THE INSTIGATORS Starring: Matt Damon, Casey Affleck, Hong Chau, Ving Rhames, Ron Perlman, Toby Jones, Michael Stuhlbarg, Alfred Molina, Paul Walter Hauser, and Jack Harlow Director: Doug Liman AMARÚ One of my favorite movie genres is stacked ensembles coming together to have tons of fun, and The Instigators is Ocean’s Eleven -level entertainment, with alums Matt Damon and Casey Affleck leading this comedy of criminal errors. Director Doug Liman reaffirms his ability to create great action movies with just the right amount of heart as he throws us straight into the fray with a breakneck pace, an intelligently quippy script, and irreverent yet genuine performances, especially from Damon. I couldn’t keep the smile off my face during this hilarious, rip-roaring heist-gone-wrong-in-all-the-right-ways. NICK Some of the best team-ups in film come from characters who find themselves working together due to happenstance, and The Instigators is yet another example. Led by Matt Damon and Casey Affleck, the pair's dynamic is what makes this film work as well as it does. With both being alumni of the Ocean's franchise, they channel that energy for an entertaining heist film filled with quippy dialogue and a collection of colourful side characters. After some questionable decisions in his recent work, it's nice to see director Doug Liman tackle a film like this. It’s a solid match. QUENTIN It seems most comedies nowadays have become straight-to-streaming fare that are reminiscent of the entertaining-but-forgotten comedies of my 90s youth, like Money Train , Nothing to Lose , and Bulletproof . The type of come-and-go movie I loved at 15-years-old, but probably has no real legacy outside of those who experienced it as an indiscriminate teenager. The Instigators is further evidence of that notion. Despite delivering some light laughs, solid odd-couple banter, inoffensive action, and a collection of random stars in bit parts, it probably won’t register very long for anyone outside of modern-day adolescents who will eventually have rose-colored, “The Instigators ? I loved that movie!” nostalgia for it. PAIGE Although The Instigators is an entertaining on-the-run movie, Doug Liman's blue-collar heist film is just another typical action comedy. Don't get me wrong, the material is elevated by the sardonic wit and dialogue, as well as the charming Boston accents from Casey Affleck and Matt Damon, but, overall, the genre isn't expanded upon. Plus, the plot is a little wonky at times. Though there is some fun to be had with this flick, and it was nice to see the accurate depiction of Massachusetts driving, just don’t expect the next great Boston crime film.

A REAL PAIN Starring: Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyiawan, Liza Sadovy, and Daniel Oreskes Director: Jesse Eisenberg KATIE A Real Pain is charmingly funny and artfully written, with a quick-witted script that is driven by the endearing dynamic between writer-director-star Jesse Eisenberg and Kieran Culkin, who brings his lovable, signature nervous energy to the role. They are a compelling double act with perfect comedic timing, but the film is also emotional and thought-provoking, exploring mental health, the weight of history, and the difficulties found in supporting and understanding those closest to us. Overall, A Real Pain is a tender, dryly funny, indie drama with a scene-stealing performance from Culkin. ADRIANO After his first film was a huge pretentious miss for me, writer/director/star Jesse Eisenberg steps up big time with A Real Pain . While his direction is nothing extraordinary, his writing gives way to a funny and emotionally cathartic odd-couple dramedy that gives us two very memorable characters and a beautiful examination of generational heritage and familial trauma. While Eisenberg's performance is excellent, Kieran Culkin gives a groundbreaking turn that plays to his strengths, hiding a deep and heartbreaking reality under the surface. Honestly, the more I digest A Real Pain , the more I fall for it. PAIGE A Real Pain is a significant improvement for Jesse Eisenberg’s second crack at the director’s chair. Although its screenplay tends to tell you how the characters are feeling instead of just showing you, at least Eisenberg’s words on the page and Kieran Culkin's tour de force performance capture a raw honesty about grief and how we carry our inner turmoil in such a humane way. Their (Eisenberg and Culkin) yin-and-yang character dynamic throughout this buddy road trip, while complicated, is endearing, and is what ends up truly holding the movie together. QUENTIN Considering I’ve never been a huge fan of Jesse Eisenberg’s schtick, I went into A Real Pain with meager expectations despite the awards buzz. With that in mind, I suppose it’s fine. Eisenberg does, in fact, do his typical thing on screen, and nothing about his direction is particularly ambitious. However, I will give him credit for the screenplay, which plays subtle-but-never-“hilarious” (as it has often been hailed) humor against melancholy sadness extraordinarily well. It’s just that watching this potentially great story being performed on screen by Eisenberg and Kieran Culkin (doing his typical thing, for which, mileage may vary) just didn’t move me. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.

WICKED LITTLE LETTERS Starring: Olivia Colman, Jessie Buckley, Anjana Vasan, Joanna Scanlan, Gemma Jones, Malachi Kirby, Lolly Adefope, Eileen Atkins, and Timothy Spall Director: Thea Sharrock NICK Wicked Little Letters is one cheeky little fucker of a film. The surprisingly funny and crass affair is headlined by the devilishly good Olivia Colman and Jessie Buckley at their most raunchy. Colman, in particular, shines, with even just her facial expressions bringing on the laughter. The mystery may show its cards a little early in the film, but that can be forgiven as the “who” never feels like the point. Instead, just go for the ride of this sure-to-be crowd-pleaser. I’m not saying you need to see Wicked Little Letters , but some may think you’re a bloody wanker if you don’t. ADRIANO One can look at Wicked Little Letters and say, “Oh, look, another charming British comedy.” There is some truth to that. However, it goes beyond that to deliver more poignancy than I expected. Olivia Colman and Jessie Buckley are both amazing (they always are), but I loved the whole ensemble. Each actor is committed to this bizarre story that intrigues and delights at the same time. The structure isn't completely sound, but with what lies at the end of Wicked Little Letters , it’s hard to not at least smile. QUENTIN For me, Wicked Little Letters was the surprise overachiever of 2023’s Zurich Film Festival. I’ve often been accused of not liking “lady movies,” but this cheeky little gem is raunchily (in language only) delightful. Admittedly, a charmingly crass Jessie Buckley alongside Olivia Colman simply doing what Olivia Colman does can cover for a lot of flaws, but it’s not like this easy-going mystery has many flaws to begin with. It may feel slight, especially pertaining to the mystery aspect, but it’s an enjoyably simple watch that ultimately entertains. Think of it as the movie version of a good “beach read.” AMARÚ Wicked Little Letters isn’t just the title of this darkly intelligent comedy, but it’s also the perfect descriptor for writer Jonny Sweet’s screenplay, which is tremendously mean-spirited and absolutely perfect. Each letter of every word is indeed a wicked vehicle for Olivia Colman to be hilariously devilish, Timothy Spall to be maddeningly curmudgeon, and Jessie Buckley to be delightfully crass. The rampant embarrassment of ignorance the script deftly weaves left me rightfully frustrated alongside standout Anjana Vasan’s “woman officer” Moss as she tries untangling a web of lies, deceit, and stupidity that is simultaneously gripping, infuriating, and hysterical. PRESTON Wicked Little Letters nestles itself quite nicely into the slightly-naughty-but-charming British comedy realm. Olivia Colman is perfectly cast, and Jessie Buckley, Anjana Vasan, and Timothy Spall are terrific here as well. Even though the acting is well done and the thematic messaging appropriate, with the addition of it being based on a true story certainly helping, I still found the film to be rather unremarkable. As bold as the story is meant to be, I wish that the actual production and editing was a bit more daring, although that may just be my Guy Ritchie fan showing. This film was reviewed by Adriano, Nick, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 Zurich Film Festival, respectively.

CYRANO Starring: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., and Ben Mendelsohn Director: Joe Wright JACOB Director Joe Wright’s take on Cyrano de Bergerac may not exactly sweep the Oscars, but Cyrano is an admirable and general success nonetheless. Led by an accomplished performance from the great Peter Dinklage, this musical adaptation does about as well as it can do despite the reservations present in the craft of it. Almost everyone sings well enough for their own part, though the music itself is not especially great. However, there is much bravado in the filmmaking, so we’re left with something engaging but largely unremarkable. That said, this may be the best Haley Bennett has ever been. ADRIANO Cyrano is excellent, except when it isn’t. There are definitely moments of excellence. The “Overcome'' musical number is genuinely jaw dropping, and I did enjoy the film’s love story (Peter Dinklage is an absolute marvel). That said, while it does pick up in the second act, the first act drags. A lot of the time, the script gets in its own way in terms of telling a cohesive narrative. Much of the music is kinda bland too (though, not all of it). Overall, not bad, but not great either.

SUPERGIRL Starring: Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Krumholtz, Emily Beecham, David Corenswet, and Jason Momoa Director: Craig Gillespie QUENTIN Though flawed, Supergirl manages to be on the right side of mediocrity thanks to a star-making turn from Milly Alcock and the always charismatic Jason Momoa. Frankly, they both deserved a better movie, and I look forward to seeing them again in the DCU as Supergirl and Lobo, respectively. However, this introduction feels like a Star Wars ripoff built on the bones of superhero movies’ most basic transgressions, namely bum villains, uninspired action sequences, and lame MacGuffins. Still, Alcock, with her IDGAF vibe, is so perfectly cast as the punk-rock heroine who saves the day that she nearly saves the movie too. NICK I know Superman’s (David Corenswet) inclusion in Supergirl was meant to drum up interest and boost ticket sales, but the main thing he does is shine a spotlight on this film’s inadequacies. Whether it’s the muddled and hard-to-follow action sequences (thanks to jarring and frantic editing) or the bland supporting characters (I’d lump Matthias Schoenaerts’ Krem in with Marvel’s weakest villains), everything is a stark step down. Sure, Milly Alcock works as the titular character once she finds her footing, but the film she’s stuck in feels so amateur. Worst of all, the creative team made me dislike a cinematic dog. AMARÚ There’s fun to be had in Supergirl , but it’s like the fun Kara (Milly Alcock) has on a week-long birthday bender: a sloppy blur of hazy shenanigans resulting in a forgettable mess. It’s hastily written, minus one scene that shows off Alcock and David Krumholtz’s fabulous acting. It’s hastily edited, with CGI-laden action shrouded in shoddy coverage obscuring much of what’s happening. And it’s hastily paced, moving way too quickly through way too many things in what should’ve been a heartfelt yet hard look at grief. At least we can look forward to seeing more of Alcock’s great chemistry with David Corenswet’s Superman in future movies. ADRIANO I hate to make a judgment call after two movies, but I’m uninterested in the DCU. I liked Superman , but it didn't get me excited about the future beyond that specific movie. And now, with Supergirl , whatever interest that existed is fully deflated. Milly Alcock does her best, but with a script that is both generic and feeling like a first draft, chopped up even more by horrid visuals and editing, there’s not much she can do. It’s an action-comedy that’s neither exciting nor funny, and it features a terrible villain (Matthias Schoenaerts). I’m over these movies, but this is especially rough. ROBERT So, almost one year ago, Superman hit theaters and banked teems of goodwill for itself and the future of the DCU. I’m unsure about James Gunn and Peter Safran’s mindset when they read the script for Supergirl and thought THIS needed to be the follow-up. I was bored to tears throughout as I didn’t care about Kara’s (Milly Alcock) or Ruthye’s (Eve Ridley) motivations for anything to get us through each act. The visual effects, the musical cues, some horrendous characterization…it all contributed to crystallizing a Kryptonite-infused dirty bomb that exploded and sent killer shrapnel into the heart of DC fans. BODE Remember when the MCU kicked off with Iron Man , getting audiences instantly excited about what the future would be? But then it was quickly followed up with The Incredible Hulk , which - at least - tempered that excitement? Supergirl is actually more like the letdown of Thor: The Dark World than Hulk , but you get what I mean. Milly Alcock certainly shines, and it’s not without some moments of resonance (like the Krypton flashbacks). But between its one-dimensional villains, muddled narrative, and generic action sequences, this simply goes through the motions to the point that it feels inconsequential. It’s not terrible exactly, just very disappointing. PAIGE Supergirl has all the right ingredients to be great, but unfortunately they never come together in a satisfying way. Milly Alcock is undeniably fantastic as the edgy Kara Zor-El, but the script ultimately holds her back. Don’t get me wrong, the flashback sequences were genuinely compelling, and I’m excited to see where Kara goes next. However, the story just kept running in circles, and the messy editing didn't do it any favors. The movie felt very by-the-numbers and seemed afraid to really confront its themes beyond its surface. I didn't have a bad time, but this character deserved a much stronger script to tell her story. KATIE Milly Alcock is excellent in Supergirl , but deserved a far better film in which she could truly shine. Her potential is dampened by the rest of the movie, which lurches from one messy action set piece to the next, driven by a poorly developed story that didn’t make me care about any of its characters. Despite what the frenetic editing and relentless needle-drops would have you think, the story is monotonous, so I was quickly bored. Plus, the CGI is bland and murky, and the dog looks uncanny, reminding me of AI-generated images. I’d love to see Alcock return as Supergirl in a better film.

MEGALOPOLIS Starring: Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Jon Voight, Aubrey Plaza, Laurence Fishburne, and Shia LaBeouf Director: Francis Ford Coppola QUENTIN Although a modern world in which ancient Rome never fell is an incredibly fascinating premise, Francis Ford Coppola’s Megalopolis is an unmitigated disaster that vacillates from (presumably unintentional) campiness to overbearing self-seriousness at the drop of a hat. In addition to that, the story is so overstuffed and poorly developed, it’s like Coppola simply gave his stacked cast a hand-wave gesture and basic gist, leaving them to figure everything out on their own, which results in a collection of A-list actors who clearly aren’t working on the same wavelength. It’s not lacking in ambition, but the execution isn’t there. The visuals look sorta nice sometimes, though. ADRIANO After what has probably been one of the most cursed pre-releases maybe ever, I've finally witnessed Megalopolis . And, yeah, it's awful, but almost in an endearing way. Writer/director Francis Ford Coppola has stated that he's been mulling over this since the 70s, and while his passion shines through, it's staggeringly clear that he threw every single idea he had at this. The result is incoherent, empty, poorly-acted, and sadly incompetent. That said, I did enjoy watching a madman's unflinching ambition take shape, even if it's ultimately a mess. I'm giving this a low rating, but it's worth watching at least once. PAIGE It gives me no pleasure to report this, but Megalopolis is an absolute disaster. Honestly, when Francis Ford Coppola wrote this fable, what in the world was he smoking? Though I understand his intentions when it comes to the film’s concepts of time, technology, and politics, this thing, overall, is so incoherent and incompetent that it truly made me want to gouge my eyes out. The screenplay is a hot mess, the runtime is tedious, and it seems as though each actor is acting in a completely different movie. Personally, I think Coppola was better off keeping his vineyard than making this dumpster fire. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

BACK IN ACTION Starring: Jamie Foxx, Cameron Diaz, McKenna Roberts, Rylan Jackson, Kyle Chandler, Glenn Close, Jamie Demetriou, Andrew Scott, and Fola Evans-Akingbola Director: Seth Gordon PRESTON Sometimes, a movie can make you re-evaluate what you’re doing with your life. Now, it’s not that Back in Action is particularly exceptional in any way that might evoke such a feeling; in fact, it is its un-exceptionalism that makes me think spending two hours learning to play piano would be exponentially more productive. Unfortunately, this is just a fast-food film that helps to close the gap between our society and the one in Idiocracy . No judgement if you need something like that at the end of a long day, but even a trashy novel is better exercise for your brain. NICK We are often harsh on theatrical releases that should have gone to streaming, but rarely do we praise the decision to head there. Back in Action is a great example of a film that belongs on streaming. Not good enough to pay money for, but not bad enough to turn off. This Spy Kids /Mr. & Mrs. Smith mash-up doesn’t bring anything new to the table (aside from the welcome return of Cameron Diaz), but also doesn’t try to be more than the sum of its parts. It’s mid, it knows it’s mid, and somehow that gives it a touch of charm.

BARK Starring: Michael Weston and A.J. Buckley Director: Marc Schölermann This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. QUENTIN As a low-budget, indie two-hander, Bark does a terrific job for most of its runtime. The slow-burn mystery keeps you on the hook as you try to determine who both the man on the tree (Michael Weston) and The Outdoorsman (A.J. Buckley) truly are, as well as how these two men have come to this point. That said, the ending comes completely out of left field. Yes, all is explained, but the reveal is never even hinted at beforehand, so it just arrives with a bit of an “oh…that’s why?” thud. Also, aside from being underwhelming, some people will just find the ending hard to stomach. NICK Bark is an interesting endeavor. The opening 20 minutes could stand alone as a satisfying short film, while everything that follows is basically a stage play on screen. There are two characters, one location, and a whole bunch of dialogue. It’s performed admirably by Michael Weston and A.J. Buckley, but it somehow manages to both meander and rush to a conclusion. The most frustrating part is that the finale is actually well-thought out (and emotionally affecting), but it isn’t given the time needed to land as well as it could have. Still, that reveal will stick with me for a bit.

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE Starring: Eric Bauza, Candi Milo, Peter MacNicol, Carlos Alazraqui, and Fred Tatasciore Director: Peter Browngardt AMARÚ The Day the Earth Blew Up is exactly what you would expect from a Porky Pig and Daffy Duck (both voiced by Eric Bauza) two-hander. It’s wacky, silly, ham-fisted, and the perfect combination of slapstick comedy with adult-laden one-liners. The animation is the best Looney Tunes has ever looked, and the story fits right in with all your childhood favorites from the Tune Squad. The shticks will only take you as far as your tolerance for campy comedy, but even if you're not the hugest fan, the heart of Daffy and Porky’s relationship should take you the rest of the way. ADRIANO The Day the Earth Blew Up is classic Looney Tunes . The visual of Daffy Duck (Eric Bauza) bursting through a wall, leaving a hole in the shape of Daffy is enough to get me laughing hysterically. There were maybe one or two jokes that made me cringe, but other than that, the hijinks and slapstick are all here. The animation is great, the plot is hilariously ridiculous, and as high and silly as its concept goes, the movie has a lot of heart, so you're not coming just for the laughs. I'm a simple man sometimes, and I loved this movie.

REZ BALL Starring: Jessica Matten, Kauchani Bratt, Amber Midthunder, Zoey Reyes, Julia Jones, Kusem Goodwind, Ernest Tsosie III, Dallas Goldtooth, and Cody Lightning Director: Sydney Freeland NICK For a film about basketball, it’s the sporting elements that fail Rez Ball . The in-game action lacks gritty intensity, so they come across more like a glossy High School Musical scene over something with the weight the story requires. In fact, the film as a whole feels very Disney Channel Original Movie, from the performances to the look and feel. When it delves into the Navajo culture and its people, the film is at its strongest, but those moments happen too infrequently. The focus here is basketball, and when you can’t equal your contemporaries, let alone surpass them on that front, that’s a problem. KATIE The strengths of Rez Ball lie in its cultural specificity and representation of the community, but its hindered by its amateurish performances and TV movie feel. The more interesting parts of the film that focus on Native American culture feel overshadowed by the weaker dramatic subplots, and the cast struggle to convey the intense emotion needed for them to succeed. The runtime is overlong, and the pacing was surprisingly uneven considering that the basketball games should have injected some energy and excitement into the film. Nonetheless, Rez Ball is overall an easy watch with a lot of heart and a feel-good finish. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE CARD COUNTER Starring: Oscar Isaac, Tiffany Haddish, Tye Sheridan, and Willem Dafoe Director: Paul Schrader NICK The Card Counter is a vehicle for another fantastic Oscar Isaac performance. He keeps you engaged with his mysterious character every minute he is on screen while fitting perfectly into the film's dark and brooding tones (which Tiffany Haddish brings a welcome contrast to). Unfortunately, the film stumbles in the editing. While it has solid direction and writing, the score (or lack thereof) really messes with the flow of the film. Sometimes, it's used where it doesn't fit; other times, it's completely non-existent, leaving the film feeling unfinished. A blemish on an otherwise solid film. JAMES The Card Counter is hypnotic. Director Paul Schrader’s slow camera and prolonged takes are reminiscent of Blade Runner , and the vibrance of the casinos and cityscapes give the movie a dreamlike feel. This feeling is enhanced by the shifting soundscapes and vocals that echo throughout the film. Oscar Isaac brings his characteristic depth and stillness to the main character and forces every actor he shares the screen with to slow to his pace - something very few performers are capable of doing. The result is an intimate confessional of a film that's going to stick with me for a long time. JACOB A far cry from the quality of First Reformed , Paul Schrader’s The Card Counter isn't bad as much as it's difficult to get a read on. From the beginning, the film distinguishes itself as poorly shot and badly produced, with its garish lighting betraying its limited budget to ill effect. Yet, as it continues, one can sense seeds of greatness below its technical shortcomings. The writing is ambitious and Oscar Isaac is excellent (even Tiffany Haddish impresses), but Tye Sheridan feels woefully miscast. It's okay enough to pass the time, but as an awards contender? I wouldn't bet on it. QUENTIN Between The Card Counter and First Reformed (among other movies he has made), I’m starting to think I’m just not a fan of writer/director Paul Schrader anymore. Like most of his recent work, The Card Counter is annoyingly slow despite featuring a compellingly brooding Oscar Isaac. There are long, quiet stretches without music or dialogue, and Tiffany Haddish is woefully miscast, failing to have a shred of chemistry with Isaac. If you want a poker movie (to be clear, this is not a poker movie despite what the marketing might lead you to believe), just watch Rounders again.

THE RITUAL Starring: Al Pacino, Dan Stevens, Abigail Cowen, Ashley Greene, Patricia Heaton, and Patrick Fabian Director: David Midell KATIE The Ritual is, by and large, a typical exorcism film, full of tropes and familiar beats. The first half is actually quite strong, with jump scares and scary visuals that are effective. However, it then falls flat, and the repetitive plot begins to feel monotonous. I also don’t think the handheld camera style added to the story; if anything, it's sometimes distracting and feels cheap. Whenever it does work, it's because of the performances. I came for Pacino (Father Riesinger) and Dan Stevens (Father Steiger), but stayed for Abigail Cowen (Emma Schmidt) and Ashley Greene (Sister Rose). NICK Dan Stevens is one of those actors who always seems to be doing something interesting regardless of the project he’s in. Unfortunately, when it comes to The Ritual , there is nothing interesting here. From the retreaded story beats, to the bland writing and performances, to some of the worst cinematography I’ve seen in a theatrical release in some time, there’s nothing to salvage. I think director David Midell was aiming for something hyper-realistic, but what he wound up with was one of the dullest depictions of possession I’ve seen on screen. A truly painful 98 minutes to get through.