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ARMAGEDDON TIME Starring: Banks Repeta, Anthony Hopkins, Jeremy Strong, Anne Hathaway, and Jaylin Webb Director: James Gray JACOB James Gray’s Armageddon Time is unlikely to be viewed as a masterwork or a revolutionary act of cinema, but it has more than enough for true cinephiles to enjoy. The film’s messaging is a tad difficult to grasp, but it still mostly works. Gray’s most personal film yet, the semi-autobiographical tale feels like a movie both from its time and of its time, that being 1973 to around 1980. Banks Repeta is great as the lead character, and he gets strong support from the whole ensemble, but it’s Anthony Hopkins who provides the soul of the story. NICK Armageddon Time is a relatively basic coming-of-age story that puts forth many ideas without really committing to one. There are some plot holes that easily could have been filled in, but they are simply glanced over to help move the story along. Also, this film loses a lot of its shine when Anthony Hopkins is not on screen. That's not to say anything of the cast…everyone has a good showing…but Hopkins’ presence ignites something that fades in his absence. This is a film made for awards recognition, and since it’s bound to fall short of that, it must be viewed as a disappointment. ADRIANO Writer/director James Gray’s semi-autobiographical Armageddon Time is unlikely to pull on the heartstrings, but that’s what I liked about it. This film ditches the Oscar-bait sentimentality in exchange for an honest and raw look at Gray’s childhood. While I don’t think all of the political stuff worked, I did like the familial aspects. The entire cast does a great job too, but Banks Repeta does a particularly standup job as the lead while Jeremy Strong and Anthony Hopkins also are fantastic. For many reasons, both good and bad, this film just resonated with me. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

THE BOYS IN THE BOAT Starring: Joel Edgerton, Callum Turner, Peter Guinness, Sam Strike, Luke Slattery, Hadley Robinson, Jack Mulhern, Thomas Elms, and James Wolk Director: George Clooney PRESTON I’m an unashamed lover of underdog sports stories, movies based on true events, and movies based on books. Check, check, and check. The Boys in the Boat is quite a successful film translation by director George Clooney, even if the written form is more capable of developing characters and telling a satisfyingly complete tale. The only distracting note was an odd focus on the oar lock clamps, which had me predicting inevitable disaster, but definitely added to the racing scenes’ intensity. Even so, this is simply a feel-good sports drama with steady pacing that allows for an easily enjoyable ride. ADRIANO I don't know what it is with George Clooney choosing to direct only the most forgettable scripts imaginable, but here we are again with The Boys in the Boat . The movie plays it aggressively by the numbers in terms of its presentation and its writing, and it’s as predictable as can be to a comedic degree. Some of the writing is particularly nonsensical too, especially towards the end. On top of that, even as an underdog story, I didn't feel anything . Clooney has better directing chops than this, and this is just another embarrassment for the director.

MEG 2: THE TRENCH Starring: Jason Statham, Able Wanamakok, Li Bingbing, Sienna Guillory, Sophia Cai, Jing Wu, Cliff Curtis, Skyler Samuels, Page Kennedy, Melissanthi Mahut, and Sergio Peris-Mencheta Director: Ben Wheatley PHILL Meg 2: The Trench takes a deliberate bite at trying to be a nonsense-filled schlockfest, but never quite succeeds as well as its predecessor, The Meg. The disjointed sequel flows with breakneck pacing, but somehow still spends too long on a very dull interhuman confrontation instead of the interspecies one. Jason Statham does what Statham does best, and if you’re a fan, you know what you’re getting. But with weak performances aplenty and a very mixed bag of visual effects that range from quite lovely to purely abhorrent, this franchise sadly sinks further in quality the second time around. ADRIANO A good sequel should expand upon its predecessor while also giving fans of the original more of what they loved about the first one. Meg 2: The Trench does neither. I could’ve forgiven the asinine writing and the embarrassing performances because I assumed this movie was going for a fun B-movie but with more money, but it’s not fun enough for me to give it that kind of pass. With one momentary exception, the big shark is just chilling for the most part, and instead, we are left with a dull action plot with nothing to care about. PRESTON If you loved The Meg , you will probably love Meg 2: The Trench , which is by no means a glowing endorsement. B-movie is 100% the intention here, where a plotless adventure ensues with Sharknado -esque improbability. The corybantic camerawork keeps you in the confused chaos, first established by the inexplicable James Bond-like qualifications of its protagonist, Jonas Taylor (Jason Statham). Plus, oddly, the story doesn’t even feature Megs throughout the film. This is the type of production that you bring your young children to with unapologetic abandon, as loud insiders to my particular viewing ventured to do…and I didn’t really care. KATIE Were the effects shonky? Absolutely. Did the plot make sense? Barely. Were the performances convincing? Definitely not. Did the action scenes have so many cuts and shaky camera movements I found myself unable to make out what was going on? Unfortunately, yes. But did I care? Not really! Despite all of this, I sat back and mostly enjoyed nearly two hours of pointless, ridiculous, and cheesy fun featuring Jason Statham and various supersized aquatic threats. Although its run time is too long and I was not at all emotionally invested in a single character, I, begrudgingly, had a good time. CALEB I was hoping The Trench would embrace the absurdity of its premise and deliver some cheesy B-movie fun, but it never does. Instead, I was treated to an excruciating two hours of lifeless direction, mediocre effects, and writing dumb enough to make the first one look like Jaws . The most painful thing about this sequel is its astounding lack of sharks. The Megs themselves play a secondary role in the narrative, taking a back seat to the film’s dull human conflict. Jason Statham brings his usual charisma, but even he can’t save this Megalodon-sized flop.

MEMORY Starring: Jessica Chastain, Peter Sarsgaard, Brooke Timber, Merrit Wever, Josh Charles, and Jessica Harper Director: Michel Franco ADRIANO It's wild how much the performances of great actors can elevate a film, but in the case of Memory , that's exactly what Jessica Chastain’s and Peter Sarsgaard’s do. Their nuance in approaching these heavy roles is something to marvel at. Not that Memory isn’t great without them, mind you. Writer/director Michel Franco's deft hand at going about the subjects is delicate and precise, and though I don't see his slow-moving nature working for you if it hasn't before, it works for me. And, again, even if you're not totally into the plot, you still have two incredible performances that are beyond worthwhile. NICK I don’t want to take anything away from Memory. It’s a well-crafted film that features some heartfelt performances from Jessica Chastain and Peter Sarsgaard. It just doesn’t feel… special. There are times when director Michel Franco presents a devastating idea, but then be seemingly gun-shy of tackling it. There are a few of these missed opportunities in the film, so what we’re left with is a well-acted story that doesn’t feel wholly unique. The great performances of Chastain and Sarsgaard do almost all the heavy lifting, which is necessary because this story would certainly be lacking without them. QUENTIN Having missed Memory at Venice Film Festival, I was happy to get a second chance when I attended Zurich Film Festival a month later. Sadly, I learned that I didn’t miss anything worthwhile. Sure, it has good performances from Jessica Chastain and Peter Sarsgaard, but neither are performing at the top of their game. Most importantly, though, the story sets up several fascinating pathways to explore, but never follows through. In fact, it leaves so many intriguing plot threads dangling that one must wonder if this final product is the director’s true vision, or if the studio made cuts to remove some potentially controversial story beats. PAIGE Memory could end up being one of the most delicate films of the year. With profoundly touching performances from Jessica Chastain and Peter Sarsgaard that should not go overlooked, the film offers a tender yet heartbreaking look at two wounded individuals: one who can’t remember and the other who remembers too much. While providing this introspective look at one’s traumatic memories from multiple perspectives, writer/director Michel Franco does a fine job of gently crafting these moments, even though it can all feel slightly repetitive and sluggish at times. 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.

THE EQUALIZER 3 Starring: Denzel Washington, Dakota Fanning, Eugenio Mastrandrea, David Denman, Gaia Scodellaro, Remo Girone, and Andrea Scarduzio Director: Antoine Fuqua KATIE The Equalizer 3 is an efficient and satisfying film that stands out from the recent trend of action-thriller sequels and reboots. Set in an idyllic Sicilian town rather than Boston, it balances, in a pleasantly jarring kind of way, picturesque sequences of Robert (Denzel Washington) exploring the village with some of the most graphic and gory violence seen in the franchise yet. Washington is heroic and charismatic despite committing many heinous acts, and to be honest, if the film was just two hours of Robert drinking tea in outdoor cafes, I still would have enjoyed it. AMARÚ I guess director Antoine Fuqua and Denzel Washington were tired of The Equalizer getting forgotten in the recent action renaissance discussion. This third entry starts out so intensely that, when it returns to what the franchise does so well, meaning slowly connecting Robert McCall (Washington) to the people who gain his friendship and protection, there’s true weight in the slow yet thrilling build-up to the rest of the film’s brutality. Wherein the previous entries’ deliberate progression caused pacing issues, this one steadily escalates to a suspenseful crescendo, creating the most thematically satisfying entry in the series. ADRIANO There is something much more endearing about The Equalizer 3 than the previous two entries, even if I feel about the same as I did its predecessors…meaning mostly disinterested. The idea of our lead settling down to use his resources to protect his new community is done well, but between the “new life” plotline and the hyper violence, the movie is rather dull. If it weren't for Denzel Washington’s natural charm, I’d have been pretty bored. It’s a fitting end to the trilogy since I never cared for these movies in the first place. PHILL Robert McCall (Denzel Washington) returns in the most violent offering of The Equalizer yet, abandoning Boston for the beautiful backdrop of a small coastal town in Italy. Unlike its two predecessors, The Equalizer 3 is not constant all-guns-blazing action, but instead takes the time to really admire the gorgeous setting and the community that live there. In fact, this third entry excels at the slow, methodical bursts of action that deliver while continuing to play extremely well to Washington’s strengths and age, upping the gore substantially in a safe, befitting finale. PRESTON The Equalizer 3 plays out a narrative that is not new: a retired operative tries to reset and live the quiet life, but is reluctantly drawn back into the fight by his environment’s charms and a disdain for exploitative bullies. Director Antoine Fuqua takes a regrettably long time to develop the audience’s sympathies for the oppressed, which results in a story that slowburns for far too long but thankfully hits hard when it's finally time. Denzel Washington puts this entire production onto his capable shoulders, and is 100% the vigilante bad-ass I was hoping for.

FURIOSA: A MAD MAX SAGA Starring: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme, Nathan Jones, and Josh Helman Director: George Miller QUENTIN Given the (unexpected?) modern-day masterpiece that is Fury Road , there was some concern on my end that returning with a prequel would result in a disappointing cash-grab of a movie. Thankfully, Furiosa is anything but. It might be a bit too long, but you hardly care when the acting (Chris Hemsworth, especially), action, and writing are this good and compelling. It’s the rare prequel that stands on its own merits while expanding on the lore of everything that came before it and improving the depth of its immediate predecessor. Only time will tell if it’s better than Fury Road , but it deserves genuine consideration. AMARÚ Furiosa is a wondrous journey that ebbs and flows beautifully between heart-pounding action and thrilling character moments. Director George Miller’s master craftwork flawlessly bends magnificent set pieces to the furious will of Anya Taylor-Joy and the demented id of a career-defining Chris Hemsworth performance. It works both as a stand-alone singular epic and a world-building companion piece that enhances on the only thing Fury Road was missing: a discernible plot. Making a fantastic film that improves on a damn-near perfect one is a feat that few others than Miller could accomplish. ADRIANO Following up Fury Road is no simple task, yet Furiosa does so in glorious fashion. Director/co-writer George Miller returns to the wasteland in a similarly gritty and action-packed style, but what separates this from the previous Mad Max films is the way Miller builds and uses the world to enrich the character of Furiosa (Anya Taylor-Joy). What could've easily been a lazy prequel winds up being a necessary companion piece that stands on its own while also enhancing its predecessor. Furiosa was my most anticipated movie of 2024, and it did not disappoint. PAIGE With Furiosa , director George Miller embarks on yet another extraordinary journey through the wasteland. Even though this origin prequel may not be as heavy metal as Fury Road , it’s still just as epic in scale. The jaw-dropping set pieces remain untarnished, although there are glaringly clumsy visual effects on occasion. Chris Hemsworth may have given his best performance to date, and Anya Taylor-Joy honors the legendary Furiosa. Furthermore, this coming-of-age revenge movie does a fine job of expanding the lore of the Mad Max world and reminding us why we root for this badass. KATIE Furiosa is a worthy follow-up to Fury Road , delivering everything that makes the original great and more, whilst working equally as well as a stand-alone thriller. The sprawling, action-packed epic is a non-stop thrill ride with jaw-dropping set pieces, breathtaking stunts, a fantastic cast (particularly Anya Taylor-Joy as Furiosa), and a delightfully unhinged performance from Chris Hemsworth. The film is long, but takes the time to deepen our understanding of the character and, ultimately, every second spent in George Miller’s brutal wasteland is a pleasure. See it on the biggest screen possible and enjoy the carnage. PRESTON Supposedly, the Furiosa script was done prior to the filming of its predecessor (Fury Road ), but still somehow comes across as something very much forced. The five sections of the film accurately recount the corresponding important plot points while the rest of the film meanders its way from here to there through a somewhat muddled storyline that includes some, admittedly, sweet action and stunt sequences. The green-screening fits with prior installments, but takes some grit to accept its ridiculousness at times. Overall, it's good, but much longer than it needs to be and not nearly as good as Fury Road . CALEB Furiosa isn’t as intense as Fury Road , but it’s still a wild ride; the action sequences aren’t as frequent this time around, but they’re just as ingenious. The high-octane set-pieces are giddily chaotic, and it’s clear that director George Miller is still at the top of his game. I was expecting fantastic action from a Mad Max film, but the great world-building caught me off guard. This prequel expands upon the wasteland in fascinating ways, fleshing out the warring factions and adding some standout new characters. Max may be absent from this entry, but Furiosa proves that this franchise is still plenty badass without him. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

REALITY Starring: Sydney Sweeney, Josh Hamilton, and Marchánt Davis Director: Tina Satter QUENTIN I have personal thoughts about Reality Winner (Sydney Sweeney) and her crimes, and most coverage has gone in the opposite direction of what I think. However, I give director Tina Satter credit, because for most of the film’s 83-minute runtime, she doesn’t paint Winner as hero or villain, and her incredibly inventive approach creates a surreal pseudo-documentary that establishes a matter-of-fact point of view. Plus, Sweeney is absolutely remarkable, playing a character that evolves from innocent naiveté to terrified realization with aplomb, and the chemistry and tension built between her, Josh Hamilton, and Marchánt Davis is off the charts. This will net HBO some Emmys. PAIGE If you’re looking for a compelling and anxiety-inducing character study, then Reality is the film for you since it’s a self-contained thriller that is remarkably tense throughout. Not to mention, it’s just a gripping true story. That said, if it weren’t for Sydney Sweeney’s raw and remarkable performance, I don’t know if it would’ve worked as well as it does. She carries this tight-knit film on her shoulders, delivering one hell of a performance. Also, I would recommend that you familiarize yourself with the actual story before jumping into this so you can fully appreciate what is happening on screen. JACOB Though it amounts to little more than a conversation piece, Reality is a thoroughly engaging, genuinely tense TV movie that would be one of the better episodes of television this year if it were part of its own series. Everyone aces their parts, but the two-handed back and forth between Sydney Sweeney and Josh Hamilton is what gives the narrative its juice. Given the confidential nature of some of the more specific information the film alludes to, the redaction of that information presents opportunities for some interesting filmmaking techniques, and director Tina Satter is more than up to the task. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

NOPE Starring: Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea, and Michael Wincott Director: Jordan Peele JACOB Nope may not boast the subtext of Get Out or the ambition of Us , but it’s every bit as worthy of the praise heaped upon it. Expertly shot by cinematographer Hoyte van Hoytema and featuring stellar sound design, filmmaker Jordan Peele’s latest is a genuine thrill ride meant to be seen on the largest theater screen possible. Keke Palmer and Daniel Kaluuya hold the gaze of every gorgeous frame even as scene-stealer Brandon Perea shares it, and the set-pieces are as tense as the best of Peele’s other works. This is the quintessential summer thriller of 2022. AMARÚ Filmmaker Jordan Peele has mastered the intense slow burn. His third directorial outing, Nope , takes every second of its 131-minute runtime to engulf your attention and immerse you into this world. That same care is taken with its endearing cast too. Peele capitalizes on each actors’ strength, fully utilizing Keke Palmer’s charm, Daniel Kaluuya’s stoicism, Michael Wincott’s intensity, and Brandon Perea’s earnestness, all of which aid in marrying you to this harmonious ensemble through a story that is best entered sight unseen. Jordan Peele’s mind is wild, and Nope officially places him amongst the ranks of best event-movie directors. QUENTIN From a technical perspective, Nope is probably filmmaker Jordan Peele’s best film yet. You can really see his growth as a filmmaker in the imagery, cinematography, and use of light and sound. From an entertainment standpoint, while Nope is still good, it’s also the weakest of his three offerings. It’s slow moving enough that the film feels longer than it actually is, and it feels so much like Signs that the originality Peele is known for takes a bit of a backseat. Again though, let me reiterate, it’s still good and worth your time; it’s just not as good as Us or Get Out . PAIGE Nope is out of this world, and big ol’ YUP in my book. It’s this generation's Close Encounters of the Third Kind , but with enough originality to make it one of the most stunning and eerie films in recent memory. Unfortunately, I was never fully invested in these characters, which kept me in the clouds throughout the film, but that doesn’t take away from the great direction of Jordan Peele, the amazing sound design, or the performances. You will look up into the sky differently after seeing this flick. ADRIANO Insert obligatory “more like ‘Yup’” joke here. But seriously, Nope truly is great. It’s not perfect in any sense of the word, as the characters are kinda one-note and don’t have much of an arc, but Nope is all about spectacle. Writer/director Jordan Peele definitely delivers on that front. Visually, it looks stunning, thanks in part to cinematographer Hoyte van Hoytema, and it’s one of those movies that I feel benefits from an IMAX screen. Plus, as is always the case with Peele, it’s a well-written and creepy puzzle box of a film with layers that may take multiple viewings to peel off.

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.

SWEETNESS Starring: Kate Hallett, Herman Tømmeraas, Aya Furukawa, Justin Chatwin, Amanda Brugel, and Steven Ogg Director: Emma Higgins This film has been reviewed by Nick, Quentin, and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK For a film completely off my radar, Sweetness is easily one the biggest surprises of Fantasia this year. This is a great exploration of the way people connect to artists through trauma and how that connection can turn into obsession. Kate Hallett is great as the often delusional but always tragic Rylee; however, it's the avalanche of the story that really locked me into this one. As things would spiral out of control, I would become further immersed. Other than a slight disconnect regarding the ending which affected my rating, I thoroughly enjoyed this one. BODE 2025 has seen some films try to stake their claim as Misery for a new generation, with Hurry Up Tomorrow recently putting a pop star spin on that formula (particularly in its third act). But while that Weeknd vehicle failed in achieving that goal, Sweetness comes along and manages to do the opposite. Writer-director Emma Higgins gives this tale of obsession a truly sour spin, ratcheting up the intensity and uneasiness at nearly every turn. It’s only made more effective by Kate Hallett’s remarkably grounded performance, bringing layers to an ultimately tragic protagonist. Definitely a highlight at Fantasia. QUENTIN Sweetness is essentially a modern update to Stephen King’s Misery , specifically speaking on the current era of squads like Swifties and The BeyHive, where pop stars have reached near God-like status complete with faithful and extremely protective cultish followings. As such, Sweetness naturally has moments of young adult, Gen Z cringe; however, they are offset by a willingness to go much darker than one might initially expect. For the most part, the movie — built on a tight-rope performance from young Kate Hallett — works, aside from the ending, which delivers a message that I don’t ultimately love.

ANT-MAN AND THE WASP: QUANTUMANIA Starring: Paul Rudd, Evangeline Lilly, Jonathan Majors, Michael Douglas, Michelle Pfeiffer, Kathryn Newton, Bill Murray, and Corey Stoll Director: Peyton Reed NICK Quantumania is the most Star Wars -ish film we've seen in the MCU thus far. In fact, there are clear homages to that franchise within. If this is the Phase Five direction, it's a welcome one; however, it does divert away from a typical Ant-Man film. Gone is a lot of the comedy in favour of showcasing the Quantum Realm and introducing a new "big bad" in Jonathan Majors' Kang, who reclaims much of the terror Thanos brought. This feels like the kick-off to a new saga, and it instills true fear for our heroes as the MCU has found its next villain. DARRYL Quantumania , while still entertaining at times, lacks the magic of its predecessors. The original spirit of the characters, the charm of Paul Rudd, and the low stakes of the Ant-Man franchise are absent, leaving viewers with a bleaker tone and lack of goofy charisma they've come to expect. While director Peyton Reed is still taking ambitious swings, a number of ideas don't connect, resulting in a story that doesn't fully live up to its potential. Worth seeing on the biggest screen possible thanks to some of the great visual effects, Quantumania may have viewers continuing to question the overall quality of the post-Endgame world we live in. QUENTIN Though enjoyable, Quantumania doesn’t feel like an Ant-Man movie because the heavy “EVENT FILM!” vibe creates a tone that dampens the franchise’s typical lightheartedness. Also, it mostly plays as a prologue, full of Kang (Jonathan Majors) backstory and exposition that sets up the MCU’s next decade. In fact, have you ever read a prequel webcomic that was included as a Blu-Ray special feature? It’s like director Peyton Reed made a movie based on that idea. Seemingly by design, it’s more Multiverse Saga foundation building than a new Ant-Man story. It’s still fun, but overall hindered by the MCU machine. The Star Wars comparisons are apt, though. JACOB Jonathan Majors does what he can as Kang to save Quantumania from mediocrity, but ultimately ends up its only true survivor. Unfortunately, the script doesn’t seem terribly interested in its title character, his personal growth, or those who surround him as much as setting up the next "thing." So much of the dialogue is either overly vague or painfully expositional, and most of the jokes don’t really land, either. It also looks terrible, relying far too heavily on green screen (even for a Covid production), which makes its background VFX fall distractingly flat. AMARÚ Director Peyton Reed really wanted Quantumania to be an event film, and he succeeds in some aspects. The stakes are much grander, yet there isn’t enough weight to fully fill out the grandiose scope. Still, it’s a great introduction to MCU’s Phase Five, bringing an epic sci-fi feel to a new world that is going to play a major part in The Multiverse Saga. Quantumania is a really big, really weird prelude to what we’re going to be getting, and if performances from Michelle Pfeiffer and Jonathan Majors are any indication, the heaviness is on the way. ADRIANO It took a while, but Marvel has finally produced a film that I don’t like. While Quantumania achieves its goal of making me intrigued for the future of the MCU, it doesn't feel like an Ant-Man movie at all. They mostly use Ant-Man (Paul Rudd) as a scapegoat to set-up Kang (Jonathan Majors), and the movie itself takes a while to even introduce him, which makes the first half feel tedious. Once Majors arrives, the movie picks up as he carries the whole thing, but it doesn’t stop the movie from feeling like nothing more than a lifeless exposition machine.

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.