ALL QUIET ON THE WESTERN FRONT Starring: Daniel Brühl, Felix Kammerer, Sebastian Hülk, Albrecht Schuch, Edin Hasanovic, Anton von Lucke, Devid Striesow, Joe Weintraub, Luc Feit, and Michael Wittenborn Director: Edward Berger ADRIANO All Quiet on the Western Front is a magnificent sight to behold. While its story isn’t anything groundbreaking (but certainly not bad), the film’s technical feats are truly astounding. Thanks to the marvelous direction of Edward Berger, combat has rarely felt this brutal and horrifying on the big screen. The exquisite sound work is much more unique than just gunfire, the score is absolutely wicked, and the cinematography is beyond impressive in the way he shoots both the war scenes and casual banter in the trenches. I genuinely have no notes. JACOB There are no victories, no conquests, and no glory to be found in All Quiet on the Western Front , only the terror and horrifying violence of WWI as seen through the eyes of shaken boys who are not yet adults. Director Edward Berger helms each moment of the Netflix remake with the same polish and engagement possessed by 1917 , the film’s most obvious comparative peer, but in his craft lies a much starker reality. While the battle sequences are brilliantly executed…and there are some genuinely impressive one-shots…it’s the film’s somber tone that truly gives it an edge. QUENTIN All Quiet on the Western Front is among the most visceral, immersive, and beautifully shot war films I’ve ever seen. It is unrelenting and a must-watch for all fans of the genre. However, I said similar things about 1917 in 2019 and Dunkirk in 2017. So, while I stand by those statements for each movie in a vacuum, given the back-to-back-to-back nature of their releases, they all run together in a numbing cacophony that gruffly growls “war is hell.” While I’m not denying that to be true, the message is getting diminishing returns, which, perhaps unfairly, takes All Quiet down a notch. I’ve just had enough. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

A DIFFERENT WORLD: SEASON ONE Starring: Maleah Joi Moon, Cornell Young IV, Alijah Kai, Chibuikem Uche, Kennedi Reece, Jordan Aaron Hall, Kadeem Hardison, Jasmine Guy, Cree Summer, and Darryl M. Bell Creator: Felicia Pride Some parts of A Different World rush too quickly through good ideas being held together by an impressive young ensemble. Luckily, that’s mostly just during the first episode. The rest of the season settles into what I wanted from this legacy continuation: organic homage to the original series, authentic storylines for the breakthrough cast, funny story beats, the right amount of dramatic messiness, and best of all, it’s Black as hell! Each episode is more entertaining than the last, and I love how it makes its own mark on such an iconic legacy.

RESIDENT EVIL Starring: Austin Abrams, Paul Walter Hauser, Kali Reis, Zach Cherry, and Sara Paxton Director: Zach Cregger NICK Resident Evil is like watching someone step into a video game, and I mean that in the most complimentary way. Whether it’s the shot composition, the usage of first- and third-person perspectives, or Austin Abrams’ screams that channel Ryan Gosling from The Nice Guys , this thing fires on all cylinders. It’s a great blend of horror and humour with a surprising amount of laughs and some of the most effective jump scares I’ve seen in ages. Most importantly, it’s genuinely scary. I’m sure video game fans may have some issues, but I’m not sure what more you could ask from this. QUENTIN Most of my familiarity with Resident Evil comes from the not-great Paul W. S. Anderson series of movies. Compared to those, Zach Cregger’s take on the material is stellar. However, relative to Cregger’s two previous offerings, Barbarian and Weapons , this new adaptation is a distant third when ranking his filmography. I imagine fans of the video game will be pleased since the presentation is so video game-y, complete with first-person angles and obvious homages to the game that I recognized without ever having played it. There also is far more humor than I expected. Ehh…it’s fine, I suppose, but it didn’t do anything for me. AMARÚ Writer/director Zach Cregger and lead Austin Abrams drop you right into Resident Evil , press play, and say “let’s f***in go.” Cregger’s kinetic camera work, with the periodic use of handheld long takes and first-person point-of-view, is simultaneously patient and urgent, reminding me of when I’d watch others play the game. Abrams’ manic nature has the proper presence to basically carry the film solo, pushing its hilariously frightening narrative forward with thrilling amusement, earning its many juicy jump scares. This was one of my favorite theater experiences of 2026 and an absolute freekin’ blast. PAIGE Zach Cregger’s Resident Evil is hands down the best film I’ve seen from this IP. He not only elevates the horror genre, but he does so with this franchise, too. The cinematography is wickedly stylish, and the 90-minute runtime is used so effectively. It’s a pretty straightforward survival horror film that honestly feels like you’re playing the game. The jump scares really work, and the humor feels relatable and keeps the movie entertaining. Austin Abrams carries this film on his shoulders and absolutely kills it in the role. While the third act feels rushed and the ending is a bit abrupt, this film is a gnarly ride. KATIE Resident Evil feels like a video game in the most complimentary sense, and it manages to convey the feeling of playing a horror video game as opposed to just trying to emulate what one looks like. Austin Abrams' leading performance as Bryan is charming in his character’s unremarkable abilities, hilariously stumbling his way through hell on earth and miraculously making it from one moment to the next. It’s ridiculously good fun, with unexpected, pitch-perfect humour, fantastic effects and monster design, a few perfectly timed jump scares, and a sharply efficient runtime at just over 95 minutes. ADRIANO Watching director Zach Cregger use IP to expand his cinematic language is such a delight to see. As such, Resident Evil sees Cregger take the ideas and mechanics of the games and run with them in a slacker horror comedy plot, complete with some of the year's best camera work and a great Austin Abrams performance. The first 40 minutes, when it feels like a survival mission, are amazing. Admittedly, once the story really kicks in, it loses some momentum, but my wavelength of enjoyment lasted the whole time, and for that, I can’t complain. BODE After the twisty pursuits of both Barbarian and Weapons , it might’ve been difficult for director Zach Cregger to effectively pull the same trick thrice. That’s why it’s notable that his new take on Resident Evil doesn’t even try. Cregger delivers nothing but single-minded terror this time around, and gets as scary, gross, and silly with it as possible. With its perfectly replicated video game-esque camera movements and star Austin Abrams nailing the panic of never really knowing what’s around the corner, the film is effective in translating what it’s like to play the iconic game for maybe the first time. I had a blast. ROBERT Tentacles, typewriters, and resource management…someone knows their Resident Evil ! When you hear director Zach Cregger is attempting this video game adaptation, you get excited because of his passion to make it amongst his original content slate. Some people got upset because it doesn’t follow strict canon, but using franchise elements and crafting a world with the themes instead of the plot is how redundancy is avoided. Cregger keeps it fresh with the scary tones, the WTF reveals and the realistic meandering of Austin Abrams as a non-lore character. I wish there was more time spent here, but I was bursting with good vibes from what we got.

HER WILL BE DONE Starring: Maria Wróbel, Roxane Mesquida, Wojciech Skibinski, Przemyslaw Przestrzelski, Kuba Dyniewicz, Raphaёl Thiéry, Eva Lallier Juan, Nathalie Bécue, and Jean-Baptiste Durand Director: Julia Kowalski QUENTIN Her Will be Done plays a little like if Call Me by Your Name was a Polish folk horror, with a dash of Stephen King’s Carrie thrown in for good measure. I have no doubt that there is an audience for this movie, but I’m not it since it’s another farmhouse horror, a la The Witch , that relies more on atmosphere, production design, and moody vibes than actual story. It’s just a slog of a movie that I struggled to stay awake during. However, I fully admit that could be a “me” thing since I seem to have this issue with a lot of similar movies. Maybe judge this one for yourself. ROBERT On the horror sub-genre weirdness scale, nothing is quite as consistent as folk horror. To put minds at ease, Her Will Be Done does not disappoint in its level of oddity. It reminds me of a combination of The Witch and Leviticus in its thematics and overall vibes surrounding how being an outcast in a small community can lead to supernatural hauntings. While a bit of a slow burn, you always are questioning whether what you are experiencing through Nawojka’s (Maria Wróbel’s) eyes is real or imaginary. I was always intrigued, if not consistently entertained, and the strength of the messaging was palpably resonant.

BARBARIAN Starring: Georgina Campbell, Bill Skarsgård, and Justin Long Director: Zack Cregger QUENTIN As a person who has a high bar for horror, Barbarian is one of the best horror films I’ve seen in several years. Admitting that I knew very little going in, it continually kept me in suspense, especially as it subverted many of my expectations, while boasting jump scares, creepy suspense, and palpable tension. The actors, while good, aren’t asked to do too much, as the movie mostly succeeds solely on its direction, writing, and score. It’s a genuine breath of fresh air for the genre, which, if you ask me, is pretty much anything that isn’t another sequel or spinoff of The Conjuring . JACOB Barbarian – sure to be dubbed by many as this year’s Malignant – is a wild ride. Although its start is a bit rough, it eventually settles into a pace more befitting its story…then abruptly turns the dial so you have no idea where it’s all meant to be heading until what the film is trying to say comes sharply into focus. The one thing I wish the film did better is commit to the ending it clearly wants to have, but still, anything that somehow blends Ti West, Terrence Malick, and Don’t Breathe… and still comes out this coherent…deserves praise.

KING RICHARD Starring: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Jon Bernthal, Dylan McDermott, and Tony Goldwyn Director: Reinaldo Marcus Green PAIGE All hail the king! King Richard is an inspiring, unconventional, and heartfelt sports biopic that explores a family working towards the American dream. A true crowd-pleaser, it finds a new angle from which to approach the biopic formula by focusing on family first and foremost. Will Smith anchors the film, delivering an Oscar worthy performance while being surrounded by an equally strong ensemble. The only downside of the film is that the runtime is a bit longer than it needs to be. However, it still manages to grip you without losing track of itself. AMARÚ Love - that’s what comes through when watching King Richard. A father’s love for his daughters, sisters’ love for each other, and athletes’ love for the game. Will Smith as the fiercely driven Richard Williams is sure to get Oscar buzz, but he is matched frame for frame by the luminous Saniyya Sidney (as Venus Williams) and Demi Singleton (as Serena Williams). The too few glimpses into Richard’s darker past (highlighted brilliantly by Aunjanue Ellis) does leave you wanting, but the uplifting and heartfelt story that is ultimately delivered will enthral you from start to finish. JACOB King Richard may not have sports fans clamoring over it as with Creed or Ford v. Ferrari , but it’s the closest something has come to matching that energy in a while. A solid, middle-of-the-road crowd-pleaser with a lot of heart on its sleeve, the inspirational tale of the Williams’ sisters rise to glory is very well written and mostly well paced. Will Smith is on another level here (and is sure to win Best Actor), but Aunjanue Ellis matches his every step, nearly stealing some scenes. Saniyya Sidney shines as Venus too. This will likely be a major Oscar contender. JOSEPH King Richard is your typical Oscar bait biopic. It’s a competently made film led by Will Smith, but it’s actually carried by the rest of the ensemble. It has a few too many things to focus on, so even with a 2.5-hour runtime, it feels like it barely scratches the surface. While there is some vulnerability to the characters, it's almost sanitized to a certain degree, leaving it feeling a bit generic. Still, it’s one to watch, especially if you’re with family. ADRIANO King Richard is a paint-by-numbers movie, but one that has enough heart that it can be forgiven. Will Smith gives a career best performance, but for me, it’s Saniyya Sidney as Venus Williams who steals the show. The movie definitely has a powerful underdog story to tell, but it never lets go of the family aspect, which is the movie’s strongest and most engaging component. It makes the 2.5-hour runtime fly by, creating one of the better feel-good movies I’ve seen in a while. NICK Upon watching King Richard, it’s clear this is a story worth telling, as the journey of this family is truly fascinating. Richard Williams is a polarizing figure, and his mix of Lavar Ball-style antics and determined fatherhood made Will Smith perfect for this role. However, the film is well cast across the board. Smith may get all the awards chatter, but the film doesn’t work without Saniyya Sidney's endearing portrayal of Venus Williams, who is at the heart of the story. This is more than your typical rising-through-the-ranks backstory and it’s certainly worth checking out. QUENTIN Despite a great performance from Will Smith, I’m unsure of what feeling I was supposed to come away with from King Richard. Obviously, the Williams sisters are superstars, but the movie nearly forces you to question whether they are successful because of their father or despite him. It’s generally pro-Richard Williams (Smith), but the onscreen events don’t always jive with that, which causes some conflict in the viewer. It’s still worth watching, but the mixed messaging and a wavetop approach to racial issues that the sisters surely faced make the story a bit less inspirational than it probably should be.

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.

RAYA AND THE LAST DRAGON Starring: Kelly Marie Tran, Awkwafina, Gemma Chan, Izaac Wang, Daniel Dae Kim, Benedict Wong, Jona Xiao, Sandra Oh, Thalia Tran, Lucille Soong, and Alan Tudyk Directors: Don Hall, Carlos López Estrada, and Jon Ripa JAMES I wasn't prepared for how beautiful this film would be. Sporting some of the lushest artistry I've ever seen in a Disney movie, the stunning images are complimented by a soaring orchestral score that ranges from Southeast Asian drums to 90s synthesizers to transcendent choral arrangements. I was likewise blindsided by how relevant the story was: like our world, Raya's is divided by self-interest and powerplay, so trust has become the rarest of human qualities. I usually don't buy into stories where people overcome their tribalism, but this film earnestly sells its tale of teamwork amidst a damaged world. JACOB Raya and the Last Dragon is Disney’s most ambitious animated feature in years, with easily the most to say of any non-Pixar film (besides Zootopia ). The story's setting is similar to Black Panther , but with Southeast Asian mythos informing its characters and plot. The film makes short work of getting the viewer invested with beautiful animation and an incredible score by James Newton Howard. It does miss out on some opportunities to explore the more nuanced sides of trust and betrayal, but partly makes up for it through stellar action and genuine emotional depth.

GUNSLINGERS Starring: Nicolas Cage, Scarlet Rose Stallone, Heather Graham, Stephen Dorff, Bre Blair, Cooper Barnes, Eric Mabius, Costas Mandylor, and Tzi Ma Director: Brian Skiba KATIE Gunslingers is laughably, outrageously bad. The only redeeming aspect of this film is that if you view it through a satirical lens, it's quite hilarious, but that was not the intention. From its suspiciously AI-generated-looking establishing shot, the calibre of filmmaking is clear. Each performer feels like they’re in a different film, and some of them are so wooden that I was not surprised to learn at least one cast member has a recognisable surname. Everything looks cheap, and the hair and make-up are distractingly modern. Together with the choppy editing, nonsensical plot, and absurd shoot-outs, not even Nicolas Cage’s ridiculousness could salvage this mess. ROBERT There is a standard of quality for straight-to-VOD efforts that Gunslingers , on its best day, couldn’t achieve. I will say that the title indicates what type of film to expect, but other than that, it gets no grace. The acting is comparable to an elementary school play, the sound design reminds me of a screechy drive-thru window, and you could put a GoPro on a flying squirrel and have more logically composed shots. And lastly, there is off-kilter Nic Cage, but this isn’t even bad to the point of fun. Pirating this would cost too much. QUENTIN You already know that I only watched this because I am a Nic Cage completist. Once again, he proves that, as an actor, he is always doing something interesting even if the movie isn’t, because Gunslingers is BAD bad. I’m talking so bad that if the right people find it, it could 100 percent be the next The Room . It’s cheap looking, unintentionally hilarious, terribly acted (outside of Cage, of course, who is making choices ), and just an all-around disaster full of genre clichés and stereotypes. It might be, no exaggeration, the worst western I’ve ever seen. Still, one reel for Cage and midnight movie potential.

STRANGE WORLD Starring: Jake Gyllenhaal, Jaboukie Young-White, Dennis Quaid, Gabrielle Union, and Lucy Liu Directors: Don Hall and Qui Nguyen NICK Strange World is one of the quieter Disney releases in some time, and I really can't decipher why. While it doesn't have the emotional weight of a Pixar offering, it's a competently told story that utilizes some slick animation and wonderful creature designs. It also just makes you feel good. There's an optimism sprinkled throughout the film, thanks in large part to the character of Ethan (the first openly LGBTQ character in Disney animation, voiced by Jaboukie Young-White) and what he stands for. Overall, Strange World may not make you cry, but it takes you on a magical journey, one well-suited for children too. JACOB Though its first act is overly rushed and sloppily edited, Strange World remains a good time at the movies, if only for its third-act-revelation that makes it one of Disney animation’s more bizarre reveals of late. There’s not much that stands out about it on a micro level, and it misses a wealth of opportunities to go deeper with its themes, but the journey still features a lot of fun, especially for kids. The creature design is terrifically weird, which makes up for thin characterization, and some of the animation itself is beautiful to look at too.

ROOFMAN Starring: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Uzo Aduba, Lily Collias, Dee Wainscott, and Peter Dinklage Director: Derek Cianfrance NICK There’s no doubt that Roofman is the strongest performance of Channing Tatum’s career. In fact, this is likely the mold for his ideal leading-man role. There’s comedy, romance, goofiness, a hint of toughness, and tons of heart. Think Tom Hanks in the 90s but more of a badass. A lesser performance would’ve made Jeffrey Manchester (Tatum) hard to root for, but with the heart Tatum infuses into this real life story, you can’t help but want to see him succeed in some way. Add in solid supporting performances (Kirsten Dunst, Peter Dinklage), and this film ends up better than it has any right to be. ADRIANO Based on the trailer for Roofman , I was afraid director/co-writer Derek Cianfrance was gonna ditch his knack for emotionally driven character stories for a more studio-driven comedy. While the film doesn't shy away from the absurdity of this true story, mainly due in part to Channing Tatum's charming goofiness, what grabbed me the hardest about Roofman was Cianfrance's writing that mixes weirdness with true humanity. Even when it leans into the "criminal with a heart of gold" idea, the empathy it decides to focus on in regards to Jeffrey Manchester (Tatum) leads to effective emotional beats. AMARÚ Roofman epitomizes what it means to be solid. It harkens back to the ‘90s classics of my childhood that were no flash, fully grounded, endearing stories with substantial performances. I can’t say I’ve ever been more attuned to a non-sci-fi Kirsten Dunst role, but I can say that this is arguably Channing Tatum’s best work. Whether you agree will come down to your comedy or drama preference, but either way, he succeeds in making me root for a character who deserved no such appraisal. He humanizes the good, bad, and ugly of his real-life counterpart, and both actors are a huge reason Roofman is undeniably rewatchable. QUENTIN Roofman is a charming love story featuring charming performances that surely will charm a non-discerning couple on date night. No, it’s not particularly memorable, but it’s a highly rewatchable blend of comedy, heart, and 90s nostalgia. Yet, I was left wondering why I was rooting for this dirtbag. Because he’s polite? All of Jeffrey Manchester’s (Channing Tatum) rough edges have been sanded down to create an almost algorithm-generated leading man that ladies may fawn over. That’s fine, I suppose, but it makes for an overly sugarcoated, crowd-pleasing movie seemingly afraid to explore the more complicated themes present in fear of losing general audiences (and box office revenue). PAIGE Derek Cianfrance’s Roofman is a surprisingly endearing ride that takes a bizarre true story and turns it into a funny, heartwarming, yet somewhat sad tale. Channing Tatum delivers some of his best work too, demonstrating a great chemistry with Kirsten Dunst. Overall, there really is a lot to truly enjoy, whether it’s the crime elements, the outlandish comedy, or the lighthearted family affair. However, with everything crammed into its plot, the movie does spread itself a bit too thin. As the film goes on, you can feel it lose momentum during the periods when not much happens. BODE I’ve long found Derek Cianfrance to be an underrated filmmaker, as he has an innate ability to infuse the most tragic stories with open-hearted empathy without ever being manipulative. Roofman keeps to that very standard, even while changing gears creatively, as this is, refreshingly, much lighter than his previous projects. Cianfrance tackles the numerous contradictions of its real-life subject with a mostly successful balance of humour and melancholy, one that plays to Channing Tatum’s strengths as a performer, both internally and physically. Add in some solid chemistry with Kirsten Dunst (always great), and you’ve got a low-key charmer. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

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