Search Results

SACRAMENTO Starring: Michael Cera, Michael Angarano, Maya Erskine, and Kristen Stewart Director: Michael Angarano PAIGE Although Michael Angarano’s second directorial feature, Sacramento , is a little rough around the edges, it's still a solid coming-of-age film. Its themes surrounding avoiding one’s problems and maturing are slightly one-dimensional, but its sweet and genuine character moments keep this movie afloat. Kristen Stewart and Maya Erskine make the most of the little screen time that they have, while Angarano and Michael Cera's friendship and banter shines throughout. All in all, this indie comedy is a decent, lighthearted story of adult friendships, fatherhood, and emotional maturity. KATIE On paper, Sacramento is a film I should have loved, with its fantastic cast and coming-of-age themes. However, although it's beautifully shot, it never made me care about the strained friendship between Rickey (Michael Angarano) and Glenn (Michael Cera). These men are so emotionally immature and resistant to responsibility that I couldn’t summon any empathy for them, especially since they seemed to just be suffering the consequences of their actions whilst the women in their lives pick up the pieces. Sacramento presents a surface-level exploration of its themes, and any resolutions feel unearned.

AMBER ALERT Starring: Tyler James Williams, Hayden Panettiere, Saidah Arrika Ekulona, Kurt Oberhaus, and Ducky Cash Director: Kerry Bellessa KATIE Amber Alert feels like an episode of a long-running TV crime drama rather than an exciting thriller. Despite the pressing nature of the situation at hand, the film moves at a slow pace and characters act without any sense of urgency or common sense, which quickly becomes repetitive and boring. The amateur-feeling performances do not help, and Tyler James Williams’ (Shane) natural charm only highlights the shortcomings of the rest of the cast. Plus, the film distastefully uses exploitative implications rather than creating any genuine sense of suspense or tension. Frankly, the whole thing left a bad taste in my mouth. NICK Amber Alerts are a significant tool for finding missing children, and they haven't really been explored in the world of film. The movie Amber Alert does that, just poorly. In spite of the commitment of Hayden Panettiere and the charisma of Tyler James Williams, the film meanders its way through poor decision-making and a tensionless chase sequence that only leads to a rushed and nonsensical shootout. It’s a baffling final act that is so tonally removed from everything I had just watched. I didn’t hate the majority of what I was given here, but that ending really left a sour taste in my mouth.

HORIZON: AN AMERICAN SAGA - CHAPTER ONE Starring: Kevin Costner, Sienna Miller, Sam Worthington, Giovanni Ribisi, Michael Rooker, Danny Huston, Jena Malone, Michael Angarano, Abbey Lee, Jamie Campbell Bower, Jon Beavers, Owen Crow Shoe, Tatanka Means, Luke Wilson, Ella Hunt, and Tom Payne Director: Kevin Costner QUENTIN Horizon - Chapter 1 is tough to review because, frankly, it’s not really a movie. Or at least it shouldn’t be. It’s like watching the first three episodes of a miniseries, which means it’s mostly just introducing a sprawling number of so-far-unrelated characters. There is very little development on any front, and nothing remotely resembling a typical multi-act story structure. The best way to describe it is “just western vibes,” so fair judgment probably should be reserved until after seeing Chapter 2 , if not Chapters 3-4 . Still, the acting, cinematography, and production design are very well done, and I’m invested enough to see the sequels through. PRESTON I can force myself to be a patient man when necessary. And I’m willing to invest three hours of my time to develop a complicated intertwining of characters, lay a solid foundation, and build necessary tension. The problem is that Horizon does very little of that in Chapter 1 of this American Saga . With a few obvious exceptions, the acting and script are only so-so, and the plotline is disjointed. There is still a subtle hint that this epic western film series will turn out to be a massive success, but it is too hard to tell from this single outing. ADRIANO I love the existence of Horizon - Chapter 1 much more than the movie itself. A multi-part western theatrical epic co-written, directed, and starring Kevin Costner sounds great, but although I can handle long, slow-burns, I struggled to stay awake for this. It feels like a History Channel movie, and the storytelling is nonexistent as it goes from one unrelated plotline to the next with no reason to care. I'm not as hostile at the prospect of watching Chapter 2 as I was with Rebel Moon , but I have no interest in the future of this saga.

SWIPED Starring: Lily James, Ben Schnetzer, Dan Stevens, Myha’la, Jackson White, Ian Colletti, Mary Neely, Pierson Fodé, and Dermot Mulroney Director: Rachel Lee Goldenberg PAIGE Swiped is a conventional biopic that doesn’t do much to stand out from the crowd. While the movie certainly touches upon issues like gender inequality in the workplace and online harassment, it doesn’t dive deep enough into these matters. The film needed to lean more on such topics and the ways in which Whitney Wolfe Herd (Lily James) overcame them to convey this impactful story of female empowerment. Instead, the movie plays it safe. It may be a breezy watch, but it’s not something I’d swipe right on. ROBERT Recent-history biopics have been a… recent trend, sometimes with studios optioning a story less than two years after the real event occurred. Usually, they focus on financial or tech-based companies, so Swiped falls right in line, fictionalizing the founding of Bumble by Whitney Wolfe Herd (Lily James). The film captures the toxic nature of tech-bro culture in a way that makes you require a shower afterwards, but otherwise, it doesn’t push boundaries or make you feel the need to know about Whitney’s whole life. However, the way in which they frame her rise, fall, and rise again, coupled with Lily James’ performance, is intriguing. KATIE Swiped is entertaining with a great leading performance by Lily James, but it is ultimately a disappointingly paint-by-numbers account of Whitney Wolfe Herd’s (James) complex rise to success. It's bright, glossy, straightforward, and simple, and it certainly shows us how the misogynistic tech bro culture impacts Whitney’s life, career, and her mental health. However, Swiped doesn’t get into how this culture is perpetuated or offer much insight into how Tinder impacted its users and the ethics of dating. The film feels shallow, and many of the supporting characters are underdeveloped. It lightly touches upon the pitfalls of girl boss feminism, but not satisfyingly enough. BODE It’s a testament to Lily James that I was even somewhat interested in Swiped , which chronicles the story of dating app titan Whitney Wolfe Herd. And credit to her performance, and to the film’s creative team, they make what’s essentially a dramatized Wikipedia page decently entertaining. It’s certainly at its most interesting when observing the toxicity of the male-dominated tech world, and how Wolfe Herd benefitted from it until she suddenly didn’t. It probably would’ve been better had it not become another celebration of the corporate billionaire by the end. Regardless, you can still swipe right on this biopic.

BOY KILLS WORLD Starring: Bill Skarsgård, H. Jon Benjamin, Jessica Rothe, Michelle Dockery, Brett Gelman, Isaiah Mustafa, Andrew Koji, Famke Janssen, Sharlto Copley, Yayan Ruhian, and Quinn Copeland Director: Moritz Mohr QUENTIN In the crowded action revenge genre, it doesn’t take much to succeed. The plots are almost always the same, so you only need charismatic characters, well-choreographed fight scenes, and exciting action sequences to entertain. Sadly, Boy Kills World didn’t get the memo. I admit there are few solid chuckles to be had, particularly a running joke about the deaf and mute Boy (Bill Skarsgård) being unable to read another character’s lips, but they aren’t enough to carry the film through its bloated runtime, mundanity, or dumbass twist. You’re better off rewatching John Wick . Or Monkey Man . Or Silent Night . Or…well, you get the idea. NICK Boy Kills World is a lot like a video game because the action scenes are bombastic and clearly inspired by that world. Bill Skarsgård makes for a dynamic lead despite any of his own dialogue thanks to his facial expressions and combat skills. I actually wish he had done the internal monologue over H. Jon Benjamin (the way it was originally screened at TIFF) as Benjamin provides too much disconnect. All in all, I liked this more than most of the John Wick -style films, probably because it leans heavier into the comedy side of things. It’s just a good-ass time. AMARÚ The second Bob from Bob’s Burgers (H. Jon Benjamin) starts narrating Boy Kills World , I knew what to expect: an utterly ridiculous time that rides the line between satirical and stupid. Then I saw the “Old Spice Man Your Man Could Smell Like” (Isaiah Mustafa) leading the film’s best running bit, and from that point on, I said fuck it. The action (and paired soundtrack) is cool, Bill Skarsgård’s gamut of expressions fit perfectly, and supporting actors like Mustafa and Sharlto Copley know exactly how to elevate this kind of stupidity. Yayan Ruhian alone is worth the crazy, and I’m here for it.

GHOSTBUSTERS: AFTERLIFE Starring: Mckenna Grace, Finn Wolfhard, Logan Kim, Celeste O’Connor, Carrie Coon, and Paul Rudd Director: Jason Reitman ADRIANO Despite the odds, Ghostbusters: Afterlife works. Director/co-writer Jason Reitman revives the franchise in a way that pays homage to the original while also making it feel fresh. It somehow maintains the magic of the 1984 version, feeling both fun and genuinely scary at times, and serves as a lovely tribute to Harold Ramis. The whole cast is amazing, but Mckenna Grace nails it as the lead. I had a few issues with the script and a couple nostalgia-driven moments made me roll my eyes, but that aside, this is a revival that sticks the landing. NICK With original director Ivan Reitman's son, Jason Reitman, stepping into the director’s chair, Ghostbusters: Afterlife is a love letter to the original films. The cast breathes new life into the series with Mckenna Grace having a breakout moment, while some key cameos will appease longtime fans of the series. There are laughs, scares, and even some tears. Reitman nailed it with this one. He has managed to make a film that fits firmly into the Ghostbusters universe that still works as a standalone film with the potential to relaunch the franchise. Well done. QUENTIN Ghostbusters: Afterlife doesn’t do anything “wrong” necessarily, but the only thing it does exceptionally “right” is the nostalgia porn. From the not-so-secret cameos to the general atmosphere, it genuinely feels like it could be an 80s movie as opposed to a movie trying to recapture 80s magic. However, it skews much younger, feeling more like Goosebumps than a Ghostbusters sequel. That’s not necessarily a bad thing, but it does come off a tad neutered. The jokes are vanilla, the emotional bits are wavetop, and it doesn’t expect much from its audience. Older fans should adjust expectations. JACOB Although Ghostbusters: Afterlife presents itself as a singular adventure, it eventually reveals itself to be two stories in one. However, neither story is completely fleshed out, as you only get the end of one and the beginning of another. That’s not to say it’s bad. It’s generally polished, but it spends more time trudging up nostalgic memories than it does telling its own tale. While the attempts at humor are admirable, they mostly fall flat. A lot of this movie seems to work on the surface, but unlike the film’s setting, there’s hardly anything lurking beneath.

THANKSGIVING Starring: Nell Verlaque, Patrick Dempsey, Addison Rae, Jalen Thomas Brooks, Tomaso Sanelli, Milo Manheim, Gabriel Davenport, Jenna Warren, and Rick Hoffman Director: Eli Roth PAIGE While I was hoping Thanksgiving would have kept more with the grindhouse distortion style, I must admit this flick is still a bloody fun time. It’s stuffed with ridiculousness that will have you eating up its holiday-themed kills, and director Eli Roth seems to be having a blast crafting the creative mayhem. Even though this film is absurd and it doesn’t have the most compelling story, this B-horror movie knows it’s over-the-top, embracing every bit of it. If you're a sucker for cheesy slashers, this one's for you. Just don’t expect to care much about the one-dimensional characters. CALEB Director Eli Roth’s latest effort features everything you could possibly want from a great slasher flick. It’s got fun kills, an intimidating antagonist, and an engaging mystery. The whole Thanksgiving shtick is a lot of fun too. I love how they incorporate the holiday’s trademarks into the violence. The only real gripe I have with the film is its protagonist. Jessica (Nell Verlaque) isn’t necessarily a terrible character, but she’s pretty forgettable as far as final girls go. Outside of that, there’s barely anything to complain about. I went into Thanksgiving hoping for a good time, and that’s exactly what I got. ADRIANO I'm not a robot. I can even be a sicko sometimes, and Thanksgiving fulfilled my sicko needs. While lacking in substance, Eli Roth's latest slasher makes up for it with pure genre entertainment. The movie has kills for days; absolutely brutal ones too. Heads fall off, internal organs are exposed…it's a massacre, and I am here for it. I also love a horror flick like this one that is more dependent on the tense atmosphere than lazy jump scares. Its mystery can be interesting, though its reveal and explanation aren't very satisfying. Nonetheless, this film was a blast from start to finish. PRESTON I almost feel compelled to rate Thanksgiving slightly differently when compared to more “serious” films because director Eli Roth’s intention is perfectly met when one examines the final product. You know exactly what you’re going to get from a Thanksgiving-pilgrim-disguised-killer premise. In the end, you get a no-holds-barred slasher in all its gory glory that has surprising humor with some beautifully cheesy one-liners. For all you B-horror movie fans out there, this could be your chance to convert some of your more skeptical, highbrow friends. Go watch it together and have fun; you’ll be thankful you did!

SELF DRIVER Starring: Nathanael Chadwick, Catt Filippov, Reece Presley and Lauren Welchner Director: Michael Pierro This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. PAIGE Despite its low budget, Self Driver stands out somewhat because most of the film is primarily shot in the interior of a car, making it an unexpectedly tense film that is reminiscent of Collateral ’s style and tone. The saying "desperate times call for desperate measures” fits rather well here as insanity breaks loose, leaving the film to paint a bare picture of being a modern-day taxi driver and all the dehumanizing that can come with that. Ultimately, I'm interested to see what writer/director Michael Pierro does next because Self Driver is a promising beginning. NICK The award for best film shot entirely in a car still goes to 2013's Locke , but director Michael Pierro should be proud of what he was able to do on a miniscule budget. This examination of what we’re willing to do at the end of our rope will hit close to home for anyone who has ever wondered how far they'd go to get out of their despair. Thematically, it works quite well. Beyond that, the film failed to grip me. I struggled to connect with the story (and I'm not far removed from the aforementioned hard times), but I hope others feel different.

SHARP CORNER Starring: Ben Foster, Cobie Smulders, and William Kosovic Director: Jason Buxton NICK Although it’s nice to see Ben Foster playing against type, Sharp Corner leaves much to be desired. You can tell it was originally a short story because its thin premise is stretched out to a near two-hour runtime filled with tons of build-up that culminates in a rushed and disappointing final ten minutes. Foster does well to keep you interested up to that point, but when all is said and done, I just felt deflated. The story either needed to be adapted into a short film or a really expanded and fleshed-out mini-series. As currently constituted, it misses the mark. BODE There’s a fascinating concept at the centre of director Jason Buxton’s second feature, Sharp Corner , particularly its attempt to examine the intersection between emasculation and control through a mix of psychological thriller and dark comedy (think Nightcrawler with the absurdity of a Tim Robinson sketch, with Ben Foster’s creepily polite performance intermittently feeling like it jumped out of the latter). Unfortunately, the film never really digs below the surface of its commentary, nor is it tense or humorous enough to consistently engage the viewer. It has the occasional moment of intrigue, but for the most part, it comes up frustratingly short. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

ENOLA HOLMES 2 Starring: Millie Bobby Brown, Henry Cavill, David Thewlis, Louis Partridge, Susan Wokoma, Adeel Akhtar, Sharon Duncan-Brewster, Hannah Dodd, and Helena Bonham Carter Director: Harry Bradbeer AMARÚ One cannot deny the charm of Millie Bobby Brown (Enola Holmes), nor can one deny that Henry Cavill (Sherlock Holmes) should be in all things. Their engaging chemistry epitomizes the captivating appeal of Enola Holmes 2 . Truthfully, the entire cast is chewing their scenes, milking every ounce of fun they can from the Holmes’ adventure. The sequel’s family-friendly motif slightly overshadows its mystery, so director Harry Bradbeer’s reliance on Guy Ritchie-style freneticism can feel out of place at times, but all-in-all, Enola Holmes 2 is a charming sequel that makes the prospect of a third movie a likable one. JACOB Enola Holmes 2 espouses much of the same fun as its predecessor, but it is less structurally sound. The central mystery is interesting until the viewer solves it about halfway through, and even though the journey is entertaining, arriving at its conclusion can sometimes feel tedious (especially as a separate mystery contains far more intrigue). Subplots appear and disappear at will, certain characters seem more like placeholders than people, and the ending drags on for far too long. I’d like to say this was an improvement, but truthfully, it’s just the same package as before but in a less impressive box.

NEVER LET GO Starring: Halle Berry, Anthony B. Jenkins, and Percy Daggs IV Director: Alexandre Aja NICK Lionsgate has rolled out some of my least favourite films this year, so I didn't have high hopes for Never Let Go . Turns out, it was a nice surprise. Aside from trying to direct the viewer a little too strongly, it keeps you guessing what is real and what isn't. Both Anthony B. Jenkins (Samuel) and Percy Daggs IV (Nolan) engross you in the family drama while director Alexandre Aja creates a creepy and unsettling atmosphere for you to get lost in. It’s nothing revolutionary, but there have been FAR WORSE horror offerings this year. Give this a shot. PRESTON Never Let Go has some issues with its tension building, pacing, consistency in storytelling, and unsatisfying conclusion. Still, we are given an original plot concept, a thoroughly creepy setting, and some terrific acting by the whole cast. In fact, the cinematography, makeup, and visual effects are all good too. I didn’t think a rope tied to a house would play as a horror film, but director Alexandre Aja proved me wrong. It still would have been much better had it… Never Let Go of the initial tension - you knew a dad joke was lurking somewhere. AMARÚ Never Let Go is a creepy and chilling thriller that will have you questioning what’s real. Backed by strong performances from young actors Anthony B. Jenkins and Percy Daggs IV, which ground Halle Berry’s supernatural presence, the story is a solidly frightening slow burn. It continuously puts doubt into the origins and reality of the family’s beliefs, and that makes you care about their well being more and more as you wonder if their actions are tragic or life-saving. Director Alexandre Aja furthers your uncertainty with perpetually gloomy visuals, tying the film together in an intensely unnerving aura you won’t be able to shake.

SHE SAID Starring: Zoe Kazan, Carey Mulligan, Samantha Morton, Tom Pelphrey, Jennifer Ehle, Andre Braugher, Patricia Clarkson, Ashley Judd, Elle Graham, Adam Shapiro, and Anastasia Barzee Director: Maria Schrader JACOB The greatest strengths of She Said are those most baked into the story, namely the actual investigative elements of the infamous Harvey Weinstein case and the journalistic sequences as the article is being put together at the New York Times offices. It also boasts some stellar performances, solid writing, and a subtly great score. However, it’s not without faults, one of those being a fairly wonky editing structure that makes the first few minutes feel jumbled. The larger conflicts are there, but absent is the focus on the protagonists’ personal conflicts that made Spotlight – this film’ closest counterpart – so convicting. QUENTIN I’m a sucker for journalism movies, and while She Said isn’t one of the better ones I’ve seen, it’s good enough to satisfy cravings for a genre that doesn’t have near enough offerings. The film features mostly decent performances (Zoe Kazan struggles) and some of the worst editing I have ever seen, but what matters is the story. Though a little dry, it manages to honor Harvey Weinstein’s victims and the difficulty of their situations with a quiet respect (the lone exception is the Ashley Judd of it all, which comes off as self-aggrandizing). Overall, it’s a worthy watch, even if it doesn’t make waves. ADRIANO She Said is a movie that can simply coast on its powerful and incredible true story, which is why I find it very admirable just how matter-of-fact this film is. There is no overdramatizing, and while at times that can feel a little dry in its approach, it allowed the story to speak for itself. Carey Mulligan and Zoe Kazan are both great, and although I wish we learned more about them, I think they were written with the respect they’re owed. This was a truly effective movie that did both the subjects and victims justice. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.