NIMRODS Starring: Mason Thames, Kylr Coffman, Ryan Foust, Keen Ruffalo, Jenna Fischer, McKenna Grace, Sean Gunn, Billy Joe Armstrong, Tré Cool, Mike Dirnt, Bobby Lee, and Fred Armisen Director: Lee Kirk AMARÚ Nimrods has all the essentials of a rock-and-roll road trip film, and it’s a pretty damn good time. Mason Thames, Kylr Coffman, and Ryan Foust are hilariously relatable even if you’re not an avid punk rock patron, and their high school angst, peer-pressure-fueled-but-still-authentic friendship, and idiotic decisions take me back to my own teenage years. I would never do any of the things they do, but watching them meet new (and more famous) people while getting into shenanigans on the way to Los Angeles for their musical dreams was full of all the hope and determination of underground bands everywhere. PAIGE Nimrods is a punk rock-fueled coming-of-age movie that does a great job of utilizing Green Day’s music catalog. Although it’s a bit messy at times and not every joke lands, there’s a sweet story underneath it all about friendship, taking chances, and being young and dumb. It may not reinvent the genre’s formula, but it knows exactly what kind of movie it is. It’s packed with fun shenanigans and its cast has killer chemistry. Overall, it’s an entertaining, rocking good time for fans and non-fans of Green Day. QUENTIN Had I seen Nimrods in the early 2000s, I suspect it would have entered my regular rotation of rewatchable scrappy comedies like Slackers and Grandma’s Boy ; however, at this point, it’s nothing more than a collection of ideas, scenes, and characters that all feel like things I’ve seen before. That doesn’t make the movie inherently bad, of course, but why not watch the much better and very similar Road Trip or Superbad instead? Either way, everything in Nimrods is forgettably fine, from the mildly amusing jokes to its sweet-natured sentimentality; it’s just nothing special unless you are a major fan of Green Day. KATIE Nimrods is a very sweet and likeable teen road comedy about friendship, following your dreams, and being true to yourself. The plot is quite generic and the script is straightforward, but the endearing young cast is great, with the dynamic between Mason Thames, Kylr Coffman, and Ryan Foust’s characters coming across as heartwarming and authentic. Plus, it features a lovely performance by Jenna Fischer as Tommy’s (Thames) mother, and a couple of the more tender scenes brought a tear to my eye. Obviously, it naturally has a fantastic soundtrack too. NICK If you’re checking out Nimrods for a showcase of throwback Green Day music, you’ll be satisfied. If you’re expecting anything more than a cookie cutter teen road trip film, you’ll be left wanting. All the hallmarks are here: running out of gas, angry parents, a love interest who pops up along the way, and odd cameos. Beyond those clichés, there’s no rooting interest as the focal group of friends are rather unlikable. I didn’t want to see them succeed and that’s kind of a key component missing here. Unless you’re a massive Green Day fan, you probably don’t need to see this.

OPUS Starring: Ayo Edebiri, John Malkovich, Juliette Lewis, Murray Bartlett, Melissa Chambers, Stephanie Suganami, Peter Diseth, Mark Sivertsen, Amber Midthunder, Tamera Tomakili and Tony Hale Director: Mark Anthony Green NICK I'll be honest, I was into the beginning of Opus and its intriguing set up, like a differently toned Midsommar . Then, after the first reveal, I gradually became less and less interested as the film went on. For a feature reliant so heavily on story, this one doesn't have the performances nor the twists and turns to make up for its shortcomings, something the film has plenty of, sadly. Even with the admittedly good final scene, it's unearned, as everything I had just watched before it diminished my interest in its intentions. A good half hour isn’t much in a 104-minute film. ADRIANO In a sea of horror/suspense-type genre films that tackle social issues, Opus stands out as quite awful. It feels like writer/director Mark Anthony Green saw The Menu and said, "I wanna do that." The ensemble is serviceable, although John Malkovich was severely miscast, and the movie takes nearly 90 minutes to set up, only for it to inevitably resort to mindless violence in the name of “satire.” The ending is a little interesting, but it made me wonder, “where was that the whole movie?" For a horror satire, it has nothing to say in the grand scheme of things. PAIGE Opus is an enticing comedic mystery thriller that makes up for its lacking plot with its crazed energy. The thin script certainly has plot holes, but at least Ayo Edibiri and John Malkovich do the best they can with the material. She’s a fantastic final girl, and Malkovich kills it as an eccentric 90s musician. Plus, the original pop music composed for the movie is superb. Ultimately, I dug what I saw, though there’s no denying that the movie struggles to have its voice heard due to its half-baked ideas. BRYAN Ayo Edebiri continues to prove herself as one of the most talented people of her generation, by carrying Opus on her back from start to finish. What started with so much promise in the opening minutes quickly fades into a lesser variation of the cult horrors that have made their mark this past decade, feeling like an AI-generated amalgamation of films that have tackled its subject matter in better ways. While some of the thrills, as well as John Malkovich’s performance, did crawl under my skin, there is not much to latch onto with Opus . What a major disappointment.

ONE OF THEM DAYS Starring: Keke Palmer, SZA, Joshua David Neal, Katt Williams, Patrick Cage, Vanessa Bell Calloway, and Maude Apatow Director: Lawrence Lamont AMARÚ One of Them Days works hard to channel the comedic essence of hood classics like Friday and How High , but modern day comedies’ searching for that feeling often have a razor’s edge margin of error. Luckily, this one falls on the side of success due to Keke Palmer’s endless charm, her authentic chemistry with SZA, and an outrageously likable ensemble. While the camera work is a bit too choppy and there’s one plot point that, even though I ultimately forgave, I could’ve lived without, there is just the right amount of heart and humor to capture the nostalgia it's aiming for. PAIGE One of Them Days was such a pleasant surprise. In many ways, it reminded me a lot of late 1990s/early 2000s comedies. Our leads, Keke Palmer and SZA, are a perfect pairing, and their chemistry and comedic charm are the driving forces behind this film. This day-in-the-life movie does a fantastic job of creating a sense of urgency, which not only keeps the film on course, but also keeps the laughs flowing. There are no dull moments throughout a 90-minute runtime that is full of hilarious dialogue and relatable laugh-out-loud moments. I’m looking forward to watching director Lawrence Lamont and writer Syreeta Singleton’s next flick during my next “Prosecco Party with Pals”.

LAST NIGHT IN SOHO Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg, and Terence Stamp Director: Edgar Wright NICK Last Night in Soho is a beautiful and haunting tale. Director Edgar Wright's ability to transport the viewer back to the 1960s is sublime, especially when paired with such wondrous visuals. On the technical side, this should be an awards juggernaut. On the performance side, ladies and gentlemen, Thomasin McKenzie. The actor's recent work has been good, but this is one of those performances that will make you seek out her next project. This is another triumph for Wright, who is on the shortlist of directors that can sell a film on name alone, an accolade the man has earned. ADRIANO It's hard to express how much I loved Last Night in Soho in under 100 words. Edgar Wright's time-bending psychological horror shows he's in full control of his unique and beyond-entertaining style. The writing has laughs, twists, and remarkable characters that balance incredibly well with the film's themes of exploitation and nostalgia. The two headlining actresses are the best they've ever been, but it's Thomasin McKenzie that blew me away. As for the film's technical aspects, everything is firing on all cylinders, especially the costumes and cinematography. The final 15 minutes goes a little overboard, but this movie floored me. QUENTIN Aside from most of his Cornetto trilogy (loved The World’s End , not so much the other two), I’m generally a fan of filmmaker Edgar Wright, which makes it all the more disappointing that I didn’t care for Last Night in Soho . Long story, short: this movie is the epitome of lipstick on a pig. Every bit of production design, from the sets to the costumes, is a beauty to behold, while the soundtrack is the absolute tits. However, all the goodwill that those things generate is wasted as they support a boring mess of a story full of uninteresting characters.

THE PICKUP Starring: Eddie Murphy, Pete Davidson, Keke Palmer, Joe “Roman Reigns” Anoa'i, Eva Longoria, Marshawn Lynch, Jack Kesy, Andrew Dice Clay, and Ismael Cruz Cordova Director: Tim Story KATIE The Pickup has the ingredients for an entertaining comedy, but it ultimately falls flat. Eddie Murphy and Pete Davidson have the potential to be an effective comedic pairing, but Davidson just can't work with the material and isn't funny. Even Eddie Murphy’s comedic talents, which shine through now and then, cannot overcome the unimaginative script. The action isn't engaging or creative, and the choppy editing gives the overlong car chases a very disjointed feel. Even at just over 90 minutes runtime, the plot is needlessly convoluted, and it feels twenty minutes too long. AMARÚ I’ll give props to The Pickup for the couple of practical stunts they pulled off during an early chase scene. But that’s about all the love I can throw its way, especially when they give charismatic actors like Keke Palmer and Eddie Murphy (Pete Davidson is also there) nothing more than ADR’d exclamations for a script. The story (if you can call it that), the editing (if you can stay with it), and the action (if you can stay awake during it) are all hodgepodged together in a convoluted mess of wasted potential. Eva Longoria was a fun side character though, so there’s that. QUENTIN Aside from a nifty sequence using dye packets during a car chase, The Pickup doesn’t have much else going for it, which is wild when you consider the hilarious talent involved. Everyone on screen, from Eddie Murphy to Marshawn Lynch, has shown their comedy bonafides at one point or another, but it’s almost like they all forgot how to be funny. I get that the lazy script is what it is, being convoluted on top of being unfunny, but you’d think the cast's natural abilities would shine through at least a little bit. But nope. Instead, we get an action-comedy that is the definition of forgettable.

CONCLAVE Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Isabella Rossellini, Sergio Castellitto, and Carlos Diehz Director: Edward Berger NICK I'm not particularly religious, so the concept of the conclave was foreign to me. That said, director Edward Berger instantly sucked me into this process and the tension surrounding the decision. This is high-concept drama told by highly acclaimed actors. The always reliable Ralph Fiennes, in particular, gives one of the best performances of his career, but it's the sum of Conclave 's parts that truly makes it shine. Whether it's the sound design and score, the beautiful yet simplistic visuals, or the overall tone of the film, it all amounts to a well-oiled machine I could have spent another hour with. ADRIANO Conclave is so much goofier than you'd expect from a movie about religion, and I say that complimentary. Featuring a stirring performance from Ralph Fiennes, Conclave is sabotage, conspiracy, twists, and shock at almost every turn. All of it is natural, too, never for the sake of a cheap rug pull, but instead to elevate a high-stakes thriller that had me second guessing and feeling tense throughout. The ending could divide audiences, but I thought it was a perfect cap to a film about how religious institutions desperately need to evolve. A well-crafted thrill ride of a film. QUENTIN Conclave is amongst my most overhyped movies of the year (I blame Nick). That’s not to say it’s bad, but at no point did I find the story gripping or thrilling, which is kind of the point of a “conspiracy thriller,” no? Granted, it boasts terrific performances and is handsomely made, but the characters are so underdeveloped that the twists and turns (including a silly final reveal) never hit as hard as seemingly intended. I genuinely didn’t care who became Pope, and a movie like this requires the audience to take a side to work effectively. Conclave is decent, I suppose, but a disappointment, nonetheless. KATIE Conclave is a ridiculously entertaining and suspenseful film consisting of little more than people talking in rooms, which is why it's so impressive. Even as someone with a Catholic background, I’ve never felt invested in the election of the next pope, but Conclave is immediately gripping, plunging you into a process filled with intricate drama and a mounting sense of tension that’s felt in every line of dialogue. It’s also sharply funny in the way it juxtaposes modernity with the absurd rigidity of Catholic tradition, and boasts a career-best performance from Ralph Fiennes. AMARÚ Please excuse the blasphemy on this particular review, but holy shit, because you can feel the tension from the first note of composer Volker Bertelmann’s violins and the immediacy of director Edward Berger’s striking images. Conclave is a powder keg of politics and power in papacy, delivering a conspiring mystery worthy of our favorite political thrillers. Oscars will be touted for the many brilliant acting performances here, but the spotlight belongs to Carlos Diehz, whose mere presence is a lightning bolt piercing through this monstrous ensemble. Conclave , by its final frame, is a potent crescendo whose gradual momentum explodes to a fantastically satisfying conclusion. PAIGE Conclave piques the interest of the viewer as a behind-the-scenes political thriller focusing on the oldest religious organization in the world, one with perhaps the most secretive and exclusive leaderships within that milieu. Director Edward Berger leans into the most mysterious components of the rites, traditions, and disciplines that influence so much of the global population. Political jockeying is highlighted as we stumble into each new revelation before the last shocking twist. My only complaint is that the plotline that drives us forward to the edge of our seats leaves us with a contemplative, but misleading and disappointing conclusion. This political thriller is a behind-the-scenes look at the corruption within the Catholic Church, but it unfortunately falls short of the excitement its compelling premise promises. That said, from a technical standpoint, Conclave is excellently crafted by Edward Berger and it’s well acted. It's just that the story isn’t as engrossing as I had hoped, primarily because the characters are so underdeveloped. The slow pacing also doesn’t do the film's reveals any justice, as they all feel too toned down. The story needed more tension and buildup to make this promising plot truly work. This film was reviewed by Quentin, Nick, Adriano, and Katie as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival, 2024 Toronto International Film Festival, and 2024 BFI London Film Festival respectively.

CLERKS III Starring: Brian O’Halloran, Jeff Anderson, Trevor Fehrman, Jason Mewes, Kevin Smith, and Rosario Dawson Director: Kevin Smith PAIGE Writer/director Kevin Smith isn’t trying to recreate his glory days as much as rectify them with Clerks III , the heart and soul of the View Askewniverse. You can really see Smith filtering his own life and experiences onto these characters that we have grown with over the past three decades. Don’t get me wrong, I would love to see him do something different, but Dante (Brian O’Halloran) and Randall (Jeff Anderson) have become so entangled with his own life that it was satisfying to see him give them a proper send off. It’s not his greatest film, but it gives you all the feels. QUENTIN Clerks III surely won’t convert any Kevin Smith non-fans, but for those who have been with View Askewniverse since 1994, this unexpected franchise finale is an emotional and nostalgic look at grief, mortality, friendship, and legacy. It’s easily Smith’s most personal and heartfelt film, and the catharsis he’s seeking with these characters is palpable throughout the meta shenanigans. Catching up with Dante (Brian O’Halloran) and Randall (Jeff Anderson) isn’t showy, but it’s relatable and cozy…like wearing your favorite comfy sweatshirt. Surprisingly, Smith has quietly made one of the most unassuming and best trilogies of all time…and it wasn’t even supposed to be here today.

HOW TO MAKE A KILLING Starring: Glen Powell, Margaret Qualley, Jessica Henwick, Bill Camp, Zach Woods, Topher Grace, and Ed Harris Director: John Patton Ford NICK Although you really have no other choice than to compare How to Make a Killing to a recent Oscar snub, the film does enough to stand on its own. Unfortunately, that doesn’t mean director John Patton Ford fully knows what to do with this premise. Leaning heavily on Glen Powell’s charm, this film is filled with mixed comedy (Zach Woods is a highlight) and fairly casual class commentary. I wish this leaned more into Beckett (Powell) infiltrating his family, as that plot worked best for me. Instead, you get a film that is mostly entertaining but lacks the depth its subject matter requires. ADRIANO My feelings towards How to Make a Killing are strange. Its pacing and sense of humour made it fly by in exciting fashion, and even when I could tell it was rushing to its conclusion, I still had fun with Glen Powell’s charm. With that in mind, it never gets at anything tangible with its “money can’t buy happiness” narrative, and doesn’t climb out of that cliché to get at something worthwhile. Perhaps No Other Choice arriving so recently and doing a much better job at similar plots and thematics didn’t help. This is a fun time, but nothing more.

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. AMARÚ It takes a lot of skill to take a film about nothing in particular and turn it into something special. Train Dreams is something special. Clint Bentley’s gorgeous direction and Greg Kwedar’s simple yet elegant writing highlight the world’s beauty even in life’s cruelty. Joel Edgerton’s quiet grace packs more power than words can convey, and bringing it all together is Will Patton’s voice, making Edgerton’s Robert feel like the most important man on Earth. Then, as you’re watching, you realize that, to someone, he is; and for 102 minutes, to the audience… he was. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

VOICEMAILS FOR ISABELLE Starring: Zoey Deutch, Nick Robinson, Nick Offerman, and Ciara Bravo Director: Leah McKendrick PAIGE Voicemails for Isabelle is definitely one of the better Netflix rom-coms. While it has its cliché moments and follows the same formulaic tropes of films that have come before it, like You’ve Got Mail or Sleepless in Seattle , it’s still got a heart of its own. The movie does a great job of maintaining its lighthearted and charming tone while also sprinkling in some heavier themes to allow the emotional beats to hit you. Not to mention, its two leads, Zoey Deutch and Nick Robinson, have effortless chemistry. All in all, it’s a cute and quirky romcom that certainly isn’t soulless. ROBERT Without knowing the plot of Voicemails for Isabelle beforehand, I guessed it in the middle of the first trailer. When that happens, I figure its predictability will be its downfall. However, the tropey nature doesn’t undercut its emotional heft and relationship portrayals. I found Jill (Zoey Deutch) and Isabelle’s (Ciara Bravo) sisterly bond to be one of the freshest and most aspirational takes on familial connection ever. My emotions were stretched and folded more than I expected from the Netflix feature of the week, which is its superpower, beyond the unrelenting chemistry of Jill and Wes (Nick Robinson). Crying begets laughter begets crying here. BODE Voicemails for Isabelle is essentially You’ve Got Mail , but with a dead sister. That’s probably not the easiest sell on paper, and credit to writer-director Leah McKendrick because she seems aware of that, to the point that it’s (amusingly) called out. That is also why she seemingly works overtime to make the tricky balance between rom-com and tearjerker work, and by God, it actually does. The expected beats effectively land, and stars Zoey Deutch and Nick Robinson have the type of chemistry that really make this worth watching. Even a Benson Boone needle drop couldn’t bring it down for me. A real charmer.

THE BLACKENING Starring: Grace Byers, Jermaine Fowler, Melvin Gregg, X Mayo, Yvonne Orji, Dewayne Perkins, Jay Pharoah, Antoinette Robertson, and Sinqua Walls Director: Tim Story PAIGE Tim Story's The Blackening is quite a pleasant surprise. Its fun stabs at horror movie tropes are fantastic, and they will have you laughing out loud throughout. Even though it is a dumb horror comedy, it manages to balance its campiness very well, and it knows exactly what tone it is going for the entire time. The ending is admittedly weak, but I promise you’ll have fun watching this hangout flick that is essentially Scary Movie mixed with The Cabin in the Woods in all the right ways. NICK After watching the short film on which it is based, it's clear The Blackening was better suited as a short. It's not a bad movie, but the plot has no reason to be stretched out to more than 90 minutes. There is a lot of humour in the opening half hour, but after that, it just feels like a B-movie slasher with characters that wear out their welcome, especially Clifton (Jermaine Fowler). Ultimately, this is a great example of “if it ain’t broke, don’t fix it.” That said, please do yourself a favour by watching the short film. QUENTIN Based on 3-Peat Comedy’s sketch of the same name, The Blackening ’s premise is brilliant. However, the feature film version loses most of the sketch’s witty commentary about Blackness by also forcing a commentary on horror tropes. It still poses humorous questions about racial stereotypes, but never takes them far enough to be hilarious. It’s like it’s pulling its punches. For example, jokes about not knowing how to play Spades being evidence of being “less black” weren’t funny, which makes me wonder: am I too white to find it funny, or too familiar with black culture (I mean, I can play Spades) to find it subversive? This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

DAMSEL Starring: Millie Bobby Brown, Robin Wright, Ray Winstone, Shohreh Aghdashloo, Nick Robinson, and Angela Bassett Director: Juan Carlos Fresnadillo QUENTIN As a female empowerment fairytale featuring dragons, Damsel certainly has an audience out there, but I’m not entirely sure who it is. The main problem is that this movie seems to be made for young, pre-teen girls, yet it feels too dark and intense for that demographic. On the other hand, the adults who would appreciate the more Games of Thrones -y aspects are probably too old for the cheesy YA aspects of the story. Some of that falls on Millie Bobby Brown, whose not-great performance can’t find a consistency between those two approaches, but also on the extremely cheap looking special effects and underwhelming story beats. CALEB Damsel , while not insultingly bad, is ultimately just another disposable piece of streaming fodder that you'll likely forget about five minutes after finishing it. Millie Bobby Brown does her Millie Bobby Brown thing, bouncing between her usual cheeky smiles, steely gazes, and wails of agony. She's not awful, but again, forgettable is the operative word here. The visuals are similarly unremarkable, hindered by underlit interiors, unconvincing costumes, and an overabundance of poorly realized digital set extensions. Thankfully, there's an impressive-looking CG dragon that prevents the narrative from ever becoming too monotonous. Damsel definitely isn't remarkable, but at least it isn’t terrible. PAIGE Damsel is a flawed and cheesy experience, but it's still a passably amusing fantasy movie that should find an audience. If you can turn off your brain to ignore the poor CGI and simplistic story, you’ll find that Damsel offers a somewhat entertaining spin on the traditional fairytale. Millie Bobby Brown uses the run-of-the-mill narrative to effectively portray a damsel-in-distress who is not to be messed with, but that aside, the writers need to understand that a successful story requires more than just a compelling lead. PRESTON As unoriginal as my review could have been by fitting in the word “trope” somehow, it's also about the same level of unoriginality that the Damsel plot ends up revealing. I am a fan of Millie Bobby Brown, but the ridiculous number of ear-grating groans from pain that occur borders on laughable. I am probably being a little harsh on what is supposed to be an escapist break for those that don’t want to take their weeknight streaming too seriously, but unless my dragon comes with the soothing vocal affectations of one, Sean Connery, I’m probably out anyways.