ABOUT MY FATHER Starring: Sebastian Maniscalco, Robert DeNiro, Leslie Bibb, Kim Cattrall, David Rasche, Anders Holm, and Brett Dier Director: Laura Terruso NICK Sebastian Maniscalco is the latest stand-up comedian to make his leading man debut, and it doesn’t exactly inspire a second take. His performance is sheltered thanks to some well-timed edits and a reliance on narration, but much like the film itself, he's average at best. The only thing elevating the material is the commitment from Robert De Niro. Many would have phoned this in, but he instead gives one of his most earnest performances in years. The sincerity is there, thanks to the cultural and familial story beats interwoven throughout, but, unfortunately, the same can’t be said about the laughs. ADRIANO I come from a family of hardcore Italians, so despite my reservations about Sebastian Maniscalco as a comedian, I had some interest in About My Father . Ultimately, while my reservations were met with validation, I still found something worthwhile here. It’s not the funniest movie, and it’s mostly surface-level in terms of presentation and concept, but its depiction of Italian immigrants and the generations that follow certainly got me, especially considering how much Robert De Niro’s performance reminded me of my Nonos (grandpa). It’s not great, but I got something out of it. JACOB About My Father seems like it just might work for the first few minutes, but it steadily loses steam along the rest of its runtime. This is largely due to excessive and often repetitive narration from co-screenwriter and star Sebastian Maniscalco that sounds more like unused stand-up material than actual storytelling. To be fair, Robert De Niro shines about as bright as he’s allowed to, and the story itself isn’t the worst; it’s just poorly told from a screenwriting standpoint. When it comes to comedy, a great script isn’t just an important component – it’s everything. Unfortunately, this one just isn’t up to par.

LEFT-HANDED GIRL Starring: Janel Tsai, Shih-Yuan Ma, Nina Ye, Brando Huang, Akio Chen, and Xin-Yan Chao Director: Shih-Ching Tsou ADRIANO In her directorial debut, Shih-Ching Tsou takes a lot from her frequent collaborator, Sean Baker (who happens to have co-written and edited the film). Left-Handed Girl begins as a light tale of hardships with little plot, but offers a breezy look at this family's life against the vibrant backdrop of Taipei's night market. The film slowly devolves into chaos, culminating in a stressful climax that finds beauty in the tragedy of bottom-class living, all put together with compelling handheld home-video style filmmaking. And it's extra watchable when there's a cute little girl at the forefront (Nina Yeh). AMARÚ Director Shih-Ching Tsou’s dynamic handheld direction of Left-Handed Girl drops you right into the tumultuous life of single mother Shu-Fen (Janel Tsai) and her two daughters, I-Jing (Nina Ye) and I-Ann (Shih-Yuan Ma). You feel the weight of every decision made by all three characters through the chaotic, yet somehow methodical, pacing that mirrors the unsteady life of secrets, hardships, and hope for a better future. Watching them fight through their slowly unraveling family history, it’s difficult to know where generational trauma ends and bad decision-making begins, but I guess that’s true to life’s harshness. This film mesmerizingly captures that reality. KATIE Shih-Ching Tsou’s stunning debut, Left-Handed Girl , draws you in with a seemingly naturalistic and understated approach to the small family’s life as they set up a noodle stand in a bustling night market in Taipei. It then grips you and doesn’t let go until the climactic end while being surprisingly moving, funny, and impactful. The camerawork creates an intimate portrait of the family’s struggles and the pressures they each individually face, especially as women. The young Nina Ye, playing I-Jing, is heartbreakingly adorable and has an impressive screen presence, and is the best thing about this bittersweet story.

THE DEATH OF ROBIN HOOD Starring: Hugh Jackman, Jodie Comer, Bill Skarsgård, Murray Bartlett, Faith Delaney, and Noah Jupe Director: Michael Sarnoski ADRIANO At first, the promise of The Death of Robin Hood convinced me we had something amazing. Its grizzly nature meshed well with the redemption its titular character (Hugh Jackman) was seeking. But once it reached a much more meditative wavelength, it struggled to hold my attention in a way that director Michael Sarnoski’s slow-moving storytelling has in the past. The cinematography is stunning throughout, and its story is interesting, but we’re kept at too much of an emotional distance from Robin Hood to feel the true power of the catharsis. There’s something worthwhile in here, but it’s no bullseye. NICK Beyond a strong and grounded Hugh Jackman performance, The Death of Robin Hood is a dreary and laborious watch. Although it gets off to a promising start, the film wastes all of that early momentum. It’s as if director Michael Sarnoski set out to do his version of films like The Northman or Valhalla Rising but lost that intention along the way. The violence all but disappears and we’re left with a film that relies heavily on mediocre dialogue while failing to fully articulate the journey of Robin Hood (Jackman). I respect the new take on the character, but the execution here just didn’t work. BODE The opening of The Death of Robin Hood makes it explicitly clear that this is not the legend you remember. Inspired by a 17th century ballad, writer/director Michael Sarnoski forges his depiction in brutality and meditation, and brings about a tale about redemption and myth-making in the process. This could’ve easily felt like a cynical cash-in, but similar to his debut feature Pig , its soulful rhythms prove that it’s anything but. With strong performances, Pat Scola’s beautiful cinematography, and first-time composer Jim Ghedi’s haunting score, this challenging vision ends up being mostly worthwhile, should you give yourself over to it. QUENTIN For some, The Death of Robin Hood might feel like a bait and switch. The opening half-hour is gritty and violent, like if director Robert Eggers made multiplex entertainment instead of atmospheric art-in-motion period pieces. But after that quasi-prologue, Hood becomes far more meditative and melancholy, closely attuned with director Michael Sarnoski’s debut, Pig . That tonal switch may lose audiences wanting Game of Thrones -level brutality throughout, but after seeing a dozen Robin Hood (Hugh Jackman) movies, I was fully engaged in this fresh take on the character I love and the lore surrounding him. Terrific performances, beautiful cinematography, and a top-notch score only roped me in further. AMARÚ The Death of Robin Hood is a brutal watch. It’s a visceral attack on the senses that writer/director Michael Sarnoski was adept enough to beautifully show on screen. But unlike the film with Hugh Jackman's other literary “old man” character (until he’s 90!), I found it hard to find reason for this brutality. That is until a contemplative second-act turn worked extremely hard to bring redemptive balance to my indifference, much due to Jackman’s brilliance. Robin Hood is ultimately a tough watch with plodding pacing, but its performances keep you engaged to the end.

SEND HELP Starring: Rachel McAdams and Dylan O’Brien Director: Sam Raimi ADRIANO The moments in Send Help where writer/director Sam Raimi goes full tilt into his wheelhouse of campy ultra-gore were the most fun. The moments in between, however, not so much. Rachel McAdams and Dylan O’Brien are excellent, both showing off outstanding comedic chops. And as much as I found the psychological breakdown of these characters lacklustre, it was entertaining enough to hold my attention throughout. The conversations that populate the majority of the runtime were dull, and the eat-the-rich twisty narrative is getting old, but it’s exciting to see Raimi cook nonetheless, even if this isn’t his finest hour. ROBERT While the climax and the inevitable violence is where horror thrillers make their money, the subtlety of the characters’ descents into madness is where the intrigue is built. Send Help takes the concept of corporate power dynamics and subverts it for a real-life survival situation, sold impeccably by the performances of Rachel McAdams and Dylan O’Brien. How their real-life relationship plays into their island interactions, in addition to all of writer/director Sam Raimi's bloody, eye-popping decadence, is what makes this unique and an upper-echelon January release. I would put this film up for immunity to outlast the competition. PAIGE Send Help is a return to form for writer/director Sam Raimi. Though it unfortunately suffers from odd editing choices and outdated, flat out bad VFX, this dark horror comedy is filled with blood, gore, and plenty of Raimi’s signature camp. The story itself is a hell of a ride and is elevated by its two leads, Rachel McAdams and Dylan O’Brien. McAdams delivers a batshit crazy performance that’s so much fun to watch, while O’Brien perfectly nails the role of douchebag boss. While the movie does become a bit repetitive at times, it manages to remain entertaining throughout. BODE It’s been a while since we’ve seen Sam Raimi in such a sadistically funny register, let alone in an R-rated environment altogether. Send Help provides the opportunity for him to do both, and in those moments where the Hollywood genre meister is really cooking, it’s a romp - especially with such committed performances from Rachel McAdams and Dylan O’Brien at the centre of it. And while those moments aren’t sparse, the near two-hour runtime does give way to some repetitiveness and an uneven balance of tone. It’s entertaining, no doubt, but short of greatness. AMARÚ It takes balls to make Rachel McAdams the ugly outcast looked over at work (because, c’mon, it’s Rachel McAdams) but her massive talent makes Send Help ’s stereotypical opening a marvelous set up for hilarious catharsis and delicious pay off. McAdams and Dylan O’Brien’s delirious two-man game is perfect for long-time director/composer collaborators Sam Raimi and Danny Elfman to deliver campy, dark, horror comedy that’s quintessential to their best work. It gets slightly repetitive, and a bit long-in-the-tooth at times, but Send Help is a blast of a canvas for O’Brien, McAdams, Raimi, and Elfman to playfully paint.

MY FATHER'S SHADOW Starring: Sopé Dìrísù, Godwin Egbo, and Chibuike Marvellous Egbo Director: Akinola Davies Jr. ADRIANO Operating on a similar logic to Aftersun, My Father's Shadow's depiction of Lagos in 1993 under political turmoil, as well as fatherhood through the unaware eyes of children, is a memorable and even heartbreaking examination. Director/co-writer Akinola Davies Jr.'s direction is precise but, by design, rusty. Our perspective is through the kids, so the limited information enhances the beauty and horror of the plot. Sopé Dìrísù's performance blends masculinity with tenderness perfectly, and the child performances from Chibuike Marvellous Egbo and Godwin Egbo are great as well. By the end, it made me cry and reflect, the hallmark of a job well done. AMARÚ My Father’s Shadow is a strong feature debut for director Akinola Davies Jr. It’s powerful in its messaging of fatherhood, brotherhood, and sacrifice, with a grittiness to Davies’ camera work that brings a gripping authenticity, all anchored by Sopé Dìrísù’s vulnerable performance. There’s a scene between father and son that is so raw and real that it will stay with me for a long time. These deeply felt themes of family, community, and legacy help stave off small instances of stagnancy, and help bolster hope in the midst of unjust tyranny. This one hits at your heart’s core. BODE With My Father’s Shadow , director Akinola Davies Jr. and co-writer Wale Davies pull from their childhoods to explore multi-generational masculinity against the social unrest that surrounded Nigeria in 1993. It’s an examination that manages to somehow feel simultaneously epic and intimate. The personal, the political, the dreamlike, and the realistic hazily blend together in lovely and heartbreaking ways that nearly had me tearing up at various points (especially as someone of Nigerian heritage). It certainly helps that Sopé Dìrísù is excellent as the titular father, and the score from composers Duval Timothy and CJ Mirra is soul-stirring. A remarkable directorial feature debut. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

ORIGIN Starring: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, Emily Yancy, Vera Farmiga, Audra McDonald, Finn Wittrock, Victoria Pedretti, Jasmine Cephas Jones, and Isha Carlos Blaaker Director: Ava DuVernay QUENTIN Despite being well acted and delivering thoughtful commentaries on racism, caste systems, and personal grief, Origin is as dry as a college lecture. Nothing about Ava DuVernay’s direction is bad, but it’s not particularly dynamic either. It’s not all her fault, though. The message is certainly important and, from a scholarly perspective, incredibly fascinating, but it’s not built for a feature length narrative. This would have been much better and perhaps more impactful as a documentary because, as is, it’s like watching someone act out a doctoral thesis paper. Personally, I can’t say I enjoy movies that feel like homework. NICK The story of Origin is one of importance, but it’s hidden inside a very tedious film. Director Ava DuVernay brings us something that feels more like a college lecture than a concise and interesting narrative. This has nothing to do with the performances, but in the way the subject matter is approached in such a dry manner. It truly felt like I was watching The History Channel at times, and although I sympathize with the trauma Isabel Wilkerson (Aunjanue Ellis-Taylor) faced, everything surrounding her is lethargic. Wilkerson writes “a world without caste would set everyone free;” a lasting message that deserved a better film. AMARÚ I can’t exactly explain how director Ava DuVernay shoots Origin , but the camera work placed it somewhere between narrative and documentary. It’s like she said, “y’all not gon’ watch a documentary? Okay, imma make sure you get this information anyway!” And damn if I didn’t get that info. In the film, Aunjanue Ellis-Taylor’s Isabel is trying to find connection between seemingly unconnected concepts, and DuVernay connects the narrative with the history lessons through the same ideals Isabel does: love, grief, trauma, and compassion. This delivery method masked the triggers similar movies often elicit, and it results in a powerfully engrossing, expertly written film. ADRIANO There is an old rule in storytelling: Show, don't tell. Origin largely abandons that rule. Instead of delivering what should have been a documentary on the caste system, writer/director Ava DuVernay opts for an aggressively unsubtle and borderline Hallmark approach to the narrative form. Aunjanue Ellis-Taylor is terrific, and she could gain something from this, but the way in which the message is presented is flatly directed, a structural disaster, and full of moments that are emotionally manipulative. The final thirty minutes, in particular…I'm not gonna lie…were horrendous. I had high hopes for this one, but I was very disappointed. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 Toronto International Film Festival, respectively.

HELL OF A SUMMER Cast: Fred Hechinger, Finn Wolfhard, D’Pharaoh Woon-A-Tai, Billy Bryk, Abby Quinn, Pardis Saremi, Adam Pally, Julia Doyle, Matthew Finlan, Krista Nazaire, Daniel Gravelle, and Rosebud Baker Directors: Billy Bryk and Finn Wolfhard ADRIANO I'm glad I watched Hell of a Summer with a Midnight Madness crowd because it certainly helped my perception of the movie, especially because time has not treated this movie well. My initial viewing experience was a lot of fun. I laughed a lot, and I thought the slasher aspects were interesting at times. However, the film’s flaws…namely, the weak structure, the shallow Gen-Z commentary, and the way the movie reveals its mystery out of thin air…makes the rest of the movie tensionless, which, in hindsight, has overshadowed the fun I had. ROBERT Reimagining 80s camp slashers for today can be an exercise in nostalgia coasting, or it can be labeled as lame for “trying too hard,” but Hell of a Summer does an admirable job to toe a line that doesn’t feel like it is being tugged in either direction. Instead, it works to convey how kids today would consider the summer camp experience, and then hyperbolically upends it with gruesome murdering. The horror aspect is decent, but it shines in its comedy, especially the interplay of the counselors and the melding of smaller relationships into the larger group dynamic. This one? Not a cruel summer at all. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

CAUSEWAY Starring: Jennifer Lawrence and Brian Tyree Henry Director: Lila Neugebauer NICK The concept of subtle storytelling is underrated, and Causeway is a great example of that. This story of healing and coming-to-terms thrives on the excellent performances from Jennifer Lawrence and Brian Tyree Henry. Although both are more subdued than their usual fare, their performances are among their very best. The film has some pacing issues, which brings its overall success down a tad, but the strength of the two leads at the top of their game is more than enough for this film to warrant a recommendation from me. ADRIANO Underneath the film’s soft-spoken surface, there is a lot to appreciate about Causeway . It’s a short, subdued film about the healing process of a veteran, and while ditching any over-the-top melodrama may turn some people away, it made the film more engaging and interesting for me. Jennifer Lawrence and Brian Tyree Henry are both fantastic, complimenting the film’s tone flawlessly. Honestly, most of my issues are nitpicks (the ending is a little abrupt, for example), but I definitely see this as a film I’ll have no problem revisiting. QUENTIN I’ll be honest, I don’t have a ton to say about Causeway . It’s a perfectly fine movie, but not one that I am rushing to tell people about. In fact, of the 40ish movies I saw at TIFF, it was the most forgettable. It just hasn’t stuck with me, good or bad. While I admit that I’ve never been a huge Jennifer Lawrence fan, she does a solid job here in an unusually restrained performance, but she is overshadowed by Brian Tyree Henry, who continues to prove that he’s more than just Paper Boi from Atlanta . Aside from that, I dunno. It’s just…*shrug emoji* PAIGE Causeway is a compassionate film from Lila Neugebauer (in her directorial debut) that looks at the prolonged effects of trauma and the struggles that come with trying to move past them. The film’s plot may be considered a quiet, slow burn, but the performances are compelling enough to keep your interest high. The chemistry between Jennifer Lawrence and Brian Tyree Henry is the glue to this film, and it will certainly pull at your heartstrings. Also, while Lawrence may be the name that catches your attention, it’s Henry that steals the spotlight. AMARÚ Brian Tyree Henry is a premier actor of this generation. That’s really the gist of what needs to be said about Causeway . This story about two people trying to find friendship through trauma is a good watch, but it’s slightly sluggish due to “nothing happening” unless Henry is on screen bringing more life to a solid Jennifer Lawrence performance. Aside from one powerful prison sequence in the final act, you’re mostly just waiting for Henry to come back on screen between his appearances. Still, with only a 90-minute runtime, the wait isn’t laborious…just a little drab. JACOB Causeway may not ultimately count as essential viewing, but if one can appreciate its innate subtlety, it’s a rewarding experience nonetheless. The film’s script is decidedly more nuanced than most films about PTSD are, specifically where it concerns veterans, and while it’s certainly a present issue, it’s never exploited or exaggerated for effect. Jennifer Lawrence gives her most intimate and personal performance to date, while Brian Tyree Henry continues to be one of the most undervalued performers working in movies today. Every scene the two share are the movie’s strongest by far. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

NO OTHER CHOICE Starring: Lee Byung-hun, Son Yejin, Park Hee Soon, Lee Sung Min, Yeom Hye Ran, Cha Seung Won Director: Park Chan-wook AMARÚ I’ve not seen much of Park Chan-wook’s filmography, but it did not take long to recognize his masterful direction while watching No Other Choice . This dark comedy is a masterclass in comedy of error, effortlessly finding the humor in bleakness and the ridiculousness in desperation. Lee Byung-hun masters the descent into madness when no option is your only option, but it’s Son Yejin that surprisingly holds the heart of this story surrounding class disparity and the despair capitalistic systems can create. I was mesmerized by this beautifully macabre artistic wonder, and it’s no wonder that Chan-wook has the word masterpiece thrown around every time he drops. ADRIANO To the surprise of nobody who knows the name of director/co-writer Park Chan-wook, No Other Choice is another masterful piece of genre cinema. Starring Lee Byung-hun in one of the year's most compelling performances, Park uses his signature style of absurd editing and morally ambiguous characters to create a slapstick comedy-thriller with some bleak class commentary, taking the film in smart directions that go beyond the simple concept of lower-class desperation. He makes a devastating point that you'll have to see to believe. It's also very funny, and a glowing testament to the type of madman filmmaker Park is. NICK Park Chan-wook really has something with No Other Choice . Having only seen Oldboy previously, this was a bold reintroduction to the director's work. It’s incredibly difficult to make comedy work with subtitles because so much of it is about timing, but Chan-wook finds a way to expel that issue. Whether it’s the use of physical comedy or the facial expressions from star Lee Byung-hun (who is all-around great here), the comedy shines. Yet, Chan-wook still manages to find a place to include deep commentary on class and capitalism, wrap it all up with a striking final shot, and create an impressively layered film. QUENTIN Though I haven’t seen all his films, I consider myself a fan of director Park Chan-wook, especially Oldboy and The Handmaiden . That said, No Other Choice did very little for me. Sadly, at no point was I invested in Yoo Man-su’s (Lee Byung-hun) struggle, nor did I find this “black comedy thriller” to be very comedic or thrilling. Perhaps I simply wasn’t in the right mindset for subtitles, but the pacing - particularly in the lengthy second act - is languid, spending too much time on the first altercation, which ultimately stunts interest in where the story might be headed. Park can still frame a shot beautifully, though. This film was reviewed by Nick, Adriano, and Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

CADDO LAKE Starring: Dylan O’Brien, Eliza Scanlen, Caroline Falk, Lauren Ambrose, Eric Lange, Sam Hennings, and Diana Hopper Directors: Celine Held and Logan George QUENTIN A bit of advice: go into Caddo Lake completely blind (like I did) because I can assure you it’s probably not what you are expecting. If you follow that advice, you’ll be rewarded with a moody, intricately layered, puzzle-box mystery that recalls the movies of Justin Benson and Aaron Moorhead. Admittedly, *I* found it to be a tad predictable, but I suspect those who watch fewer movies than me might have their minds blown. Even still, if you do “figure it out,” the characters, performances, and atmosphere more than make for a compelling viewing experience. Overall, Caddo Lake was a nice and genuine surprise. PRESTON Caddo Lake benefits from an outstanding script that manages to take care of the smallest of details, which allows the viewer to relax into its surprising revelation with the knowledge that you are in good hands. It’s a surprising straight-to-streaming release that starts a little slow, but it uses its time wisely to lull you into complacency while simultaneously laying a competent backstory that only adds to the satisfying conclusion. Just trust the process and go in knowing that writers and directors Logan George and Celine Held have everything well in hand.

POWER BALLAD Starring: Paul Rudd, Nick Jonas, Peter McDonald, Marcella Plunket, Beth Fallon, Havana Rose Liu, Jack Reynor, Rory Keenan, Paul Reid, and Keith McErlean Director: John Carney NICK When it comes to feel-good filmmaking, director John Carney rarely disappoints. His latest, Power Ballad , forgoes a central focus on romance for themes of ambition and gratitude. Paul Rudd and Nick Jonas fit wonderfully in their respective roles and showcase great chemistry when they come together, though the film's format keeps those instances limited. Meanwhile, Carney once again finds a way to bring a coziness to his film, in this case by setting things in Ireland, which helps maintain Power Ballad 's indie feel and charm. It’s another winner for Carney. Plus, “How to Write a Song Without You” is an instant earworm. AMARÚ Power Ballad is a solid film with the weirdest tonal mix for this kind of dramatic comedy. Films like this usually have one clear person to root for, but nearly everyone, aside from writer/co-star Peter McDonald’s hilarious Sandy, is a dick at some point. This simultaneously makes each character feel layered yet also slightly hard to support. Even Rick’s (Paul Rudd) wife and daughter are low-key assholes about his plight. But this complicated dynamic successfully mirrors the frustrating nature of making it in the music industry, ultimately giving each character empathetic depth. It must’ve worked since I choked up a bit by the end. ADRIANO Of writer/director John Carney’s explorations of the way music connects to people, Power Ballad is my least favourite, but I still liked it quite a bit. The character work does not always reach the emotional heights it aims for, especially with Nick Jonas’ Danny Wilson, but the Carney that knows how to pull on both heartstrings and guitar strings is still here. The emotional highs and endearing love of people, warts and all, are effective. Just because it’s not as strong as it’s been in the past doesn’t make Power Ballad any less endearing.

ANACONDA Starring: Jack Black, Paul Rudd, Thandiwe Newton, Steve Zahn, Daniela Melchior, and Selton Mello Director: Tom Gormican AMARÚ We know what to expect when Jack Black sings, Paul Rudd and Steve Zahn play awkward, and Thandiwe Newton says, “I know what movie I’m in and will still show you I’m a great actress.” Knowing is half the battle, right? Unfortunately for Anaconda , execution is the other half, and it couldn’t execute anything remotely coherent. It could’ve had something if it stuck with the meta stupidity that one scene hilariously showcased, but with so many structurally misplaced storylines, the film is often confused on whether it wants to be silly or sincere. It tried to find that Tropic Thunder magic and spectacularly failed. ADRIANO I had some fears going into Anaconda , like the meta-narrative schtick annoying me. It actually made me laugh, though, particularly as Jack Black felt more in control than he has in recent years. Oddly, the best part is how sincere the “let’s fulfill our long lost dream” narrative is. That said, when it goes all in as a monster flick, it's a mess. Narrative cohesion is gone, and its tone misses every mark it seeks out, both serious and silly. This is a weird one, and I didn’t come away feeling entertained despite what it has going for it.