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ABIGAIL Starring: Melissa Barrera, Dan Stevens, Alisha Weir, William Catlett, Kathryn Newton, Kevin Durand, Angus Cloud, and Giancarlo Esposito Director: Matt Bettinelli-Olpin and Tyler Gillett ADRIANO A word of advice: it might be best to go into Abigail without the mindset that it's a horror film because the overbearing score and overall tone make the film seem more like a heist thriller, for better and for worse. That said, while some of the rules in the writing are nonsensical and the third act goes too far off the rails, I had way too much fun with Abigail . The entire ensemble works off each other amazingly, and once the shit hits the fan, it's an ultra-gory blast that made me forgive its obvious shortcomings. AMARÚ Sometimes, I wish Giancarlo Esposito just wasn’t in a movie because he’s the sole reason I decided to see Abigail . While I don’t regret watching, it did nothing to sway me towards liking horror. The Radio Silence directorial team brings flashes of Clue and Murder by Death to this horror comedy, but it’s nowhere near funny enough or clever enough to reach those heights. People still make dumb decisions, characters are still cliché, and even though Melissa Barrera, Dan Stevens, and a stand-out Kevin Durand try to bring some nuance, they don’t bring quite enough to say it’s anything more than fine. PAIGE While Abigail may get off to a slow start, once the game of cat and mouse begins, the movie really picks up steam and takes off. It becomes a bloody blast! Directing team Radio Silence succeeds in crafting an excellent blend of horror and comedy with this vampire flick. If you’ve seen the trailers, you know what to expect from the movie, and while it may not reinvent the wheel in any way, it’s an utter delight. This campy gore fest is a hell of a ride, thanks to its charismatic cast, who elevate the story with their performances. KATIE Abigail is a ridiculously fun time that had me both laughing out loud and wincing at the gore. It's unashamedly camp and excessive, and Alisha Weir is amazing in the titular role, moving effortlessly between adorable and menacing. Despite the stale dialogue, the ensemble cast each make the most of their roles and have great chemistry. My only issue is that it's slightly overlong, not knowing when to end its finale. I imagine I would not have been as impressed had I seen the trailer and known the premise, but going in blind made this a bloody and fun surprise. PRESTON Abigail may be a victim of its own trailer, as what would have otherwise been a spine-tingling revelation serves as a mundane step in the plot marching forward. Instead, this gory vampire flick proceeds with a predictable unfolding of events that doesn’t break any known molds. While not self-serious, it still doesn’t come close to the campy cleverness of Matt Bettinelli-Olpin and Tyler Gillett’s previously directed Ready or Not. One highlight is a dance scene set to the awesomely chilling sounds of Danzig's “Blood and Tears” (I won’t mention the stupidly conflicting effects of the exposure to the sunlight, though…oh, oops). CALEB When Alisha Weir gets to do her thing, Abigail is a blast. The movie is at its best when the tiny vampire queen is running amok, but there just isn’t enough of her doing that. The other cast members dominate the runtime, and they aren’t nearly as entertaining as she is. By the third act, Abigail (Weir) gets sidelined by another, much lamer antagonist, and it results in a convoluted, unsatisfying conclusion that caps off the movie on a low note. I still had a good time with Abigail , but I wish it played to its strengths and let lil’ Abby have a bit more fun.

TRON: ARES Starring: Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Hasan Minhaj, Arturo Castro, Gillian Anderson, and Jeff Bridges Director: Joachim Rønning QUENTIN In its best moments, Tron: Ares is a ground-breaking music video for Nine Inch Nails that took me back to the early 2000s. There also is a Lebowski-esque Jeff Bridges contributing a glorified cameo in one wonderfully nostalgic sequence, which…far out. Sadly, those excellent moments are wrapped in an empty movie that unsuccessfully attempts to add to the AI conversation, all while drenched in so much red that it’ll screw up your rods and cones (anyone get that reference?). With lackluster performances, one-dimensional characters, and often chaotic visuals, perhaps only Nine Inch Nails fans need apply. They likely won’t be as disappointed as this Tron fan. AMARÚ Tron: Ares is an absolute visual spectacle. Combined with Nine Inch Nails’ electric score and soundtrack, the technical aspects are hypnotizing, almost to the point of overstimulation. The breakneck speed in which you have to process information matches the film’s nonstop pace, both to its success and detriment. While the film’s foundation is plagued with the base-level, nefarious evil vs good plot points and dialogue, the second half finds a surprisingly balanced message about humanity, effectively conveyed by Jodie Turner-Smith and, yes, Jared Leto. If Tron 4 can avoid the mustache-twirling, I ultimately wouldn’t mind returning to this world. ADRIANO Disney has been a red flag for me recently, and separately, an even bigger red flag has been having Jared Leto in the cast. So I'm not shocked I didn't like Tron: Ares . What shocked me is how dull it is for a Tron movie, as nothing about the oversimplified plot, underwritten characters, and, worst of all, ugly visuals gave me anything to be entertained by outside of the kick-ass Nine Inch Nails score. I can tell you right now that I am not interested in the sequel that was hamfistedly set up at the end. ROBERT Permanence, The Grid, Master Control…these are just words Tron: Ares uses to cobble together a script and world to push forward the action of the film. However, in reality, the purpose of a Tron film, especially at this point, is to saturate an audience’s brain with retro-futuristic visuals of a 1980s video game landscape and hard-hitting music tracks. In that capacity, Ares is successful. Everything else is not memorable. That said, Jared Leto, as the AI Ares, does his most credible acting as a program learning to be human since, in real life, he too is a robot pretending to be one of us. BODE I’d be lying if I said I went into Tron: Ares with high expectations. I’m not particularly fond of Jared Leto as a movie star, and given his previous Disney sequels, I didn’t think director Joachim Rønning was ideal to keep this franchise going. That’s why I’m shocked that I found it totally fine. The plot isn’t anything to write home about, and it doesn’t meaningfully add to the AI conversation. But the techno-futuristic visuals are still pretty stunning, and the Nine Inch Nails score goes expectedly hard. It works purely as an audiovisual experience. No more, no less.

RIDDLE OF FIRE Starring: Charlie Stover, Phoebe Ferro, Skyler Peters, Lorelei Mote, Lio Tipton, Charles Halford, Danielle Hoetmer, and Weston Razooli Director: Weston Razooli NICK Shot on gorgeous 16mm film, Riddle of Fire has a vintage look to it that really enhances the picture. A modern day fairy-tale, this is an exploration of a child’s imagination and that time in our lives where anything could become an adventure. The humour is on point – Skyler Peters (Jodie), in particular, embraces his Kids Say the Darndest Things vibe – and it’s easy to get swept into the children’s mischievous ways. Riddle of Fire is bound to fly under the radar, but it makes for a fun watch and harkens back to 80s films like The NeverEnding Story . It’s just a good time. KATIE I really enjoyed Riddle of Fire , a dreamy, modern fairytale story that feels like a hazy summer day with enough whimsy and charming performances from the young cast to make up for its overlong runtime. The nostalgia-driven aesthetic and naturalistic performances feel like authentic portrays of how children actually talk to each other, capturing the youthful innocence and uninhibited imagination of early childhood. Just watching the children interact is heartening, and it reminded me of the conscious amateurism of children in Wes Anderson’s films. Although it could benefit from some tighter editing, Riddle of Fire is an undeniably endearing film. AMARÚ One thing I can say about Riddle of Fire is that at least everyone is engaged. The four young leads (Phoebe Ferro, Charlie Stover, Lorelei Mote, and especially Skyler Peters) are a mischievous, yet charming ragtag gang that keeps you invested in the fairy tale. And that investment is truly needed to get past the random dialogue, amateur storytelling, and community theater acting. It’s tonally reminiscent of late 80s children’s adventure fantasies, made with the same whimsy, but nowhere near the professional production. There’s just enough of the former to get through it… if you have the patience for its low-budget quality. PAIGE In spite of its shortcomings, Riddle of Fire remains entertaining to watch, paying homage to throwback children’s adventure films while still creating a mood all its own. This movie does a great job of capturing the freedom and innocence of youth, not to mention the fact that director Weston Razooli shot this on 16mm, giving the movie a timeless feel and demonstrating his ambition and inventiveness alongside the likes of Wes Anderson. Granted, the pacing of this charming odyssey is a wee bit off, it’s still worth watching. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

FAMILY SQUARES Starring: Margo Martindale, Judy Greer, Casey Wilson, Sam Richardson, Billy Magnussen, Scott MacArthur, Ann Dowd, Elsie Fisher, Henry Winkler, Timothy Simons, and June Squibb. Director: Stephanie Laing NICK It’s always great when a film comes out of nowhere to surprise you, and that’s exactly what Family Squares does. This darkly humorous take on what many people have had to go through the past two years is the best “Covid” film I’ve seen yet. Family Squares manages to find some levity in a very heavy situation, which leads to an almost cathartic watch. Filmed almost entirely on Zoom and bolstered by a solid ensemble including standouts Ann Dowd, Judy Greer, and Casey Wilson, this is a funny, emotional, and relatable viewing experience. AMARÚ Family Squares , at its worst, is as disjointed as the Zoom meetings the entire movie is viewed through. At its best, it’s full of heart, hope, and healing reminiscent of what each and every one of us have had to find in ourselves over the past two years. Luckily, that heart grows with each successive scene, especially when June Squibb and Sam Richardson take center stage in the digital meetings. The entire ensemble accurately conveys the warring myriad of emotions quarantine creates, and in the end, leaves us with a pleasant film that’s simultaneously crazy and endearing. PAIGE Family Squares is a surprisingly emotional comedy that is stacked with performances from Henry Winkler, Judy Greer, Ann Dowd, and many more. It’s another entry in the unique covid sub-genre of Zoom films, but this time focuses on a dysfunctional family dealing with the death of a loved one. And I have to say, this film is a breath of fresh air. These last few years dealing with the pandemic haven’t been easy for anyone, so it’s nice to get a gem like this that feels raw and relatable.

NO HARD FEELINGS Starring: Jennifer Lawrence, Andrew Barth Feldman, Laura Benanti, Matthew Broderick, Natalie Morales, and Scott MacArthur Director: Gene Stupnitsky AMARÚ No Hard Feelings could’ve been disastrous, but it has two major strengths that prevent such a fate: Jennifer Lawrence thriving in her role, and the heart necessary to sustain these raunchy comedies. It’s nice to see Lawrence seemingly care about a studio film again, and she uses her renewed ferocity to make both the comedy and drama work. The plot is predictable, but her convincing chemistry with co-star Andrew Barth Feldman made the outlandish bits funny and the emotional beats believable. No Hard Feelings is a pretty good time, and I’d love to see Lawrence continue this lane with an even better script. JACOB No Hard Feelings has all the right tools to be a great summer studio comedy, but it doesn’t seem to know how to use the tools in question most effectively. Despite the sheer star power of Jennifer Lawrence in the lead and Andrew Barth Feldman’s subtly charming performance, the film’s execution is almost too tame for what the premise promises. Even with an undercurrent of sweetness lining its story, the film is largely devoid of laughs, apart from a few well-timed one liners. That said, the film is competently made, and it will remind audiences that Hall & Oates’ “Maneater” still slaps. QUENTIN While I would have liked to see this R-rated comedy lean more raunch than heartfelt, I can’t deny that I laughed enough at No Hard Feelings to make it a worthwhile watch. Jennifer Lawrence fully commits to the shenanigans, especially during a beach fight scene, but also manages to make the more emotional beats hit home too. I’ve never been a huge J-Law fan, but it was nice to see her actually enjoying herself on screen instead of chasing statues, and when paired with Andrew Barth Feldman, that vibe creates considerable charm. Overall, this is probably among better pure comedies I’ve seen since 2020’s Palm Springs . ADRIANO R-rated comedies are where I initially found my interest in film, so this film piqued my interest based on that alone. Sadly, No Hard Feelings didn’t give me the ride I was hoping for. I laughed a couple of times, but a good chunk of the jokes didn’t land for me; most of my laughter was due to Jennifer Lawrence’s commitment rather than the writing. I also didn’t buy the relationship at the center, partly because the story just kinda trudges along to the next plot point without properly developing its characters. I appreciate the fact that it exists; I just wish it was better.

ANEMONE Starring: Daniel Day-Lewis, Sean Bean, and Samantha Morton Director: Ronan Day-Lewis ADRIANO It's nice to see Daniel Day-Lewis chewing up every single scene he's in for the first time since his supposed retirement, but he's pretty much the only thing holding Anemone together. In his directorial debut, Ronan Day-Lewis is trying too hard to show he's not just the son of a legend. In the process, as nice as it looks, he makes a movie that is stylistically all over the place (the mismatched score doesn't help), and an approach to generational trauma that's buried under vague symbolism and an unaware thesis. But hey, welcome back, Daniel, I suppose. NICK If you're wondering whether Daniel Day-Lewis has missed a step in his time away, he has not. His performance is the driving force of Anemone and the reason people shouldl watch it... Perhaps the only reason. Although there's something there with son Ronan's direction, it relies too heavily on its art styling and heavy-handed metaphors and symbolism. This creates an uneven film that would actually be quite boring without Daniel's magnetism. In the end, Ronan's current talent level doesn’t justify this film’s platform. Daniel’s return aside, this is a film with two memorable monologues (destined to be used in film schools) and not much else.

MOANA 2 Starring: Auli’i Cravalho, Dwayne Johnson, Hualālai Chung, Rose Matafeo, David Fane, Khaleesi Lambert-Tsuda, Temuera Morrison, Nicole Scherzinger, Alan Tudyk, and Rachel House Directors: Jason Hand, David G. Derrick Jr., and Dana Ledoux Miller AMARÚ Moana 2 is more than just a solid follow up to one of Disney’s best 21st century original animated features, it’s a natural continuation to one of their best hero’s story. With more heart than the first, if that’s even possible, this sequel keeps its themes rooted in family and culture, making even the most trope-ish of Disney plotlines emotional, funny, and magical. The story is pretty straightforward, with curses, omens, and signs we’ve all seen before, but the delightful new characters, especially “Lil Sis” Simea (Khaleesi Lambert-Tsuda), great new music, and sincere themes make for a beautiful time for all to enjoy. ADRIANO Moana 2 is a fascinating one. Not because it's amazing or because it's awful, but because it's neither. It is just so aggressively nothing. This film was supposed to be a Disney+ series that was re-edited into a movie, and it shows since so much of the story and character development were seemingly left on the editing room floor. The adventure plot is serviceable enough, and Auli'i Cravalho and Dwayne Johnson are great once again, but aside from Moana (Cravalho), none of the characters are given emotional weight. Plus, I couldn't hum any of the songs right now for the life of me. It's just so forgettable.

HIS THREE DAUGHTERS Starring: Natasha Lyonne, Elizabeth Olsen, Carrie Coon, Jovan Adepo, Jay O. Sanders, Rudy Galvan, Jose Febus, Randy Ramos Jr, and Jasmine Bracey Director: Azazel Jacobs ADRIANO His Three Daughters is a mature, heartbreaking, and bittersweet analysis of family and grief that had me blubbering. Azazel Jacobs' writing and direction ground the film to a point of uncomfortable familiarity as it examines its subjects and the past and current trauma they’ve experienced, all of which is anchored by three magnificent performances from Carrie Coon, Elizabeth Olsen, and especially Natasha Lyonne. The dynamic between the three gives way to something that devastates beyond the central premise in a way that'll make it hard not to hurt your heart at least a little bit. PAIGE His Three Daughters is a heartfelt and exquisite film that perfectly conveys the genuine, unadulterated nature of grief and sisterhood. Although the story may seem simple on the surface, it’s writer/director Azazel Jacobs’ razor-sharp, monologue-heavy script and the three riveting performances from Carrie Coon, Elizabeth Olsen, and Natasha Lyonne that leave such a powerful stamp on this film. By the end, I was moved to tears by this touching story of anticipating grief, and I believe many others will be moved by it as well. If I didn't say it's one of the year's best dramedies, I'd be lying! This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE GUTTER Starring: Shameik Moore, D’Arcy Carden, Susan Sarandon, Paul Reiser, and Jackée Harry Directors: Yassir and Isaiah Lester AMARÚ The Gutter lets you know right away what you’re in for, and with Shameik Moore fully embracing the dumb from the start, I sat back and laughed my ass off. Following Moore’s lead, the epic ensemble of comedic character actors and a couple of living legends (Susan Sarandon and Paul Reiser) deliver hilarious bits with great timing and juvenile glee. It’s really hard to make purposefully idiotic humor work, but the surprising laughs and dedicated cast make this stupid time a hilariously stupid time. The Gutter is a 3-reel film on paper, but a 3.5-reel movie in my heart. KATIE The Gutter’ s indie charm and improvisational humour are enough to make up for the jokes that either didn’t land or went over my head. It’s satisfyingly stupid, reminding me of the feverish and often absurd comedic stylings of late 2000s Will Ferrell, with genuine laugh-out-loud moments, funny performances, and surprising cameos. How trashy the jokes are and how little it makes sense doesn’t really matter because it all makes the film even more stupid, and therefore, even more funny. The Gutter, providing it finds the right audience, is destined to be a cult classic. QUENTIN I’m about to reference a bunch of movies that The Gutter reminds me of. Some are because of the story, others because of the vibe. Now, I’m not saying it reaches the heights of the following titles yet, but there is plenty of potential for it to join this list after repeat viewings. It shares DNA with Dodgeball , Kingpin , BASEketball , Happy Gilmore, Undercover Brother , Super Troopers , Balls of Fury , Grandma’s Boy , and more. If that list resonates with you at all, you need to check this one out because it’s been a while since a comedy has successfully reveled in this type of unabashed low-budget silliness.

TURNING RED Starring: Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, and Tristan Allerick Chen Director: Domee Shi AMARÚ I haven’t decided what I like more about Turning Red : the little hints of horror to reveal Mei’s (Rosalie Chiang) Panda, the late-90s coming-of-age vibe, or Ludwig Goransson’s B2K/N’Sync-tinted score that encapsulates my childhood in one movie. I may not be a 13-year-old girl going through changes in her identity, but the strong themes of self-discovery, friendship, and familial ties are universal to all of us who have had to come into our own. Turning Red continues the Pixar tradition of writers telling their unique stories to create something beautiful and touching. JACOB Turning Red , like Luca before it, is unlikely to land near the top of anyone’s “Best of Pixar” list, but it could prove a nice time for kids and fans of the studio. That said, this Disney+ release doesn’t seem to explore its ambitions as thoroughly as it wants to. There is a fair amount of depth to cover, but the film only seems interested in it about half the time. Regardless, what it chooses to engage with, it addresses in fun ways. It’s also nice to see animation tackle female pre-pubescence specifically in such a carefully-nuanced fashion. NICK As someone who grew up on Pixar films, it was special seeing my hometown of Toronto represented on screen in this medium for the first time. In a nutshell, that’s what Turning Red is about: representation. Whether it’s looking into Asian culture and its values or giving early teen girls a (mostly) relatable film about the fears of puberty, Turning Red follows the Inside Out -approach of delving into the way we feel. Unfortunately, it lacks the emotional punch of the latter, while sadly spotlighting Disney’s reluctance to showcase LGBT characters. So, a marked improvement, but still room to grow in the representation field. QUENTIN Be it my complete inability to relate to the central themes, the obnoxiously irritating characters, or the fact that it’s a blatant Teen Wolf ripoff, Turning Red is easily one of Pixar’s “worst” movies. That said, Pixar doesn’t really make “bad” movies, so it’s still fairly decent; However, it very much feels like a straight-to-streaming effort on their part, lacking the emotional weight of some of the studio’s other offerings. It’s possible that women and teen girls (especially those of Chinese descent) will get more out of this film than I did, but it’s getting tossed on the forgettable pile alongside Onward for me. ADRIANO Although it might not be Pixar’s best, Turning Red is definitely their most mature film. Director/co-writer Domee Shi’s film is painfully awkward and relatable in its depiction of puberty and self-identity, going places I never expected to see in a Pixar movie. The animation is extremely unique and a ton of fun too. It’s genuinely very funny but, in traditional Pixar fashion, the emotions run high in the third act. It didn’t make me cry, but I was close. Another stellar Pixar outing.

CHAMPIONS Starring: Woody Harrelson, Kaitlin Olson, Kevin Iannucci, Ashton Gunning, Bradley Edens, Alex Hintz, James Day Keith, Casey Metcalfe, Matthew Von Der Ahe, Madison Tevlin, Joshua Felder, Ernie Hudson, Matt Cook, and Cheech Marin Director: Bobby Farrelly NICK Champions is one of those movies I could write a complete synopsis on after its opening 15 minutes. It telegraphs every move as it attempts to balance between a cookie-cutter basketball movie and a cookie-cutter underdog story while succeeding at neither. It also greatly underuses its intellectually disabled characters (Madison Tevlin as Cosentino, especially) in favour of focusing on Woody Harrelson's Coach Marcus. Even his character, who gets the most screen time, has limited room for growth, which in turn, makes for a stale character arc. I admittedly wasn’t expecting much from Champions , yet it still managed to let me down. ADRIANO Champions sees director Bobby Farrelly trying to replicate his brother's recent success, but he ultimately fails. I wasn’t expecting much, and in some ways, it lived up to what I expected. It’s vaguely offensive by using its cast of disabled characters as punchlines, it has a plot I predicted from the trailer, and it’s simply not funny. But I’m a sucker for a good feel-good story, and I was at least hoping I could get that, but nope. This movie is not only way too long for what it’s trying to be, it’s just a big misstep across the board. JACOB While there are moments in Champions that made me chuckle, I’m not sure the film entirely succeeds at what it sets out to do…assuming it has any goals at all apart from exploiting its supporting ensemble for “awws” while rarely developing their characters. The whole movie plays every scene so safely that sitting through it is more boring than inspiring, and with a runtime that’s about 20-30 minutes too long, a lot of those scenes meander. These problems are compounded by a weak script with little in the way of character development and filled with jokes that almost never land.

THE HOLDOVERS Starring: Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa Director: Alexander Payne ADRIANO Even before the studio logos appeared, I was already into what The Holdovers had to offer. For the first half, I was enthralled by director Alexander Payne's 70s aesthetic and the sharp, almost screwball comedy script (written by David Hemingson). Dominic Sessa and Da'Vine Joy Randolph shine too, but Paul Giamatti gives a performance with so many layers that you can't help but love him despite his grouchiness. The much more mature second act, however, is what stuck with me the most. While still funny, it offers a devastating yet sweet portrait of loneliness that will leave audiences satisfied. PRESTON What a shame…how is this beautiful film getting so little airtime in theaters across the globe?! The Holdovers is old-school (specifically 1970s) filmmaking at its best, with timeless storytelling. The lead trio of Paul Giamatti, Dominic Sessa, and Da’Vine Joy Randolph each put up dynamic, award-worthy performances! Director Alexander Payne gives us an authentic, humanistic story that makes it impossible not to connect with its characters. Your heartstrings will be played with, you will definitely laugh, and you will probably leave the theater feeling better than before. This has “cult classic” written all over it. AMARÚ There’s an absolute joy in watching Paul Giamatti tear new ones into privileged little shits, and with The Holdovers , that was my avenue into a movie I had trouble initially connecting with. But once director Alexander Payne bores into the faults and connections that all humans, no matter how different, ultimately share, he passes the reins to the incredibly capable hands of Giamatti, Da’Vine Joy Randolph, and Dominic Sessa to let them illuminate the story. The Holdovers , while slow to get to its best parts, is sweet, charming, and surprisingly hilarious, carried by an impeccable leading trio. PAIGE The Holdovers is such a cozy and feel-good film that is destined to become a holiday classic. Paul Giamatti gives his best performance since Sideways , but it’s newcomer Dominic Sessa who gives him a run for his money. I could honestly watch those two bicker back and forth for hours. Every character is written so well, every scene is filled with either great comedic bits or heartwarming/heartbreaking moments, and director Alexander Payne does a fantastic job capturing the essence of a 1970s Massachusetts boarding school. With all that in mind, I think that this may be Payne’s best film yet. CALEB The Holdovers is the cinematic equivalent of a big ol’ hug. It’s warm, inviting, and most importantly, it just makes you happy. The script finds a healthy balance between intellectualism and sincerity, managing to be emotional without ever getting schmaltzy. It didn’t hook me immediately, but the narrative really took off once it honed in on its leads. Dominic Sessa and Da’Vine Joy Randolph are both fantastic, but it’s Paul Giamatti who really steals the show here. With a touching script, a charming seventies aesthetic, and some incredible performances, The Holdovers stands as the ultimate feel-good movie of the season. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.