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CODA Starring: Emilia Jones, Troy Kotsur, Marlee Matlin, Daniel Durant, Eugenio Derbez, Ferdia Walsh-Peelo, Amy Forsyth Director: Sian Heder JACOB CODA is one of the most heartwarming films of 2021 and a landmark achievement for the representation of deaf actors in Hollywood. Moment to moment, writer-director Sian Heder’s brilliant script is having the conversation that no one else in Hollywood seems to be having at this scale, which makes the film easy to get lost in and impossible to stop thinking about. Star Emilia Jones absolutely nails it as Ruby Rossi. Her vocal and physical performance sells every minute of her character's journey, and the supporting cast is right there matching her every step. It's a wonderful experience. ADRIANO CODA is a hard film not to fall in love with. Writer-director Sian Heder’s film explores a community of people that is rarely represented on film, while also touching on themes of family and love. The entire ensemble is wonderful, with Emilia Jones shining bright and Troy Kotsur, Marlee Matlin, and Daniel Durant speaking volumes without saying a single word. The film is both funny and heartfelt, and it just makes you feel warm while watching it, especially the third act. Yeah, I cried. Twice. CODA truly is a feel-good movie that is easy to watch over and over again.

PET SEMETARY: BLOODLINES Starring: Jackson White, Forrest Goodluck, Jack Mulhern, Henry Thomas, Natalie Alyn Lind, Isabella Star LaBlanc, Samantha Mathis, Pam Grier, and David Duchovney Director: Lindsey Anderson Beer This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. NICK If you're looking for Pet Sematary: Bloodlines to justify its existence, it doesn't. It's pretty much a rehash of the original story of Ludlow with a different coat of paint. Having said that, as a standalone horror, it's a nice introduction for a new generation to the Pet Sematary concept. Even if you aren't new to the franchise, there’s still enough thrills and chills here to provide a satisfying watch. The backstory of Jud Crandall (Jackson White) may be unnecessary, but it still makes for a more interesting story than the 2019 remake of the 1989 original. QUENTIN As a huge fan of 1989’s Pet Sematary (it remains one of the scariest movies I’ve ever seen, in fact), the idea of a prequel that explores the lore of the titular graveyard had my attention immediately. However, Bloodlines isn’t really interested in exploring that lore in any meaningful way. Director Lindsey Anderson Beer mostly just throws jump scares, blood, gore, and slight nods to the IP at the screen in hopes that it will be enough. Sadly, it is not. When you pair that with very mediocre acting, you end up with a franchise entry that embodies its most known quote: “Sometimes dead is better.” KATIE Pet Sematary: Bloodlines left me wondering, “who asked for this film?” It gave me the same bad taste that I’ve experienced with many recent horror prequels or reboots. It’s a totally lifeless, uninspired re-telling of the original story, featuring underdeveloped characters and lackluster performances (with the notable exception of Isabella Star LaBlanc). The film rests on relationships between lifelong friends, as well as fathers and sons; however, we never explore their emotional bonds, and therefore have no reason to be invested in them. This franchise did not deserve to be resurrected. CALEB Pet Sematary: Bloodlines is a lifeless prequel that loses all the terror the original film brought to the table. Pet Sematary (1989) worked so well because it was simple, with the draw of the story coming from the characters and their choices. The cemetery itself was just a plot device; we didn’t need a movie about its origin story. Bloodlines is needlessly complicated and entirely aimless, and it seems disinterested in exploring loss in any meaningful way, choosing instead to bore its audience to death with terrible characters and convoluted world-building. Just like everything else in the pet sematary, this franchise should’ve stayed dead. PHILL Pet Sematary: Bloodlines might just be a serious contender for dullest movie of the year. This uninspired horror has nothing going for it, outside of some very cheap gore effects (most of which are done off screen) and extremely predictable jump scares. To top it off, every single performance in this film is completely wooden; however, in the actor’s defence, the script is so weak that they had very little to work with, anyway. Sadly, there is not a single redeeming quality in Bloodlines that makes this film worth watching. The entire film is as generic as the title.

NOW YOU SEE ME: NOW YOU DON'T Starring: Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, Rosamund Pike, and Morgan Freeman Director: Ruben Fleischer ADRIANO I'm approaching Now You See Me: Now You Don't as someone who didn't like the other two, but aware that others really like them. With that, I found it as messy as the other films, with some additional bloat due to all the new characters. Simply put, I didn't find it that enjoyable, aside from Rosamund Pike's over-the-top campy villain. As a bonus, the big twist made me wonder if everything I saw was a waste of time. That said, I also didn't think it was especially better or worse than the others, so if you're excited, I can't imagine you won't enjoy yourself. AMARÚ I’ll always watch these silly magic movies no matter how dumb. But even though I had some fun with Now You See Me: Now You Don’t , it’s clearly a product of diminishing returns. Between its surface-level plot and the “gee whiz look at this” dialogue underselling a more than capable ensemble, this is the first entry where trying to dazzle the audience was more important than making a competent movie. What’s worse is that the end reveal showed promise of the good film it could’ve been. Too bad the build up didn’t trust the audience or cast enough with a more intelligent story.

THE WILD ROBOT Starring: Lupita Nyong’o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Mark Hamill, Catherine O’Hara, Matt Berry, and Ving Rhames Director: Chris Sanders NICK Sure, the trailers made The Wild Robot look visually stunning, but they did nothing for me story-wise. I certainly wasn't expecting it to be the best DreamWorks Animation effort in 20 years, but that's exactly what it is. The breathtaking animation pairs wonderfully with Lupita Nyong’o's vocal performance as Roz. Part Baymax, part droid, Roz is one of the richer animated characters we've seen in some time. Much like DreamWorks' Shrek franchise, she is surrounded with instantly memorable and funny side characters. For a film about coming together and forming unlikely friendships, this is crucial to make the story work, and it does so in spades. ADRIANO The Wild Robot is... it’s solid. The animation is stunning to look at, the score by Kris Bowers is fantastic, it's got a good heart, and its themes of community are genuinely effective. A lot of the movie works, but the overall story is very generic and not that different from other Dreamworks movies. I even found some plot threads to be pretty rushed - for instance, the motherhood storyline - while endearing, I think it’s a little underdeveloped for me to fully feel what it wants me to feel. The Wild Robot is inoffensive and really good even, just nothing special. AMARÚ The Wild Robot makes many hilariously irreverent jokes about the treacherous reality of Mother Nature, and it’s juxtaposed very well to its heartfelt themes of belonging. Yet, it suffers from not fully committing to how it delivers those themes. At first, I thought “oh, we’re getting Wall-E vibes,” but a second later, it was off on a race that never let up. Many plot points come and go without reaching the depth it seems to want to explore, and instead of one emotionally discerning story, we get two enjoyable movies that tread across the runtime they’re crammed into. PRESTON The Wild Robot is…cute. It’s an entirely saccharine movie that should meet any young parent’s criteria of being visually engaging and having wholesome messaging. The relationship of step-mother and child between Roz (Lupita Nyong’o) and Brightbill (Kit Connor) is especially heartfelt, but development of other characters is rushed and lackluster, resulting in poor viewer connection. Additionally, the voice acting, with the exception of Ving Rhames and few others, is way too toned down, which detracts from the intended humor and character connections, adding to the sense of overall blandness. A successful and visually rich film for ages 12 and under and their parents. QUENTIN As you may have learned from reading my reviews over the years, predominantly kid-driven animated movies aren’t really my thing. However, The Wild Robot surprised me with its surprisingly adult themes of chosen family, step-parenting, and community. The visuals are, of course, outstanding, but it’s the depth of story and excellent vocal performances that elevate this movie over the likes of feature length toy commercials like Minions and mid-tier Pixar offerings like Onward . Still, though, there is plenty for the youths to enjoy too, making this something parents can watch with their kids without hating life. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

TRAIN DREAMS Starring: Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Nathaniel Arcand, Clifton Collins Jr., John Diehl, Paul Schneider, and Will Patton Director: Clint Bentley ADRIANO Through its hazy narrative structure, which is like watching a collection of memories accompanied by a stunning score from Bryce Dessner, Train Dreams emerges as one of 2025's best films. Featuring a career-high performance from Joel Edgerton, director/co-writer Clint Bentley takes audiences through the stunningly shot life of an early 20th century labour worker, through the highs and devastating lows. It's an emotional tour de force, showcasing tender meditation and powerful perseverance; you won't find a film that balances stark realism with an alluring dream-like atmosphere like this. If you can get on its wavelength, Train Dreams will stick with you. NICK Watching Train Dreams is like exploring a museum. The cinematography is akin to watching a painting move across the screen, the storytelling is straight out of a poem, and it's all coated in history as it moves through the evolution of the world in the early 20th century. Although Joel Edgerton's performance isn't flashy, it's exactly what this film needs, along with the pitch-perfect narration from Will Patton. There are moments the title can be taken too literally — as it almost feels like a lullaby at times — but Train Dreams ’ overall achievement in filmmaking won out, and frankly, impressed me. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

BLACK BAG Starring: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan Director: Steven Soderbergh ADRIANO Who's Afraid of Virginia Woolf? but with spies? Yeah, bring it on, because Black Bag is pretty great. Director Steven Soderbergh is very hit or miss for me, especially as of late, but I can safely say this is my favourite of his in quite some time. Granted, some of the grand espionage stuff lost my interest at times, but when the film focuses on its personality-driven domestic storylines with its cast of very interesting characters, I was completely locked in. Dialogue is the film's weapon, not action or spy gadgets, and Soderbergh's deft hand drives it to whole new heights. PAIGE Black Bag is Steven Soderbergh‘s version of Mr. & Mrs. Smith , offering a unique perspective of the spy genre by focusing on the character’s personal dynamics rather than high-stakes action. However, despite its sleek and suave appearance, this espionage film is often dull and lacking in tension. It may be a tight mystery thriller, but it needed more substance to paint a clearer picture of the overall story we're thrown into. There just wasn’t much to rope me into the story besides Michael Fassbender’s and Cate Blanchett’s performances. QUENTIN Following up the very good supernatural drama Presence with espionage thriller Black Bag might prove that director Steven Soderbergh is back because Bag is easily his best movie since Ocean’s Eleven . An action-free affair, which might sound boring but is anything but, this is a tense and taut movie for grown-ups that is built on tremendous performances, precise dialogue, and well-played reveals. In many ways, it’s like Soderbergh blended Tinker Tailor Soldier Spy with the Ocean’s franchise, with the impeccable score especially recalling the well-loved heist movies. Plus, with a brisk 90-minute runtime, it never overstays its welcome like the laborious Tinker . Great movie. NICK Although he has had a successful career, the recent works of director Steven Soderbergh have been a mixed bag (no pun intended). He may be back, though, as he takes what looked like an obvious Mr. & Mrs. Smith -style film and presents something far more interesting. It's a beautifully filmed, well-acted, and expertly written story that will genuinely keep you guessing throughout. Although not overtly crass or sexual, this is an "adult film" thanks to a maturity rarely seen. It can find levity in its laughs and romance, but they’re sprinkled throughout tension you could cut with a knife. BRYAN One thing to commend director Steven Soderbergh for is his eclectic range as a storyteller, especially with Black Bag , a tribute to the classic spy espionage thrillers of the 1970s. Cate Blanchett and Michael Fassbender headline the sexiest and most ferocious ensemble of the year thus far, and while there are plenty of tension-filled moments, I was left at a distance by the end. I love a breezy 90-minute runtime, but all the resolutions come too quickly, resulting in everything feeling rushed in the long haul. I'm very down-the-middle on this one, but it’s one I’m craving to rewatch. BODE Throughout his career, director Steven Soderbergh has displayed a masterful knack of finding new ways of exploring themes and genres he’s fascinated with. He does so again with his latest, Black Bag , where the world of espionage (which he once tackled in 2011’s Haywire ) is used as a backdrop to comment once more on the complicated relationship between love and honesty (which he first examined in 1989’s Sex, Lies, and Videotape ). The results are thrilling, thanks to David Koepp’s tight script, a sensational ensemble and, as always, Soderbergh’s sleek technical craft. As the kids say, we’re so back.

KNOCK AT THE CABIN Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Abby Quinn, Rupert Grint, and Kristen Cui Director: M. Night Shyamalan DARRYL Knock at the Cabin shows that director M. Night Shyamalan still has gas left in the tank because this wonderfully directed and excellently paced movie fires on all cylinders. It’s an apocalyptic thriller that keeps the audience questioning who to believe, which creates an experience that will leave moviegoers thinking after the credits roll. Dave Bautista, Jonathan Groff, and Ben Aldridge are a fine leading trio, while the supporting cast conveys a desperation that makes the tension palpable. Overall, it highlights Shyamalan’s best traits, and it will go a long way to reminding viewers why they fell in love with his movies in the first place. NICK Knock at the Cabin opts for foreboding dread over the typical twists and turns you'd expect from an M. Night Shyamalan film, which makes it all the better. The film still features many of the director’s hallmarks, but he uses them in more subtle ways. This both builds suspense throughout and allows the performance of Dave Bautista, in particular, to really shine through. This is easily Bautista’s most emotionally driven showing yet, as he continues to show his range as an actor. The dialogue can be clunky, and I’m not sure I loved the ending's direction, but Shyamalan has continued his current streak of quality films. AMARÚ Director M. Night Shyamalan immediately sets an eerie tone in Knock at the Cabin . The film’s candidness is informed early on by introducing the movie with increasingly skewed close-ups during a conversation between standouts Dave Bautista (Leonard) and Kristen Cui (Wen). We’re diving headfirst into an unbelievable tale with full conviction. Interspersing the backstory of Wen’s family with the main plot allows us to trust both the doomsayers’ belief in their hellish task and the incredulousness of Wen’s family towards them. The honest cast, intense pacing, and bleak story create one of the more solid thrillers in M. Night’s filmography. ADRIANO However low the bar may be, Knock at the Cabin is not M. Night Shyamalan’s worst movie. He does a good job of building tension via the story’s thin concept, and he offers up a good moral question to boot. Also, it’s well acted across the board (namely Dave Bautista and Ben Aldridge). However, a lot of Shyamalan’s signature faults are here, such as awkward dialogue and bizarre cinematography choices, and all the tension is leading up to an inevitable ending that catches nobody by surprise. I was entertained for the most part, but still a whiff. JACOB Knock at the Cabin may be a complicated movie for M. Night Shyamalan fans to digest. Despite the director’s reputation, this might be his most straightforward movie ever, as well as one of his most bleak. Dave Bautista continues his streak of bringing unexpected humanity to otherwise dark characters, and Ben Aldridge gets a real chance to shine; however, the movie is pretty choppy in its editing, and the constant cutting to flashbacks releases a lot of tension in key moments where it’s needed. Overall, it’s not near M. Night’s top skills, but it’s far from his bottom. PAIGE Knock at the Cabin is a nail-biting home invasion thriller that keeps the tension boiling from start to finish. While it may not be director M. Night Shyamalan’s boldest film, it’s certainly his most grounded. It tackles themes of faith and sacrifice while making you wonder if you could make the decision at hand. Plus, its tight pacing allows the cast to deliver standout performances, especially from Dave Bautista. All that said, it’s definitely the type of film that is more tell than show. Overall, it just felt too straight forward to be an M. Night flick.

THE LAST EXIT Starring: Joely Richardson, Neil Linpow, Sadie Soverall, Harry Cadby, and Roger Ajogbe Director: Matthias Hoene NICK The Last Exit (aka Little Bone Lodge ) is quite the ride. What starts off feeling like a run-of-the-mill home invasion thriller soon becomes something far more interesting. Director Matthias Hoene isn’t afraid to take big swings, and while they don’t all pay off, the attempts should be commended. The film is more than just the sum of its twists, however, as Joely Richardson and Neil Linpow are the ones who really sell the somewhat convoluted script with honest performances. The Last Exit isn’t without flaws – it’s low on rewatch value and drags a little – but it’s bound to keep your attention. KATIE The Last Exit is a tense home-invasion thriller with dark secrets around every corner. From the outset, it establishes an oppressive atmosphere that sets up some interesting alongside questionable family dynamics. Although some of the twists and turns announce themselves a little too early on, the dedicated cast drives the story. Joely Richardson gives a striking performance as the matriarch, transforming effortlessly between being sweetly benevolent and severely unhinged, and Harry Cadby and Neil Linpow’s dysfunctional brotherly relationship brings intense emotional melodrama. It’s not perfect, but it undeniably gripped my attention. PAIGE The Last Exit, also known as Little Bone Lodge , is a dark and intense film that, unfortunately, isn’t thrilling enough to latch onto. Admittedly, it does have a tolerable amount of mystery and enough surprises to keep an audience engaged, but the twists are just not overwhelmingly shocking. The story is lackluster at times due to its pacing, and it’s filled with familiar tropes from a basic script that feels like it’s missing ambition in its concept. That said, the film does manage to excel in its characters and their dynamics. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto After Dark Film Festival.

BLACKBERRY Starring: Jay Baruchel, Glenn Howerton, Matt Johnson, Cary Elwes, and Saul Rubinek Director: Matt Johnson NICK The downfall of BlackBerry is a story I knew a fair bit about, but the rise was a little less on my radar. While this film luckily encompasses the entire thing, it works against the story a bit as interesting details are set aside in favour of dramatic time jumps, which can cause some whiplash. Where this film shines, however, is the performance of Glenn Howerton as Jim Balsillie. He is a powerhouse on screen, and at his best when coming completely unhinged, making the perfect counter to Jay Baruchel's subdued Mike Lazaridis. The two of them carry this to being quite the entertaining film. QUENTIN I love a good rise-and-fall corporate story, something BlackBerry certainly delivers. Tone-wise, it nimbly bounces between Silicon Valley and The Social Network , though the "rise" arc is much stronger than that of the "fall," which is a tad rushed. However, I can’t say enough about the casting. Glenn Howerton is perfect as a hot-headed corporate shark, bringing the same deep-seated rage he has demonstrated on It’s Always Sunny in Philadelphia for 15 seasons, and Jay Baruchel’s natural awkwardness serves his nerdy, “tech guy” character well. It’s not Oscar-worthy, but I wouldn’t be surprised if BlackBerry eventually wins some smaller awards down the line. ADRIANO BlackBerry is a rise-and-fall true story that fascinated and entertained me, yet its lasting impact likely is minimal. The mix of The Social Network , The Big Short , and Silicon Valley vibes work in creating an electric tone that made me laugh, and the ensemble is great, especially a towering performance from Glenn Howerton that is truly unforgettable. However, while the pieces are there, it feels like it’s missing something. Perhaps if we were given a better look at our characters and what drives them, it would have elevated BlackBerry to the level of biopic it aspires to be, but it remains a fun time nonetheless. PAIGE BlackBerry is one of those "based on a true story" films that you watch and quickly forget about. Though it is an interesting rise-and-fall story that benefits from director’s Matt Johnson's honest indie approach, the film begins to lose its charm in the second half. It goes down a predictably conventional route that feels as dated as the actual BlackBerry phone. That said, it features some really enjoyable stuff too, especially Jay Baruchel and Glenn Howerton giving performances that feel different and unhinged, respectively. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

28 YEARS LATER Starring: Aaron Taylor-Johnson, Jodie Comer, Alfie Williams, Ralph Fiennes, and Edvin Ryding Director: Danny Boyle NICK In spite of becoming our resident zombie fan, I've never loved the 28 films. They're good, but they never blew me away. This most recent entry, however, really impressed me with its ambition. Director Danny Boyle has fit what feels like four films into one, all with tonal shifts, and managed to make it work. Although it can certainly be messy, that almost adds to the chaos of the world these characters inhabit. Boyle and writer Alex Garland have taken a dormant franchise, reinvigorated the universe and brought it back to life. Fitting for a zombie film, if you ask me. BODE Even when looking back, Danny Boyle is always looking forward. This was first evident in T2 Trainspotting (underrated), and is evident once more in 28 Years Later , which finds the director and returning screenwriter Alex Garland expanding upon their post-apocalyptic vision with bold formal swings not often seen in mainstream filmmaking (courtesy of cinematographer Anthony Dod Mantle and editor Jon Harris), humanism so sweeping you’ll be tearing up, great performances (Alfie Williams especially holds his own amongst a cast of veterans), and a chaotically beautiful score from first-time composers Young Fathers. It’s a major reinvigoration in nearly every way. ADRIANO I'm not going to pretend 28 Years Later isn't structurally wacky. Writer Alex Garland had plenty of ideas for a sequel, and threw all of them into one movie. Not to the point of feeling like several conflicting movies at once, but in the end, it felt a little messy. So, leave it to director Danny Boyle to make it coherent, while experimenting with wild cinematography and editing choices that simply rock, and yet, still find room for an effective emotional payoff. I'm conflicted about the ending, but I am hopeful for what's to come. ROBERT Everyone always credits The Walking Dead as being the reanimator of zombie media, but 28 Days Later had an eight-year head start that reminded the world of what we admire about pictures centered on the undead. The current iteration jumps us forward a few decades, emphasizing how mangled the UK is while the rest of the world is seemingly untouched. The first half is disorienting, like a mountain climber getting used to high altitude, logically mirroring what Alfie Williams’ Spike is feeling with his first venture to the infected mainland. The second half is more of a straightforward mission before the end pulls the rug out from under you, which would be jarring if it wasn’t so dang beautiful. QUENTIN While watching 28 Years Later , its random flourishes of archival footage, jarring tonal shifts, and a disjointed narrative — not to mention the dreaded “dumb kid making dumb decisions” trope — I wasn’t sure I’d walk away having enjoyed myself. However, after having a few hours to ruminate, I believe it ultimately works due to terrific direction, gorgeously experimental cinematography, and incredible sound design. Spike’s (Alfie Williams) coming-of-age throughline even ties the somewhat episodic presentation together in a way that provides emotional weight despite the disjointedness. The final sequence is hilariously bonkers, but I can’t say I’m not super excited to see more of it in the sequel. AMARÚ I rather dug the vibe director Danny Boyle and writer Alex Garland bring to 28 Years Later . Young Fathers’ music mixed with flashback intercuts, grainy texture, and skewed camera angles set a creepy and intense tone that establishes the weight of every day-in-the-life of Jamie (Aaron Taylor Johnson), Isla (Jodie Comer) and their son Spike (Alfie Williams), not just the one we are dropped into. That connection we feel allows the film’s wide range of tonal shifts to naturally progress into something quite emotional and unexpected. I’m now fully locked into how The Bone Temple will follow-up this hauntingly impactful tale. KATIE 28 Years Later is chaotic, but undeniably intense and entertaining. The incredibly immersive, and sometimes discombobulating, experimental cinematography and stylistic choices by Anthony Dod Mantle and editor Jon Harris throw you headfirst into the frenzied, bloody insanity without being too dizzying. The cast is fantastic, especially Jodie Comer and the young Alfie Williams’ deeply moving performances. However, the tonally dissonant final scene, with its painfully obvious sequel set-up, did not work for me. I found it ruined the high that this emotionally grounding coming-of-age story could have potentially ended on.

THE KILLER (2023) Starring: Michael Fassbender, Charles Parnell, Tilda Swinton, Sala Baker, and Arliss Howard Director: David Fincher QUENTIN With only his second movie since 2014’s Gone Girl , director David Fincher returns to his dark thriller roots with the noirish The Killer , a lean assassin flick that pairs the slick planning sequences usually seen in heist movies with the deliberate tone and methodical pacing of Mindhunter . A tightly written revenge story, it features a dryly funny Michael Fassbender as he delivers Dexter -style voiceovers about how to be a successful assassin. Even if it is relatively straightforward, especially by Fincher standards, it’s no less compelling than some of Fincher’s best works, landing in the top tier of Netflix Originals. NICK The Killer may not be director David Fincher's top feature, but it's certainly in the upper half of his filmography. The director has crafted a tense and surprisingly humourous sensory experience that feel less like a film and more like a tense situation you've become immersed in. Michael Fassbender provides the nameless assassin with the exact cold and calculated persona the film requires, including an insightful inner monologue (think Dexter ), and though it may not be the most action-packed film you see this year, it boasts one of the most hard-hitting fight sequences you're bound to come across. Overall, another winner for Fincher. ADRIANO When it comes to the story, The Killer is not without its flaws, but it's a badass David Fincher flick, nonetheless. The majority of its runtime is a meticulous procedural process that the film insists we go on, and while that may sound grating, it's endlessly fascinating and surprisingly funny. Fincher's modernized style takes us through the invigorating stoic eyes of Michael Fassbender, and every detail that gets picked up on is a blast. The editing and score help make this film a joy ride too, even if the ending is a bit rushed. All in all, The Killer is a well-planned and executed thriller. AMARÚ There is a line in The Killer that basically amounts to “if you can’t deal with boredom, this life isn’t for you.” Well, that same idea proves that this movie isn’t for me. While director David Fincher and star Michael Fassbender (the titular killer) take an interestingly introspective look at this kind of work, it feels too much like a stakeout, with a lot of waiting around for something interesting to happen. When something does happen, you take notice (fight of the year candidate included), but ultimately, this look at the mundane life of an assassin is not what I was hoping for. CALEB The Killer is one of director David Fincher’s most challenging projects to date. You can appreciate the movie as a meditation on labour, career, and perfectionism, but it’s certainly not the white-knuckle thriller some were expecting. The film is as cold, calculated, and patient as its protagonist, and this restrained approach might alienate a lot of Fincher’s die-hard fans. The Killer is a thought-provoking experience that certainly held my attention, but rarely had me on the edge of my seat. It’s definitely worth a watch, but it’s a shame that its story wasn’t as compelling as its thematic undertakings. KATIE The Killer is a cold, calculated, yet forgettable assassin thriller. It's undoubtedly stylish, modern, well-crafted, and meticulously shot, but it's also mundane and slightly tedious, with a lot of waiting around for something to happen, accompanied by an exhaustive voice-over. My issue is not that the film lacked sentiment, but that it has an emotional detachment that goes beyond the sociopathy of the protagonist and borders on uninteresting. However, Michael Fassbender gives a fantastic performance as the remorseless hitman, while Tilda Swinton lights up her brief screen time with wit and charm. PRESTON The Killer is a mashup of two great movies, John Wick and Drive , but is so much less successful than either or their sum. I don’t like criticizing the director (David Fincher) of some of my favorite works, but my own inner narrative compels me to do so. Character development is lacking, lighting is particularly terrible, and stylistics trump storytelling. I love the calculated-killer-capitalist whose emotion flickers in the light of personal tragedy, but the innovative approach to the assassin’s more mundane tasks is not enough to distract from the film’s failings. I didn’t hate it, but I probably won’t re-watch. PAIGE While extremely stylish, The Killer is a cold and simplistic revenge story. This gritty crime thriller allows director David Fincher to prove once again that he is an attentive craftsman; however, I must admit that this time around, I felt that he was more reserved behind the camera and played it safe with the story. I was intrigued by the introspective narrative approach of our lead, played by the underrated Michael Fassbender, but the film lacked heart. It seemed as if Fincher cared more about the technical aspects of the movie than the actual story. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

SATURDAY NIGHT Starring: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Woods, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J.K. Simmons Director: Jason Reitman ADRIANO Plain and simple, I loved Saturday Night . I do think it wraps up a little too quickly, but director/co-writer Jason Reitman ups his game big time here with a surprisingly effective ticking-clock narrative, unique cinematography choices, a pulse-pounding score, and stress-inducing editing. On top of that, the movie's really funny, as well. With an ensemble that's completely committed, Saturday features laugh-a-minute dialogue that feels perfect with the figures that are represented. Lastly, at a crisp 109 minutes, the movie gets to do everything it wants to do, and it balances all the characters wonderfully. This movie simply rocks. NICK All credit to director Jason Reitman for even attempting to bring the mayhem of SNL ‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness. AMARÚ Writer/director Jason Reitman starts Saturday Night with a chaotically energetic one-shot that probably only captures an ounce of the actual nervous spirit of pre-show SNL , which has to be why some of the variety show’s issues get solved slightly too easily by film’s end. However, that doesn’t take away from the utter entertainment Reitman and the amazing ensemble provide. Chaos propels the film forward, but it’s the moments of calm between storms that allow today’s up-and-coming actors playing against pitch-perfect veterans to embody legendary comedians without becoming imitations. Saturday Night is a blast from front to back, and I didn’t want the show to end. PAIGE Jason Reitman’s Saturday Night is a chaotic mess in the best way possible. The film effectively captures what the 90 minutes leading up to the first episode of Saturday Night Live were presumably like with its frantic pacing, long tracking shots, and witty screenplay. Plus, the ensemble is hilarious, and all involved seem to be having a blast embodying their respective roles. Though the film does fall short in its character development by not giving everyone their moment to shine, all in all, it’s an entertaining movie from start to finish that most will enjoy, even if they aren’t SNL fans. PRESTON I don’t think you had to have been a huge fan of Saturday Night Live from the jump to enjoy Jason Reitman’s Saturday Night , but the nostalgia of it all definitely adds to an already fantastic experience. Its intentionally ataxic composition can be disorienting, at times, which is (of course) the point. But, if you are not well aware of who the famous persons being portrayed actually are, then that can detract from the experience, as you are transported frantically from scene-to-scene and character-to-character. The whole cast’s performances are spot on and the comedic tone of the time is expertly reincarnated. Overall, a great time. QUENTIN For a person who grew up watching SNL in the 90s (not to mention the cinematic classics of the original cast), Saturday Night was right up my alley as a sort of nostalgic time-capsule from an era I never personally experienced. Director Jason Reitman excellently captures the frenetic atmosphere that I can only imagine permeates the backstage area prior to SNL hitting the air, let alone the very first episode, while the cast admirably fills the shoes of the comedy icons (none more so than Dylan O’Brien as Dan Aykroyd and J.K. Simmons as Milton Berle). This movie doesn’t deserve to be forgotten. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.