterrestrials, but both are carried by Ritchson and the likable supporting cast. They help offset some wonky script decisions, and the energetic pacing breezes through low-rate visual effects. Ultimately, your leash with War Machine goes as far as your fun-meter’s ability to be forgiving. KATIE War Machine is utterly absurd, but I can't deny that it’s entertaining. It begins as a standard military action-drama that is so predictable and stereotypical that it borders on satirical, before truly committing to being as ridiculous as possible. There is no logic to the intense violence, to why characters spend excruciating amounts of time watching threats approach them, or the terrible script that mostly consists of isolated one-liners. But, Alan Richardson makes a great action hero, and although War Machine is nothing special overall, it's fun watching him have it out with a killer alien robot. ROBERT When aliens are the initial expectation, whether as antagonists or as a theme for a larger message, the plot tends to be more accepted. As opposed to when it feels tacked onto a film’s second half to create a wild tonal shift from what could’ve been an interesting war drama. War Machine (not about Don Cheadle’s James Rhodes) reminded me of so many extraterrestrial films where our inroad to the story is only through the American military, but each of those efforts had better scripts and more enthralling characters. Even with Netflix money, it was Sci-Fi Channelesque in quality; Transformers meets Predator but unimaginably incohesive. BODE Perhaps the first sign of War Machine ’s generic nature comes through in its title, since there was already a 2017 Netflix movie starring Brad Pitt with that exact same name. This isn’t satirical like that movie was, though with how much macho military worship is on display, you’d almost be mistaken. As it shifts into its Predator -style man vs. machine premise, this Netflix actioner eventually becomes more tolerable, with clear enough action setpieces and a capable (though oddly uncharismatic) lead in Alan Ritchson. It’s forgettable junk cinema, but it goes down easy enough.

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.