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GHOSTLIGHT Starring: Keith Kupferer, Dolly De Leon, Katherine Mallen Kupferer, Tara Mallen, and Hanna Dworkin Director: Kelly O’Sullivan AMARÚ I recently mentioned that 2024 went two-for-two in outside-the-box music biopics (Piece by Piece and Better Man ). The year also delivered an even more successful two-for-two in dramatic ensemble pieces highlighting how theater can heal the soul. Ghostlight is an amazing second punch to Sing Sing’ s first due to its outstanding cast, led by my Oscar snub Keith Kupferer, and a devastating story unfolded beautifully through director Kelly O’Sullivan’s screenplay. Ghostlight will stick to your ribs for days after experiencing it, leaving you both heartbroken and hopeful in everything that life brings, whether tragic or beautiful. PAIGE Ghostlight is a tender and ever-so-sweet film that packs an emotional punch, so have your tissues nearby. The film does a brilliant job of examining a family's grief and how each of us deals with loss differently. It also looks at the arts and how theater specifically can be used as an outlet to access emotions to help one break free and eventually heal. Its phenomenal script is enhanced by superb performances, particularly from Keith Kupferer, who, in my opinion, delivers one of the year's best performances. To be honest, this little indie is one of the most moving films of 2024, so if you can, seek out this gem. QUENTIN Ghostlight is a somber, hidden gem that explores grief and the ways in which people process it. Dan’s (Keith Kupferer) denial and Daisy’s (Katherine Mallen Kupferer) anger are palpable as they deal with the loss of a loved one, and the real-life family connection of the on-screen Muellers, who are portrayed by the entire Kupferer family, only adds to the authenticity. Much like Sing Sing , Ghostlight also explores the healing power of the theater and, honestly, does a better job of it despite not having the same star power or studio clout behind it. It’s a heavy watch, but a worthy one, too.

CODA Starring: Emilia Jones, Troy Kotsur, Marlee Matlin, Daniel Durant, Eugenio Derbez, Ferdia Walsh-Peelo, Amy Forsyth Director: Sian Heder JACOB CODA is one of the most heartwarming films of 2021 and a landmark achievement for the representation of deaf actors in Hollywood. Moment to moment, writer-director Sian Heder’s brilliant script is having the conversation that no one else in Hollywood seems to be having at this scale, which makes the film easy to get lost in and impossible to stop thinking about. Star Emilia Jones absolutely nails it as Ruby Rossi. Her vocal and physical performance sells every minute of her character's journey, and the supporting cast is right there matching her every step. It's a wonderful experience. ADRIANO CODA is a hard film not to fall in love with. Writer-director Sian Heder’s film explores a community of people that is rarely represented on film, while also touching on themes of family and love. The entire ensemble is wonderful, with Emilia Jones shining bright and Troy Kotsur, Marlee Matlin, and Daniel Durant speaking volumes without saying a single word. The film is both funny and heartfelt, and it just makes you feel warm while watching it, especially the third act. Yeah, I cried. Twice. CODA truly is a feel-good movie that is easy to watch over and over again.

WE LIVE IN TIME Starring: Andrew Garfield and Florence Pugh Director: John Crowley ADRIANO It's entirely possible that timing with personal things that happened in my life recently played a part, but I fell for We Live in Time . I recognize its shortcomings, namely that it's predictable and the film's non-linear storytelling doesn't add anything. That said, director John Crowley and writer Nick Payne seem to have had sincere intentions in making this, as the movie isn't overly sappy. It’s never trying to get tears, and is much funnier than you'd think. Plus, Andrew Garfield and Florence Pugh's chemistry and charm add a lot, making this a lovely film, warts and all. PAIGE We Live in Time is a sweet and charming romantic flick that will pull at your heartstrings. The movie has a somewhat basic plot, but it does a wonderful job of exploring its theme of choosing to live life to the fullest for however long we have through the use of a nonlinear format, which is quite beautiful. Florence Pugh and Andrew Garfield also have such fiery chemistry together that it makes their characters feel incredibly authentic and endearing. Even though We Live in Time is a somewhat generic movie, it is a beautiful love story that you will fall head over heels for. AMARÚ Many recent films have been utilizing nonlinear narratives, with most faltering when their not-so-airtight scripts tell singular stories. Luckily, We Live in Time is more about life as a whole than a particular journey, highlighting that when you focus on the present time, the journey (and movie) you end up with turns out to be quite lovely. Florence Pugh and Andrew Garfield have natural chemistry, enhancing a truly heartfelt screenplay that makes you laugh, cry, and delightfully melt. Their endearing nature and John Crowley’s honest direction makes for a sorrowfully earnest romantic comedy that, rather than feeling emotionally manipulative, genuinely earns your tears. KATIE We Live in Time played me like a fiddle. Andrew Garfield and Florence Pugh’s genuine chemistry imbues their romance with authenticity, and the inevitable conclusion established by the non-linear storytelling enhances the message of living life to the fullest and truly being present to make the most of the limited time we have with our loved ones. It's both deeply moving and surprisingly full of humour, featuring one of the best birth scenes I’ve ever seen, and presents an uplifting way of coping with grief. Plus, it's hard for me not to love a film featuring both of my favourite biscuits. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

NIGHTMARE ALLEY Starring: Bradley Cooper, Rooney Mara, Cate Blanchett, Willem Dafoe, Toni Collette, Richard Jenkins, Ron Perlman, Mary Steenburgen, David Strathairn, Holt McCallany, and Mark Povinelli Director: Guillermo Del Toro ADRIANO Nightmare Alley is a film that rewards patience, as it’s a slow-paced film whose runtime you can definitely feel. That said, while the first two acts deliver a chilling noir, the third act is an absolute stunner that pays off everything the movie has set up. And, whatever you think of the movie, it is a technical marvel, from the cinematography to the production design. On top of that, it has a wonderful cast lead by an incredible Bradley Cooper, but it’s Cate Blanchett who completely steals the show. One of writer/director Guillermo del Toro’s best films to date. JACOB Nightmare Alley ’s second half is one of the year’s most visually arresting and well-crafted projects, a whirlwind of visionary filmmaking with stellar production design and gorgeous score work from Nathan Johnson. Unfortunately, that vision doesn’t fully apply to the first half of writer/director Guillermo Del Toro’s Shape of Water follow-up. In truth, the film is thoroughly well-designed throughout, but its beginnings lack a sense of momentum sorely needed to push the story where it needs to go. It gets there eventually, especially once Cate Blanchett shows up to steal the show, but by then, the pacing has largely soured. QUENTIN The first thing you should know about Nightmare Alley is that it feels way longer than it is, which is not a compliment for a 2.5-hour movie. Despite excellent acting, a terrific noir vibe, and an ending that I lowkey loved, the movie is mostly a bore. Parts will make you sit up and think “oh, it’s about to get interesting!”…but it never truly does. Frankly, it’s just too much story to tell. Still, I didn’t hate it, and I can’t say it isn’t worth watching at least once, but it failed to live up to my relatively moderate expectations.

RENFIELD Starring: Nicolas Cage, Nicholas Hoult, Awkwafina, Ben Schwartz, and Shohreh Aghdashloo Director: Chris McKay NICK Let's start with the good: Nicolas Cage is endlessly watchable as he takes a bite out of every scene as Dracula, while Nicholas Hoult continues to show off his impressive range. Plus, there are some gruesome kills that are sure to entertain. That's about it for the good. Renfield is filled with an array of plot holes, cliché side stories, a grating Awkwafina performance, and a generally goofy tone. Even though it's seemingly aware of how ridiculous it is and has some fun with it (unlike Cocaine Bear ), it’s just not enough to make up for its flaws. An average film at best. QUENTIN While the story may be a little lacking, especially the weak mob angle that is made even worse by revolving around Awkwafina, Renfield is still a lot of fun thanks to the hilariously violent fight scenes and, of course, Nic Cage, who is clearly relishing the opportunity to play Dracula. Even with my personal Cage bias acknowledged, he is flat-out terrific here, often eliciting laughs from nothing more than a facial expression. Don’t get me wrong, Nicholas Hoult is great too, but Cage is the reason to see Renfield , a Halloween-themed cousin to Violent Night that is sure to be an annual rewatch every October. ADRIANO If you can entertain the hell out of me, even the dumbest movies can get a pass. I can’t say that’s the case with Renfield . I love the undying commitment from Nicolas Cage as a maddening, narcissistic Dracula, but he wasn’t enough for me. If it had stayed focused on the codependent relationship plot, it could have been interesting; however, the detour into a crime plot didn’t interest me enough, and the jokes had way too many misses for me to care. Not even Nicolas Cage could give this film enough life for a passing grade. JACOB There is some fun to be had in Renfield , namely in its two lead performances and one pretty kick-ass apartment terrace scene, but that fun is hampered by a fairly so-so script with awkward tonal shifts and distorted scene geography in almost every other action sequence. Nicholas Hoult is good but underserved, whereas Nicolas Cage may be one of the best on-screen Draculas ever despite being thoroughly underused. And with the addition of two subplots that are never as entertaining or interesting as they clearly want to be, the film can never quite find its footing enough to stand.

THE PIANO LESSON Starring: Samuel L. Jackson, John David Washington, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith, Danielle Deadwyler, and Corey Hawkins Director: Malcolm Washington NICK What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers , Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue! ADRIANO The Piano Lesson sports an incredible ensemble of actors giving it their all, especially Danielle Deadwyler, who carries the movie every time she's on screen. Sadly, that ensemble is the film's brightest spot because, overall, I found the film to be pretty messy. It isn't awful, and unlike previous August Wilson adaptations (Fences and Ma Rainey's Black Bottom ), director Malcolm Washington gives this more liveliness than a stagey feel. However, its themes of legacy and family are so lost in the film's many subplots that once the film reached its resolution, I didn't feel anything. AMARÚ The Piano Lesson is an actor’s showcase that puts director Malcolm Washington’s visual eye on full display in his feature debut. His intimate use of lighting and framing takes another August Wilson play that slightly suffers from being acts put to screen instead of a cinematic screenplay, and keeps your eyes fully focused on the talent relaying those lines. Its strong themes of legacy, history, and family are carried by a forceful ensemble and a chilling score, and even though I watched a play inside a television set, I also saw great actors do what they do. That alone was worth the watch. KATIE I was not surprised to learn that The Piano Lesson is an adaptation of a play since it’s very stagey without feeling cinematic. I was painfully aware that it takes place in a singular setting, which was exacerbated by the uneven pacing, misplaced score, and many lengthy monologues. I find that John David Washington usually lacks emotional range, but here he is almost too animated, especially compared to the other, more grounded yet impactful performances. Together with the many competing subplots, The Piano Lesson succeeds in showcasing some great actors, but it failed to grip me in any meaningful way. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

JULIE KEEPS QUIET Starring: Tessa Van den Broeck, Ruth Becquart, Koen De Bouw, Claire Bodson, and Laurent Caron Director: Leonardo Van Dijl QUENTIN Going into Julie Keeps Quiet , I was expecting something close to 2019’s The Assistant — a tense examination of what happens when one stays quiet in the face of observed abuse. As it turns out, Julie Keeps Quiet is too literal of a title because this is a tension-less film filled with long silences and avoided conversations. The thing Julie (Tessa Van den Broeck) is keeping quiet about lingers so subtly in the background that you forget it’s the crux of the story, leaving us with nothing more than a collection of lifeless scenes of people running tennis drills (“lifeless” compared to Challengers , at least). KATIE Julie Keeps Quiet is a contemplative and deliberately paced film, but I still found it emotionally affecting. Some may find the subtlety frustrating, but it spoke to the words left unsaid and actions untaken. Not only is Julie (Tessa Van den Broeck) remaining quiet, but everyone around her only alludes to what may have happened, avoiding the consequences of what it would mean for them and the institution. The only explicitly emotional moments happen on the tennis court, the lone place Julie can express whatever she is repressing. The film presents an interesting approach to the story, effectively highlighting the weight of a victim’s silent burden. ADRIANO Julie Keeps Quiet is the kind of restrained and nuanced character study I typically get behind. Unfortunately, this one practices a little too much restraint. I do think the silence works in the film's favour when it comes to the analysis of its themes of consent, as it does fill the film with compelling anxiety-inducing moments. That said, while there is nothing wrong with leaving some things up to audience interpretation, this movie leaves almost every answer up to audience interpretation, to the point where I wonder if the filmmakers even had the answers. Nonetheless, I still found this to be rather fascinating. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

SALTBURN Starring: Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, and Carey Mulligan Director: Emerald Fennell PAIGE Although Saltburn isn’t as polarizing as Emerald Fennell’s previous film, Promising Young Woman , since its themes don’t stick the landing as strongly as in its predecessor, it’s still a dazzling film. It’s immaculately shot, horny as hell, and filled with spicy dialogue that allows the film’s cast to shine throughout, especially Barry Keoghan, who delivers one of the best performances of the year. It’s a memorable eat-the-rich film like The Talented Mr. Ripley and Ingrid Goes West that will have you licking your plate, yearning for more. QUENTIN Saltburn , writer-director Emerald Fennell’s follow-up to the excellent Promising Young Woman (her feature directorial debut, for which she won Best Original Screenplay), ultimately feels like the result of a filmmaker being given creative control too soon after a breakout. Despite outstanding performances, beautifully shot scenes, and a tremendously engaging setup, the second half simply has too much going on. It’s overstuffed, rushed, and underdeveloped. It’s still very good, mind you, and Fennell is an amazing talent; however, it may have been better as a miniseries in order to flesh out the back end a bit more. Or maybe Fennell just needed someone to give her some honest notes to rein it in a bit. PRESTON Saltburn is a dark, partially sadomasochistic work that makes one wonder if the grass is truly greener on the other side of our perceived social hierarchy. Director Emerald Fennell plays with her audience regarding typical character assumptions and delivers her message of trust, desire, and greed quite cleverly. Barry Keoghan and Jacob Elordi turn in masterful performances, and the visuals are stunning in this Gothic thriller that had me watching out of one eye due to some particularly disturbing scenes that really drive home the thematic messaging while also making me question, “was that really necessary?” AMARÚ Even with Barry Keoghan’s magnetism and Jacob Elordi’s charm, writer/director Emerald Fennell is somehow the star of Saltburn . Her energetic direction and indulgent script keep you fixated on what’s gonna happen next, even when you’re not fully satisfied with the result. There’s nothing inherently wrong with the film, but there isn’t anything extravagant either (no matter how much the story’s decadence tries to get you there). The cast is mesmerizing, the plot is engrossing, and the direction is entrancing, yet, when the sum of these parts reach an ending, you are ultimately left wanting. ADRIANO Saltburn is a film I loved for the vibes alone, but there’s something about its flaws that isn’t sitting well with me. Writer/director Emerald Fennell's sophomore feature sees her direction improve greatly, with the film's craft and tone so precise and so impressive. Linus Sandgren's cinematography specifically made me think, "how is this possible?" Sadly though, the film's reliance on shock value is apparent, and it becomes less justified once the big twist is revealed…a twist that left me with more questions than answers. While I quite enjoyed Saltburn , it is a step down from Promising Young Woman . This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Zurich Film Festival.

KNEECAP Starring Naoise Ó Cairealláin (Móglaí Bap), Liam Óg Hannaidh (Mo Chara), JJ Ó Dochartaigh (DJ Próvaí), Michael Fassbender, Fionnuala Flaherty, Simone Kirby, Josie Walker, Adam Best, and Jessica Reynolds Director: Rich Peppiatt KATIE Kneecap is one of the most exciting films I’ve seen in ages. Naoise Ó Cairealláin and Liam Óg Hannaidh, stage names Móglaí Bap and Mo Chara, respectively, play themselves in a fictionalised biopic that charts their recruitment of DJ Próvaí (JJ Ó Dochartaigh) and their sensational rise to success. It’s unbelievable that the trio has never acted before, and they drive the relentlessly energetic vibe. It’s also impressively innovative, with its hand-drawn visuals, frenetic editing, and inspired use of claymation to portray the effects of a ketamine trip. Presenting a deeply thought-provoking yet sharply funny exploration of Irish language and identity, Kneecap is a must-see. AMARÚ Kneecap has an upstart comedic feel similar to Shaun of the Dead , and an underlying-yet-in-your-face political fervor that will have you hyped beyond measure. Even more impressive is the powerful music and performances from the title group (Móglaí Bap, Mo Chara, and DJ Próvaí), given that they aren’t professional actors and their songs are mostly in an endangered language (Irish). Yes, they’re playing themselves, but it’s never a guarantee one can recreate a past emotional experience and have it still translate so wonderfully in the present. But hearing their music, you can understand why this movie hits so hard. QUENTIN Kneecap has a crackling energy, killer music, stylish directorial flourishes, and solid performances, especially considering the three leads are first time actors (even if they are playing themselves), but I struggled to become invested in the story. Maybe my lack of knowledge about the situation surrounding the Irish language in Northern Ireland caused me to miss important context, or that knowing it’s a heavily fictionalized “biopic” just took me out of it — hard to say — but this mashup of Trainspotting and Straight Outta Compton should have been right up my alley. Alas, it was not. Kneecap as a hip-hop group, though? I’m pressing play all day.

WHAT JOSIAH SAW Starring: Robert Patrick, Nick Stahl, Scott Haze, Kelli Garner, Jake Weber, and Tony Hale Director: Vincent Grashaw QUENTIN Based on the performances and atmosphere alone, What Josiah Saw is decent southern gothic horror. It’s probably even better if you know what to expect going in (which I did not). Namely, that the story structure is practically an anthology. If you don’t know that from the start, everything feels random and unconnected. The first act, which plays like Frailty , gives way to a second act that is reminiscent of Pulp Fiction , which gives way to a third act that’s kinda sorta like American Beauty . It’s very jarring. That said, everything eventually ties together in a mostly satisfying way that is brutal, tense, and deviant. JOSEPH What Josiah Saw has all the moodiness and talent to deliver an engrossing story about familial secrets and horrors of the past, but this southern gothic tale failed to deliver on nearly every aspect, especially with regards to the story. Every time I thought the film was going somewhere, I was mistaken, and whatever point the film was trying to make did not register with me at all. Despite a promising premise, a halfway decent finale, and some beautiful cinematography, the final scene only cemented my distaste for this film that barely managed to keep me interested.

STRANGE DARLING Starring: Willa Fitzgerald, Kyle Gallner, Ed Begley Jr., and Barbara Hershey Director: JT Mollner NICK If you've read my work before, you'll know I often take issue with non-linear timelines. Well, not only does director JT Mollner use the format successfully, but he does so in a way that enhances the overall film. With the concept of Chapters told out of order, it creates an uncertainty and intrigue that is only enhanced by the dynamic lead performances. Willa Fitzgerald and the criminally underrated Kyle Gallner come to play, and they held my attention from beginning to end of this gripping serial killer picture. Whether it’s the direction, the cast, or the story, Strange Darling is a triumph across the board. QUENTIN If you ever need a prime example of a movie that expertly subverts expectations, look no further than Strange Darling . Playing a bit like Sanctuary but with the throwback horror motifs of Pearl and The Texas Chainsaw Massacre , this is a twisty, tense, and thoroughly engaging thrill-ride. It’s also a great example of how to use non-linear storytelling to maximum effect. You’ve probably read my praise for Kyle Gallner in the past (he does solid work here too, no doubt), but he’s ultimately overshadowed by Willa Fitzgerald, whose performance drives everything happening on screen. Kudos to writer-director JT Mollner for creating something special with this one. PAIGE Willa Fitzgerald and Kyle Gallner may have delivered two of the most underrated performances of the year in Strange Darling . This sexy, twisted thriller will have you playing a game of cat-and-mouse with your expectations as it manages to have several diabolical tricks up its sleeve. Plus, director JT Mollner's ingenious non-linear storytelling excels in this beautifully shot 35mm gem. Everything from the flashy neon cinematography to the stellar sound design is intense. Go into this flick as blind as possible, and I promise you will enjoy the ride! KATIE I’m usually not a fan of serial killer films, so I was admittedly apprehensive when Strange Darling opened with the claim that it was based on a prolific murder spree. However, this audacious thriller surprised me, constantly subverting my expectations and using my assumptions against me in the best possible ways. The non-linear narrative is used to enhance the impact of the twisty cat-and-mouse chase, and it kept me engaged and constantly guessing. It’s gorgeously shot on 35mm that recalls the look of 1970s horror films, and is driven by forcefully captivating performances from Willa Fitzgerald and Kyle Gallner. This film was reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023.

WHITE MEN CAN'T JUMP Starring: Jack Harlow, Sinqua Walls, Teyana Taylor, Laura Harrier, Lance Reddick, Vince Staples, and Myles Bullock Director: Calmatic AMARÚ There are two seconds in White Men Can’t Jump where I thought Jack Harlow had some charm. The hope those moments provided didn’t last long. This unnecessary remake is jankily edited, poorly written, and hastily paced. Nothing on screen feels natural, especially the attempts to recapture the original’s poignant race-heavy dialogue. Harlow and Sinqua Walls have a bit of chemistry, but when on screen next to comedic standouts Myles Bullock and Vince Staples, you realize how not up to par this film is to the original. When the comedic relief is better than the main characters, it’s a pretty bad look. QUENTIN Not that it needs to be said, but White Men Can’t Jump didn’t need a remake, and it certainly didn’t deserve one this lazy. The contentious camaraderie between Jack Harlow and Sinqua Walls pales in comparison to what Wesley Snipes and Woody Harrelson had, and all the racial commentary of the original has been reduced to a slew of “white people be like…, black people be like…” jokes. There also is a completely needless subplot with one character’s father (though it was nice to see Lance Reddick one last time), while the basketball scenes aren’t all that fun or exciting. Overall, this is a total brick.