WICKED Starring: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, and Jeff Goldblum Director: Jon M. Chu ADRIANO While not without its shortcomings, Wicked is a blast. On one hand, a lot of its visuals look pretty ugly, and despite a great performance from Cynthia Erivo, the main character lacks…well, character. Not that she's poorly written, but I found her flat, especially in comparison to Ariana Grande-Butera's show-stealing performance. On the other hand, the musical sequences are grand, the production values are extravagant, the finale is magnificent, and I had enough fun and emotional investment to say, as someone who knows nothing about the play, I'm properly interested and excited for what's to come. PAIGE As a non-musical fan, I must admit that Jon M. Chu’s adaptation of Wicked not only defied gravity but also my expectations. From its fantastical set pieces and dazzling costumes to its stellar musical choreography and performances, Wicked is cinematically magical. Cynthia Erivo is a fantastic Elphaba, but it’s Ariana Grande-Butero as Glinda who is the true standout. I had no idea she had these comedic chops in her. It's a captivating experience, even though the musical numbers can occasionally overpower the story's true meaning to leave it seeming underdeveloped. AMARÚ John M. Chu directs the hell out of Wicked , tackling many conscious and subconscious facets of prejudice and propaganda-riddled groupthink with grace, honesty, and grandeur. Through lush color, impressive choreography, and marvelous production design, he highlights the dangers of facade with themes that are both impactful and hilarious. But none of it would work if not for the breathtaking musical and theatrical performances. Contrasting Ariana Grande-Butera’s histrionics and Jonathan Bailey’s flippancy with Cynthia Erivo’s solemnity brings all the pomp and circumstance together to create a wondrous adaptation that makes me wholly excited for Part Two. PRESTON After a concerning opening scene where Ariana Grande’s high-pitched singing pierces the ears with indecipherable words, she redeems herself completely by almost single-handedly carrying the film. Surprisingly lacking in vibrancy of color, Wicked is still very good, but there’s a reason there are intermissions at Broadway shows. This first of two parts lasts the same amount of time as the entire theater musical, except sans intermission. Past hour two, I found myself jealous of the younglings doing cartwheels in the front aisle and just a little pissed off that the final words were sung in the repetitive and typical musical fashion. QUENTIN From someone who absolutely loved the book and really enjoyed the Broadway musical (I’m as shocked as you are!), the biggest flaw with Wicked 's film adaptation simply is that it’s not near as good as either of its predecessors. Changes to the story mostly add length for length's sake (with Part Two , these films will be twice as long as the stage production), and since it’s on a screen vs. live on stage, it’s just not as rousing (a common problem with Broadway-to-film adaptations). That said, for the uninitiated, it’s largely a winner due to the fun performances, catchy songs, and vibrant production design.

KARATE KID: LEGENDS Starring: Ben Wang, Jackie Chan, Joshua Jackson, Sadie Stanley, Ming-Na Wen, Wyatt Oleff, Aramis Knight, and Ralph Macchio Director: Jonathan Entwistle AMARÚ I loved everything about Karate Kid: Legends. It takes the heart of what we love about The Karate Kid and uses it to enhance the heart of what’s new. Jackie Chan’s endless charm channels Pat Morita’s endearing spirit, Joshua Jackson was perfect casting to bring freshness to the franchise’s well-tread story, and while this “introduces” Ben Wang to film audiences, anyone who watched his recent television shows knew that he had the goods to carry the likable underdog torch. The breakneck pace does undercut the action, but it also bolsters the emotional cheese to “pure vibes” status, delivering the exact corniness I’d hoped for. ADRIANO The Karate Kid is a franchise that's been churning out nostalgia for over a decade, between the 2010 remake (or I guess, spin-off now) and six seasons of Cobra Kai . So, excuse me if the nostalgia of Karate Kid: Legends feels like old news at this rate. You don't even get your legacy character team up until the end, and while their dynamic can be funny, we barely get any of it due to the baffling and obscenely rushed pacing. Between that and a first hour filled with horrid narrative decisions, this boardroom product will be lost in time. ROBERT Welcome to 2025, where a film idea can manifest from one line in a movie 40 years ago. That is how Karate Kid: Legends was born, and frankly, it probably should’ve gestated a little longer. The cast works well together, especially with the addition of Joshua Jackson to provide some heart and toughness. However, the love story between Ben Wang’s Li and Sadie Stanley’s Mia is fast-tracked and bland, and the transition of storylines in the second act, bringing along Ralph Macchio’s Daniel to assist through to the conclusion, can give you whiplash. This formula was done twice before, and the third time wasn’t really the charm.

WASTEMAN Starring: David Jonsson, Tom Blyth, Alex Hassell, Corin Silva, and Paul Hilton Director: Cal McMau AMARÚ We all (should) know that David Jonsson is on the precipice of greatness, but it’s Tom Blyth to whom I owe an apology. I wasn’t really familiar with your game, sir. Wasteman is a two-man tour-de-force wrapped in director Cal McMau’s visceral encapsulation of the hellish conditions of prisons everywhere. His hard-hitting mix of close-quarter camera work and found-footage prisoner videos sets the foundation for Jonsson to showcase a vulnerability not many actors can manage while Blyth hits a level of menace and intensity I didn’t know he could reach. This one hits hard, and it will leave you in a breathless sweat from start to finish. NICK To me, the best on-screen depiction of prison has been HBO'S Oz . So it's a huge compliment to say that's what Wasteman reminded me of. I've been waxing poetic about David Jonsson for some time, but this film is more than just a great showing from him. In fact, Tom Blyth is the headline here, as he comes out of nowhere with a powerhouse performance. A gritty, dirty film that never glorifies prison nor shy away from its issues, Wasteman may not bring anything new to the table, but when a story is told and performed as well as this, it doesn’t always need to. This film was reviewed by Nick and Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival .

BANDIT Starring: Josh Duhamel, Mel Gibson, Elisha Cuthbert, and Nestor Carbonell Director: Allan Ungar NICK Bandit is a film of a bygone era. The kind of movie you rented from Blockbuster on a whim to entertain yourself for about two hours. It isn’t particularly special or memorable, but Josh Duhamel is entertaining in the role, and the script has a nice mix of goofy and clever dialogue. I can’t say it does the true story of The Flying Bandit justice, but this isn’t a documentary. Bandit doesn’t try to be more than it is, but if you want the comfort of going back to a time when you popped a fresh VHS tape into your VCR, you could do worse. QUENTIN Despite its caper-ish vibe and a disarming Josh Duhamel, Bandit is mostly a boring tale about a guy trying to have a family. Yes, the guy happens to rob banks, but all the fun genre tropes are missing. There are no cool planning montages, tense moments with his mob boss partner, or cat-and-mouse games with authorities. I’m sure the actual story of Canada’s most notorious bank robber (he robbed a record 59 banks and jewelry stores) is probably interesting, but Bandit fails to capture that. Also, one lengthy sequence uses Yello’s “Oh Yeah” (the “Bow bow…Ohhhh yeah...Chickachickaaaa” song), which comes across as laughably dated.

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.

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

THE AMATEUR Starring: Rami Malek, Rachel Brosnahan, Holt McCallany, Laurence Fishburne, Caitríona Balfe, Jon Bernthal, and Michael Stuhlbarg Director: James Hawes NICK Despite leading roles in Mr. Robot and Bohemian Rhapsody , it feels like Hollywood doesn't know how to utilize Rami Malek. But maybe they finally nailed it with The Amateur , as my biggest takeaway was how well he fit the role of Charlie Heller. Besides that, it's another run-of-the-mill revenge story that wants to stand alongside the Bourne series, but is unfortunately missing the urgency needed to do so. Heller's intended opposition never feels formidable, which waters down the film and allows for lulls. It’s not bad, and I hope to see more of this from Malek, but it all feels a little amateur. No pun intended. ADRIANO The Amateur is a movie that plays out in the ways you would expect, and even with that, it is entertaining but not much else. It mostly works because the quirks of the protagonist play perfectly into Rami Malek's sensibilities as an actor, so he gives the movie a lot to work with. But the film is just so obvious. There is earned tension from the man-using-his-brain-instead-of-his-brawn concept, but everything you think will happen, does happen. The way-too-dark colour grade only adds to its ultimate forgettableness. BODE When I saw The Amateur on a Friday evening, my screening was surprisingly full. For essentially an old-school spy thriller that could’ve been turned into a limited series today, that was nice to witness. If only the film were more fun, and given how simple and ludicrous the plot is, it really should have been. It’s certainly watchable, thanks in part to a cast filled with reliable character actors, but ultimately shrug-worthy. Still, I’m glad it exists, if for nothing else than clear proof that the audience who yearns to see these kinds of films theatrically lives on. AMARÚ I hate to say it, but I just don’t believe Rami Malek as the relationship guy, even in an opposites-attract relationship like they set up in The Amateur . However, I do believe him as the intelligence guy. So watching him puzzle his way through a pretty intriguing revenge plot helped mask some of the more unbelievable scenes with usually believable actors (that was laid on too thick, Holt McCallany). Laurence Fishburne, Jon Bernthal, and Michael Stuhlbarg, however, are always believable, and solidified my attention throughout this weirdly paced, yet oddly entertaining film… if you can believe that.

ALL THE OLD KNIVES Starring: Chris Pine, Thandiwe Newton, Laurence Fishburne, and Jonathan Pryce Director: Janus Metz QUENTIN All the Old Knives , the second straight-to-streaming, spy-related movie starring Chris Pine released in the past week, is a much better film than the first one (The Contractor ). Although it’s slower and quieter, there is a simmering tension (sexual and otherwise) between Pine and Thandiwe Newton that ropes you in. The only real fault is that the film plays its cards too close to the vest, which made me a little lost in the plot at times. However, in doing that, it made for some small twists that I didn’t see coming. It’s a solid, mature thriller for grown-ups, even if it isn’t mind-blowing. JOSEPH I regret ever watching All the Old Knives . It is, quite possibly, the most dull film I’ve seen in years. The two leads are fine, and some of the scenes are well filmed (especially when in the restaurant); However, the story, which should be interesting, is told in such a boring manner. It has all the parts of a good film, yet it simply doesn’t hit the right notes. Prime Video has taken the mantle from Netflix as the home of bad and forgettable originals.

PLACE OF BONES Starring: Heather Graham, Tom Hopper, Corin Nemec, Brielle Robillard, Donald Cerrone, and Gattlin Griffith Director: Audrey Cummings PRESTON Place of Bones is a western pseudo-thriller starring the lovely Heather Graham. Jam-packed with western tropes and completely devoid of interesting dialogue, let’s just say that this film has some…issues. The combination of troublesome pacing and some surprisingly awful acting makes the film difficult to recommend, but there is a final act reveal that alleviates a small portion of the pain you endure to get there. Perhaps if you imagine you are in the audience of a stage play, where the plot is revealed rather dramatically through unveiled dialogue, you might salvage a tolerable experience. QUENTIN Oof, what a terrible movie. Terrible acting on top of terrible dialogue on top of a terribly paced story on top of terribly done western tropes on top of a terrible, out-of-nowhere reveal that is laughably ridiculous. Also, how does Heather Graham keep getting lead roles? I used to think it was because she was willing to do things other actresses might not be keen on (read: nudity), but apparently that wasn’t the case here, so how the…? The only joy I got from watching this was recognizing Corin Nemec, who I haven’t seen on screen since Parker Lewis Can’t Lose . Otherwise, just tip-to-tail terribleness. This film was reviewed by Quentin and Preston as part of Bitesize Breakdown's coverage of the 2024 Canadian Film Fest.

FINESTKIND Starring: Ben Foster, Toby Wallace, Jenna Ortega, Tim Daly, Lolita Davidovich, Aaron Stanford, Clayne Crawford, and Tommy Lee Jones Director: Brian Helgeland NICK What did I just watch? Finestkind begins as a fairly straightforward story about brotherhood and fishing boats that seems to be building into an indie-feeling family drama, anchored by strong performances from Ben Foster and Toby Wallace. Then, about halfway through, it evolves into… some attempt at a crime thriller, with the tone making a complete 180. Perhaps the second half would have worked if it started that way, and I think there is a chance the first half would have worked had it stayed on track; however, put it together, and all you have is a mess. QUENTIN Though not quite the crime thriller it’s marketed as, Finestkind is a decent enough experience due to its workman-like presentation and solid performances, particularly from Ben Foster, Clayne Crawford, and Tommy Lee Jones (who, thankfully, does not attempt a Boston accent). Tonally, it’s a bit inconsistent, with the first and second halves feeling like they come from two different scripts, but as an A-to-B story, the beats mostly make sense and are organic. Overall, I didn’t love it, but I didn’t hate it either. Mostly, I’m just disappointed that Ben Foster was once again relegated to a straight-to-streaming movie that few people will see. PAIGE Finestkind is a tonal and narrative mess, and it seems to have no idea what it wants to be. The first half functions as a family drama following two brothers, played by Ben Foster and Toby Wallace, who were raised on two completely different walks of life, while the second half transitions into a crime thriller. Despite that sounding intriguing and being something that could have worked, director Brian Helgeland can’t rope these two plot ideas together to flow narratively well. Honestly, what keeps this film afloat are its performances. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE KILLER (2024) Starring: Nathalie Emmanuel, Omar Sy, Sam Worthington, and Diana Silvers Director: John Woo AMARÚ Omar Sy and Nathalie Emmanuel can do (almost) no wrong. They’re two actors I thoroughly enjoy watching, no matter what they’re in, and are the predominant reasons I found entertainment in director John Woo’s remake of his own movie, The Killer . Individually, Sy is endearing and Emmanuel is intriguing. Together, their chemistry is delightfully playful, and it covers up the shoddy special effects and campy script that made me wonder whether Woo didn’t get a big enough budget, is losing his touch, or was always too damn dramatic for the U.S. With The Killer following Silent Night , I’m slightly worried about the answer. QUENTIN I have no idea why director John Woo decided to remake his own hard-boiled classic The Killer , and I especially don’t know why he traded in its gritty noir vibes for the kind of cheap-looking, ultra-glossy aesthetic you find almost exclusively on straight-to-streaming releases. But he did, and here we are, with a plethora of soullessly recreated Woo-isms. You want doves, cathedrals, and gunfights? They’re all here, but they’re done in the sort of superficial “style” that recalls drinking Purple Drink out of Tiffany crystal and calling it “classy.” Woo’s heyday is something to remember, but he clearly doesn’t have it anymore. This is barely serviceable.

SONIC THE HEDGEHOG 2 Starring: James Marsden, Ben Schwartz, Tika Sumpter, Natasha Rothwell, Adam Pally, Shemar Moore, Colleen O’Shaughnessey, Lee Majdoub, Idris Elba and Jim Carrey Director: Jeff Fowler AMARÚ Like the first one, Sonic the Hedgehog 2 delivers something that movie-going parents have always wanted: a light, brightly colored popcorn movie for the kids that won’t make Mom & Dad want to kill themselves. Equal parts silly and charming, each and every performer is committed to the good times, especially Natasha Rothwell and Idris Elba (voice of fan-favorite Knuckles). There are some plot lines that are overdrawn, but adult viewers will feel 10 years old again while watching this film. If you can, try to catch it in a child-filled theater because the cheers will have you thinking you’re watching Avengers: Endgame . ADRIANO If you liked the first one, you’ll like Sonic the Hedgehog 2 . It has a lot of the same charm and fun times that the franchise starter had, yet takes them up a notch. Jim Carrey is, once again, a delight, although he does sometimes go into “How do you do, fellow kids?” territory. Ben Schwartz is still a great voice for Sonic too, but Idris Elba is flat-out hysterical as Knuckles. Some of the human elements are pretty laughable (there’s a plot twist in the movie that’s actually atrocious) and it shouldn’t have been this long, but overall, it’s pure dumb fun. JACOB While I’m still unsure whether I would call it a “good” movie, Sonic the Hedgehog 2 is better than the grossly overrated mess that preceded it. The action is more coherent, the last 20 minutes work pretty well for fans, and it’s visually far more interesting. Unfortunately, it’s still plagued by the things that didn’t work last time, and they work even less here. No human characters actually do anything interesting, but the movie insists on spending way too much time on their terrible subplot. And none of the jokes land either. It’s definitely an improvement, but it’s marginal at best.