Search Results

NOVOCAINE Starring: Jack Quaid, Amber Midthunder, Ray Nicholson, Conrad Kemp, Evan Hengst, Jacob Batalon, Betty Gabriel, and Matt Walsh Directors: Dan Berk and Robert Olsen NICK The reluctant hero is a role that fits Jack Quaid like a glove, and Novocaine allows him to showcase his talents as a full-feature lead. I'd say he passed his first test. The film has issues, mainly a wholly unnecessary twist and an over-the-top cartoony villain, but Quaid is not one of them - nor is Amber Midthunder who had been sorely underutilized since 2022's Prey . The gimmick (being impervious to pain) provides some gnarly injuries while the supporting cast supplies laugh-out-loud moments, but mainly, it’s just a fun time at the movie theatre. Tidy some things up and I’ll gladly take a Novocaine 2. ADRIANO Novocaine is a perfectly watchable piece of entertainment, but it lacks a personality, which is why I think it didn't have much of an impact on me. That said, there's clearly stuff to at least enjoy here, especially as a great showcase for Jack Quaid's leading man charm. Whenever the movie was committed to its ragdoll premise, it was really funny and borderline gross. It doesn't always commit, and the movie features a huge plot twist that adds nothing, but I left enjoying Novocaine , even if I suspect it'll be fleeting. BODE Novocaine sees Jack Quaid finally step into the role of leading man, and it’s an effective showcase as he’s able to infuse his natural charm into the protagonist with ease (his moments opposite Amber Midthunder are sweet highlights). Unfortunately, even with some wince-inducing moments, the film is too middling to leave a lasting impression beyond its central gimmick (especially at a near two-hour runtime) due to its cookie-cutter villains, lackluster humour, and big twist midway through that ultimately goes nowhere. Novocaine isn’t exactly a painful sit, but it’s not a memorable one either. AMARÚ Something I wasn’t expecting to say about Jack Quaid’s first real headlining film, Novocaine : that was really cute. Yes, it’s gory and action-packed, but the heart of the film is the relationship between Quaid and Amber Midthunder, who needs to be in many more things, by the way. They have real chemistry throughout, and if you want to call this a romantic comedy with lots of action, I wouldn’t hold it against you. I also didn’t hold the outrageous script and flimsy plot points against the film because of how enjoyably its rom-comical narrative is mixed with the well-shot action. Great execution of silly fun. QUENTIN I’m almost always a fan of “badass with a gimmick” movies like Crank and Upgrade because they at least try to inject something fresh into the one-man-wrecking-crew genre instead of being just another John Wick (look, Nobody is great too, don’t get me wrong. But it is what it is). As such, it’s no surprise that I thoroughly enjoyed Novocaine . Jack Quaid takes the skills he has perfected on The Boys to create a charmingly reluctant hero that you want to root for, which makes the increasingly clever use of the feels-no-pain plot device, surprisingly effective humor, and the appealing rom-com coloring even more fun. ROBERT I’m a sucker for Jack Quaid because his whole vibe speaks to me, so I was in on the first notice about Novocaine . His energy brings the heart to make it a cute movie with Amber Midthunder, and the action plays to the rules of the world and Nate’s condition. I found the funniest person to be Ray Nicholson, being as unhinged as ever, but I was searching for more laughs that never came. The composition of the film is well put together, but I still wanted more. Ironically, Novocaine hits you in the feels, but nowhere else. BRYAN Filled with a ton of adrenaline and a surprising amount of charm, Novocaine is a wildly entertaining romp, anchored by a wonderful Jack Quaid turn. The action sequences brim with creativity, as well as brutality. The blend of action, romance, comedy, and even thriller can be overwhelming, but I was never turned off by the effort. It does overstay its welcome towards the end, and some of the twists may not stick the landing; however, this is a true crowd-pleaser that shouldn't work as strongly as it does. Two hours at the cinema well spent, if you ask me.

THUNDERBOLTS Starring: Florence Pugh, David Harbour, Sebastian Stan, Hannah John-Kamen, Olga Kurylenko, Wyatt Russell, Lewis Pullman, Julia Louis-Dreyfus, Geraldine Viswanathan, and Wendell Pierce Director: Jake Schreier NICK I’m going to start off with the good stuff as I enjoyed a lot of Thunderbolts* . The subjects of trauma and belonging are deftly handled, both story-wise and cinematically. Florence Pugh and David Harbour both give their best MCU showings yet as Yelena and Alexei, respectively, while Lewis Pullman’s Bob makes for a welcome addition. The fights are engaging, and the comedy is organic and funny. The only thing negatively affecting my rating is the pacing of the final 30 minutes. There's a rush to the conclusion that feels claustrophobic compared to the rest of the film. Besides that, though, this exceeded my expectations. QUENTIN If you’ve seen the “Marvel is trash! – Marvel is back!” meme, Thunderbolts* puts extra emphasis on the positive side of that seesaw. Through a terrific cast, resonant character work, and surprisingly layered writing that touches on trauma, trust, mental health, and finding your tribe, this Guardians of the Galaxy -style team-up is the first MCU movie in a long while to feel like Infinity Saga-era Marvel. The action and humor are typically on point (feeling fresh, even), and the world building to set up future movies is more organic than it has been in recent efforts. Good job, Marvel; Thunderbolts* is a winner. Now, keep it up. AMARÚ If director Jack Schreier can successfully use an entire* ensemble with great action, effective comedy, and tremendous heart like this, maybe he should direct an Avengers film. Thunderbolts* is a more-than-solid MCU entry in every* aspect we’ve come to enjoy. Even Julia Louis-Dreyfus is a better version of her still-too-ham-fisted portrayal of Allegra Valentina de Fontaine. The script’s employment of her character boosts the emotional impact the titular group’s marred pasts provides, especially through Lewis Pullman and Florence Pugh’s outstanding chemistry. To find out how surprisingly impactful, and what my additional asterisks mean, you’re going to have to watch the movie. Which you should. ROBERT When I was projecting out my expectations and excitement of the three MCU projects for 2025, Thunderbolts* would’ve been a distant third on the list. Then, the movie drove up like Bucky Barnes on his motorcycle and blew up those preconceived notions as it unfolded before my eyes. Those eyes had to fight back tears of all kinds: of joy from laughing and of sadness from empathizing with characters as they struggled for purpose, for positive mental outlook, and for connection. Thunderbolts* managed to be cohesive, be surprising, and be mirthful, which are three adjectives Marvel has struggled to imprint on their films until now. ADRIANO I'll give the MCU half a point for making half a great movie because the first half of Thunderbolts* is unbearable at times. The structure and pacing are sloppy, and aside from the seeds of effective character writing they plant, everyone is relegated to "the quirky one." The second half, though, kicked my Marvel-hating ass a bit. Some characters are left in the dust, but I loved the mature and humanistic approach to mental health, even taking swings that were effective. It's rough around the edges, but I'll take stuff like Thunderbolts* over the other slop Marvel has been releasing any day. BODE Even by the low bar the MCU has recently set for itself, it says something that Thunderbolts* manages to clear it. By virtue of feeling more like a real movie and less like another branding exercise, it succeeds with a structure that puts actual emphasis on its characters, genuine thought into its visual look (decent colour grading, real locations, etc), humour that doesn’t undercut emotional beats, and even some fairly memorable music (courtesy of Son Lux). I won’t say Thunderbolts* is a massive step in the right direction (its best moments don’t come until the third act), but it’s at least a step. Want to hear even more of our thoughts? Nick, Amarú, and Shak join Matt to take A Bigger Bite out of Thunderbolts* HERE .

BABYGIRL Starring: Nicole Kidman, Harris Dickinson, Antonio Banderas, and Sophie Wilde Director: Halina Reijn ADRIANO There is something interesting about Babygirl that I really love. It's a horny movie, for sure, but it's also very non-sensational. The eroticism is more in service of what writer/director Halina Reijn wants to say about untapped desire and power balance. Even in the movie's hottest moments, Babygirl is bound by a smart script that offers laughs and shock. With a great ensemble to back it up, I found myself glued to the screen, watching the mind games and dominance go down. If you come for the hot stuff, you'll get it…and a whole lot more. NICK No doubt a very sexually driven film, there's something missing from Babygirl . Both Nicole Kidman and Harris Dickinson bring great performances to the screen – as does the glue of the film, Antonio Banderas – so it's not the cast. So the problem must be in the direction. Whether it's the cheesy, too-on-the-nose musical montages or the hints of unintentional camp, there are flaws that really took me out of the film. I will give credit where it's due, though: director Halina Reijn handles the sexuality with a maturity few would, and she deserves to be commended for that. QUENTIN Perhaps this is more an issue of expectation management, but based on the trailers, I expected Babygirl to be…I don’t know…hot? Sure, nominally, it’s an erotic thriller, but it’s blandly clinical, lacking in overall sexiness and horny delights (many of which are reduced to montage form). That said, the performances are great, especially Nicole Kidman, who seemingly thrives playing the rich white woman with the imperfect perfect life, and writer-director Halina Reijn confidently explores sexual desires, repression, liberation, and power dynamics. It’s certainly not a bad movie, but it’s being marketed as titillating and lurid eroticism; since that’s not what Babygirl is, I walked away wanting. PAIGE Babygirl is an unapologetically arousing, yet poignant, film anchored by an edgy and unrestrained performance from Nicole Kidman. Although the plot may seem a little underwhelming at first glance, writer/director Halina Reijn draws viewers in with an innovative and artistic storytelling approach that explores a woman's struggles to define her own needs and sexual desires while also experimenting with power dynamics. This drama tackles its complex themes with nuance, empathy, and style, all of which bring the erotic subgenre back to life. Halina Reijn, you are the true babygirl here. AMARÚ Babygirl sets itself up to feel like real life - chaotic in the repetitiveness of work, life, family, and finding pleasure amongst it all. So when its erotic nature starts to unfold, it is naturally uncomfortable and alluring, pulling you into Harris Dickinson and Nicole Kidman’s intriguing affair with their seductive performances. Yet, when it explores the psychological consequences afterwards and throughout, the plot becomes more contrived and artificial, entering into a whiplash of disjointed melodrama. While Babygirl is an interesting look into humanity’s relationship with power and pleasure, it lacks the depth to really explore some of its dangerous repercussions. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

FINGERNAILS Starring: Jessie Buckley, Riz Ahmed, Jeremy Allen White, and Annie Murphy Director: Christos Nikou NICK Not every story about love needs to be a love story, and that’s something Fingernails director Christos Nikou looks to explore. The notion of sacrificing one’s fingernail just to learn if one’s love is true is a great commentary on our need for reassurance and reliance on “the one.” Unfortunately, Nikou focuses on this with everyone except Anna (Jessie Buckley) and Ryan (Jeremy Allen White), the film’s lead relationship. The focus on these two is lacklustre, and you’re never really given a chance to invest in them, which dampens the introduction of Amir (Riz Ahmed), and in turn, his entire storyline. ADRIANO Fingernails has a great premise, but the film never lives up to it. A good chunk of the movie is fleshing out the central idea regarding this test that can calculate love, and because it spends so much time on that, the broader implications of what writer/director Christos Nikou is trying to say about the human desire to feel loved falls through the cracks. Not that this is a bad movie, as Jessie Buckley is as excellent as always and the ideas presented are good ones, but I wish it offered something more. PAIGE While Fingernails plays with an intriguing idea about the complications of love and relationships, it does it in such an introverted manner that it makes it hard to fall in love with the story. While original, this thought-provoking, lo-fi, sci-fi film, doesn’t have enough spark to stand on its own. It’s too simplistic and calm, leaving its screenplay to be the film's real heartbreak. Without the strong performances of Jessie Buckley, Riz Ahmed, and Jeremy Allen White, Fingernails would just feel like another generic rip-off of Yorgos Lanthimos’ The Lobster . CALEB The thesis behind Fingernails seems to be that love is complicated, and, well… yeah. I feel like anyone over the age of 20 probably already knew that. We’re all aware that relationships take work, and that love isn’t easily quantifiable. These seem like very surface-level observations. It’s a shame the film is this shallow because, at least on a technical level, it’s pretty well executed. The performances are good, the cinematography is great, and the music is beautiful. You can tell a lot of hard work went into making Fingernails ; I just wish it was in service of something a little more thought provoking. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

WATCH THE SKIES Starring: Inez Dahl Torhaug, Jesper Barkselius, Sara Shirpey, Eva Melander, Håkan Ehn, and Isabelle Kyed Director: Victor Danell KATIE Watch the Skies is a charming sci-fi adventure with a lot of heart. It’s a genuinely engaging family film that is fun and exciting without being childish, featuring an endearing cast of kooky characters, a retro 80s aesthetic, and a compelling mystery. Although it is slightly overlong, it is mostly well-paced and maintains a sense of suspense and intrigue, and the extraterrestrial enigma takes an unexpected but interesting turn. Notably, this is also the first feature film to be visually dubbed using AI, and I admit I didn’t notice anything that would indicate that fact. ADRIANO I think there are moments where Watch the Skies had an almost self-aware nature that felt like more of a cop-out for the familiarity of the film, but otherwise, the film is very enjoyable and sincere. Sometimes it's not about being totally new, but approaching it compassionately and beautifully. Yeah, I’ve seen this found-family sci-fi adventure before, but am I really supposed to not fall for its spell? I found this film engaging and endearing, a combination of factors that can only do one thing: put a big ol' smile on my face. QUENTIN Watch the Skies is a charming enough throwback to the days of Amblin family entertainment, with movies like Explorers , E.T. , and Flight of the Navigator coming to mind. The dubbing technology, which used AI to make the performers lips match the English dubbing from Swedish language, gets a little wonky at times, but it generally works to cancel out the usual disconnect that comes with dubbing. My only real complaint is that the movie gets confusing in the end with the overly technical and rushed reveals. The journey getting to that point was enjoyable, but it lost me once it went over my head.

THE AMERICAN SOCIETY OF MAGICAL NEGROES Starring: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Michaela Watkins, Aisha Hinds, Tim Baltz, Rupert Friend, and Nicole Byer Director: Kobi Libii ADRIANO The amount of potential squandered in The American Society of Magical Negroes needs to be examined by scientists. The film has a genuinely intriguing premise, but the film goes absolutely nowhere with its examination of race. It raises many questions, and has answers to none of them. What's more, the pacing is awkward, and the film is so sloppily written and directed that any entertainment value feels bogged down by its unclear world-building. I almost walked out of this theater on many occasions, but for some reason, I sat through this sluggish disaster until the bitter end. AMARÚ I love the recent trend of putting black people’s grievances front and center for all the whites to see, and The American Society of Magical Negroes , while plenty flawed, is another serviceable entry in this movement. I greatly appreciate the long overdue respect it gives the forever underutilized David Alan Grier, who helps compensate for the film’s narrative problems. Sure, there are glaring editing issues where items magically (and unintentionally) disappear, and scenes feel out of order or missing entirely; however, with Grier and Justice Smith fully committed to experiences they (and I) have lived, there’s enough punch to recognize the good within the mess.

IRISH WISH Starring: Ed Speleers, Lindsay Lohan, Alexander Vlahos, Ayesha Curry, Jane Seymour, Elizabeth Tan, and Matty McCabe Director: Janeen Damian KATIE Irish Wish is the latest addition to a specific subgenre of romantic comedies that involve American women heading to Ireland to find love and experience a number of Irish stereotypes. That is not to say I didn’t enjoy Irish Wish to an extent, in a “so-bad-it's-good” kind of way, but it is not a particularly worthy film. Between the terrible script that is full of clichés, stiff acting, and lack of chemistry between the romantic leads, there are not many redeemable features. That said, Lindsay Lohan is quite charming, and I did enjoy seeing her back on the screen. CALEB Irish Wish is a generic, clichéd romantic comedy… but at least it knows it. The leading lady (Lindsay Lohan) is an underappreciated writer, and the story features a steamy love triangle, quirky misunderstandings, and a big dramatic wedding. It’s a by-the-books rom-com. If that’s your thing, then you might enjoy it; however, I was personally hoping for something a little less Hallmark-y. The writing is bad, the acting is mediocre, and despite being filmed in the gorgeous Irish countryside, the visuals are strikingly bland. Irish Wish is rather unimpressive, but if you’re in the mood for cheesy romance, then it could make for decent comfort food.

THE FIRST SLAM DUNK Starring: English - Paul Castro Jr., Ben Balmaceda, Aleks Le, Jonah Scott, Aaron Goodson Japanese - Shinichiro Kamio, Kenta Miyaki, Subaru Kimura, Shugo Nakamura, Jun Kasam Director: Takehiko Inoue AMARÚ The First Slam Dunk is a gorgeous film that visually and emotionally exemplifies the beautiful game of basketball. The dramatics are hilarious at times and ridiculous at others, but it always demonstrates the passion that basketball can generate on and off the court. Following the players’ lives interspersed throughout the game connects us to each player without taking us out of what’s happening between each play. Being anime, it does take forever and a day to get to the final buzzer, but the film does a great job building the tension to make us question what the ultimate outcome will be. CALEB The First Slam Dunk is a beautifully animated sports drama that skillfully weaves exhilarating action sequences with introspective character moments. The film is just as much a pulse-pounding basketball epic as it is a heartfelt exploration of grief. Director Takehiko Inoue brings an emotional depth to this cast of characters, transforming a game of high school basketball into a momentous, larger-than-life event. While the film somewhat struggles to maintain its pace around the midpoint, the intense final moments more than make up for it. Incredible animation and a poignant story make Slam Dunk truly worthy of its name.

KUNG FU PANDA 4 Starring: Jack Black, Awkwafina, Viola Davis, Dustin Hoffman, James Hong, Ian McShane, Ke Huy Quan, and Bryan Cranston Director: Mike Mitchell AMARÚ There is clearly more missing from Kung Fu Panda 4 than just the five prominent characters from the original trilogy. This needless fourth entry is what a non-animation fan would assume the entire franchise is like based solely on the title: a run-of-the-mill, kid-skewed adventure moving from gag joke to MacGuffin to plot trope to stock location. I can’t believe the same writers who filled the first three films with so much heart, soul, and genuine storytelling penned something with only a fraction of that brilliance. Maybe it’s due to only having half the budget? Either way…man, this was disappointing. CALEB Although not without its strengths, Kung Fu Panda 4 is tragically average. The voice acting, character design, and animation are as solid as ever, so it’s unfortunate that they’re in service of such a low-effort script. The twists are predictable, the villain is inactive for the majority of the story, there’s too much pointless filler, and the nostalgia baiting is so half-assed that it’d almost be funny if it weren’t so sad. It’s probably entertaining enough for the kids, but if you’re a big fan of the original trilogy, then it might be wise to temper your expectations. ADRIANO I quite like the first three Kung Fu Panda movies; hell, I'd even go so far as to say I loved the second one. So it brings me no joy to say that I found Kung Fu Panda 4 severely lacking. It’s clear that it wasn't made by a group of passionate filmmakers as it feels like a studio-ordered slog. Jack Black is as energetic as ever, but Awkwafina is evidently getting bored of the voice booth. Kung Fu Panda 4 simply lacks the heart and soul of the others, so much so that even the fun parts are forgettable.

EILEEN Starring: Thomasin McKenzie, Anne Hathaway, and Shea Whigham Director: William Oldroyd ADRIANO I enjoyed Eileen up until the moment that I didn’t. Initially, the film presents itself as a Carol -esque love story of a lost woman, which really engaged me thanks to the performances of and chemistry between Thomasin McKenzie and Anne Hathaway. The pacing was slow, but I was into it nonetheless. However, while I won’t go into specifics, in the course of a single sentence, the film does one of the biggest 180s I’ve seen in film, to the point where it made the first two acts feel like a waste of time. I’m very disappointed in the way it turned out. QUENTIN Despite tremendous era-specific production design and terrific performances from Anne Hathaway and especially Thomasin McKenzie (with a great Boston accent), this slow-burning, twisty, coming-of-age thriller is just a tad too slow for its own good, while also featuring a third act that almost feels as if it’s from a completely different movie. Still though, at only 96 minutes, the chemistry and psychosexual tension between Hathaway and McKenzie, not to mention a great supporting turn from Shea Whigham, are more than enough to keep viewers mostly engaged until the end. KATIE Eileen is a compelling and exciting film featuring engaging and multifaceted performances, but it is let down by an uneven ending. I was completely onboard until its difficult third act, which totally blindsided me, because it feels disconnected from everything that preceded it. This is especially frustrating, considering that the film only scratches the surface on the fascinating relationship and intriguing chemistry between Eileen (Thomasin McKenzie) and Rebecca (Anne Hathaway). I wanted it to be bolder and to push further into the psychosexual strangeness that it hints at. PAIGE Eileen starts off as a slow burn psychosexual drama with a noir aesthetic due to its cinematography and jazz-like score, but then, all of a sudden, the film takes an abrupt turn in its third act, turning into an elevated mystery thriller. While on one hand, it's a somewhat intriguing avenue to take with these characters, on the other hand, it feels completely out of left field. As a result, the film just doesn’t come together fully, even with a magnetic performance from Anne Hathaway. This film was reviewed by Adriano and Quentin as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival and the 2023 Zurich Film Festival, respectively.

JUROR NO. 2 Starring: Nicholas Hoult, Toni Collette, Chris Messina, J.K. Simmons, Kiefer Sutherland, Zoey Deutch, Gabriel Basso, Leslie Bibb, and Cedric Yarbrough Director: Clint Eastwood QUENTIN I have no idea why Warner Bros. is seemingly burying Juror #2 because it's director Clint Eastwood's best movie since 2003's Mystic River . Admittedly, it's nothing flashy; just a good, sturdy, old-fashioned movie for grown-ups. But it presents involving questions about our flawed justice system and personal morality in the face of self-preservation, carried by a tremendous performance from Nicholas Hoult (and, to a lesser extent, Toni Collette). The somewhat ambiguous ending might be frustrating for some, but Juror #2 is an excellent addition to the courtroom drama genre. Fans of 12 Angry Men should especially make an effort to check it out. ADRIANO As someone who is typically not into Clint Eastwood as a director, I was pleasantly surprised by Juror #2 . While the filmmaking is flat and the plotting sort of relies on a lot of suspended disbelief, I was really hooked on the story and curious about how the film would escalate. Some of its commentary on the justice system is a tad undercooked, but it is a very challenging film with regards to its protagonist, played wonderfully by Nicholas Hoult. This movie is being buried by Warner Bros., and honestly, I don't understand why.

ON THE COME UP Starring: Jamila C. Gray, Da'Vine Joy Randolph, Lil Yachty, Mike Epps, Miles Gutierrez-Riley, Justin Martin, Titus Makin, Michael Cooper Jr., Sanaa Lathan, and Method Man Director: Sanaa Lathan QUENTIN You know, if I’m being honest, there isn’t anything truly bad about On the Come Up . The acting is mostly serviceable (if a little CW-ish), and the pedestrian story is decent enough. However, it’s essentially a YA version of 8 Mile , which is not something I needed in my life. And, most importantly, most of the raps in the movie are awful, which is a major issue when the main character is constantly being hyped as a skilled and natural rhymer. All in all, the fact that this movie is being released direct-to-streaming on Paramount+ feels right for what it brings to the table. ADRIANO On The Come Up is all familiarity with nothing interesting added. It’s not without its entertainment value…the rap battle sequences can be fun, and Jamila Gray is a great lead and potential star in the making…but the script is so damn basic. I easily guessed everything that was going to happen five minutes into the movie. Luckily, there is a good version of this movie out there already. It’s called 8 Mile . This film was reviewed by Quentin and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.