CLIFFORD THE BIG RED DOG Starring: Darby Camp, Jack Whitehall, Izaac Wang, John Cleese, Sienna Guillory, Tony Hale, and David Alan Grier Director: Walt Becker JACOB Were it not for the notion of entertaining small children, I cannot think of a single reason to recommend the latest iteration of Clifford the Big Red Dog . The underwritten narrative rushes around from theme to theme with no sense of direction, and the giant CGI canine makes less and less sense (looks-wise) every few frames. Its main characters are hollowed out caricatures of actual people, with its side characters just plain old hollow shells fueled by laughably bad dialogue. I will give the movie partial credit for making me laugh twice (and emotional once), but that’s about it. JOSEPH Clifford the Big Red Dog is exactly what you’d expect it to be. There are hijinks akin to animal-buddy movies from the 90s and mid-brow humor, but nothing too special. You’d think with a giant dog there’d be more unique visual gags, but nope. Still, as children’s movies go, it could be worse, and the themes on the importance of community are nice. There’s much this film could have improved upon, but for its target audience, it should be enjoyable enough. As for adults, it’s not a total waste of time, but you might be better off skipping it.

GLASS ONION: A KNIVES OUT MYSTERY Starring: Daniel Craig, Edward Norton, Kate Hudson, Janelle Monáe, Kathryn Hahn, Dave Bautista, Leslie Odom Jr., Jessica Henwick, and Madelyn Cline Director: Rian Johnson NICK Knives Out is a fantastic film that reignited many people’s faith in Rian Johnson as a director. So, to say its sequel, Glass Onion , had a lot to live up to is an understatement. Luckily, the follow-up delivers by providing a new cast of characters and environment for Daniel Craig’s Benoit Blanc to showcase his world-class sleuthing. Not only is it at least as good as its predecessor, but it’s certainly the funnier of the two entries, thanks in large part to Kate Hudson's standout performance. Glass Onion is another win for Benoit Blanc. Bring on the next one to continue the series. JTE As one of the few people that didn't fall head over heels for Knives Out , I'm happy to report that Glass Onion is a lively and entertaining sequel that surpasses the original film in almost every way. One of my complaints about Knives Out was that many of the fantastic supporting characters weren't given enough screen time to shine. With Glass Onion , director Rian Johnson puts all his character actors to great comical use. Meanwhile, Daniel Craig is having the time of his life portraying Benoit Blanc, an energy that can be felt throughout the film. AMARÚ During Glass Onion ’s first act, Janelle Monáe’s Andi mentions “rich people shit”: the absurdity that only comes out of the mouths of the ridiculously wealthy. Subsequently, Daniel Craig’s Benoit Blanc warns someone that it’s folly to mistake speaking without thought for speaking truth. Those two nuggets delivered by those two brilliant actors sum up Rian Johnson’s murder mystery sequel. The script initially leans too eye-rollingly heavy on satirizing the “war on wokeness,” but once Monáe and Craig take center stage, unraveling the mystery in front of our eyes, the film finds its stride. I’ll take part three with just the mystery please. QUENTIN I admit recency bias could be at play, but I think Glass Onion is better than Knives Out . At the very least, it’s just as good. Daniel Craig brings the same goofy southern charm (and accent) to Benoit Blanc as before, but he’s surrounded by a better ensemble and coterie of characters this time around. All involved are doing great work, but Janelle Monáe, Edward Norton, and Kate Hudson (the low-key MVP) almost make you forget that Kathryn Hahn, Dave Bautista, and Leslie Odom Jr. are even in the movie. Plus, the way the mystery subverts expectations while doubling back on itself? Just brilliant. DARRYL While enjoyable, Glass Onion doesn’t hold a candle to the first film. Compared to Knives Out , this feels like a pale imitation, a copy of a copy, a product a filmmaker with lesser talent than Rian Johnson traced over like their hand to make a Thanksgiving turkey outline. The charm of Benoit Blanc still exists and Daniel Craig’s performance is as sharp as ever, but the ensemble cast, while talented themselves, lack any sort of depth or possess any characteristics that will make the audience fear for their safety. The technical makeup is superb, yet the story itself lacks the same punch and flare that its predecessor had. ADRIANO Glass Onion starts off kinda clunky, but it eventually picks up to become a worthy sequel. It’s almost an entirely different film than the original, which I wasn’t expecting. I’m talking about a different tone, different structure, and a different kind of murder mystery altogether. The entire cast is having a blast while crushing it at the same time, especially Kate Hudson and Janelle Monáe. Writer/director Rian Johnson once again crafted a plot full of twists and moments that pull the rug out from under us at every turn. I can’t wait till Benoit Blanc’s (Daniel Craig) next mystery. JACOB Packed with an all-star cast and extravagance from wall to wall, Glass Onion is yet another hit for director Rian Johnson, and a more-than-worthy sequel to Knives Out . While I’m not sure if I personally liked it better than the first, it certainly does everything the best movie sequels and murder mysteries do by playing with its original form by pitting the audience against their own expectations. Some jokes are less effective this time around, and the underlying themes are less interwoven, but the dialogue itself remains stylishly quick-witted, and there’s not a moment Kate Hudson doesn’t steal. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

EXPEND4BLES Starring: Jason Statham, Megan Fox, Curtis '50 Cent' Jackson, Randy Couture, Dolph Lundgren, Tony Jaa, Iko Uwais, Jacob Scipio, Levy Tran, Andy Garcia, and Sylvester Stallone Director: Scott Waugh NICK Let’s get this out of the way… Expend4bles is the weakest entry in the franchise. It’s lacking the star power of the previous films, as well as the humour. The only thing it has going for it is the R-rated violence, but that’s always been the story with this series: only getting one piece of the puzzle right with each movie. Now, I’m not saying I need Expendable5 but… If you take the cast of the earlier films, the humour of The Expendables 2 , and the R-rated carnage of this entry… MAYBE you get something that lives up to what this franchise is supposed to be. QUENTIN The Expendables 4 (I refuse to use the marketing’s stylization) isn’t what I would call a “good” movie. It features atrocious green-screening, even worse editing, and maybe the most predictable story I’ve ever seen. That said, Sly Stallone hands the reins over to Jason Statham, and I’ll never not have a good time watching Statham’s five o’clock-shadowed mug engage in fisticuffs and knife fights. Sadly, though, every time Statham isn’t on screen, it’s very straight-to-VOD quality, relying on the acting chops of non-actors Curtis ‘50 Cent’ Jackson and Randy Couture, as well as Megan Fox’s hotness. Overall, it’s watchable, but probably only for old action heads. ADRIANO Long story short, Expend4bles is terrible. The return of the R-rating would have been fun, had the action not been supremely uninspired, even if it is the best part of the movie. Expend4bles turns the franchise’s model of having some meathead fun with a bunch of old action heroes on a joint mission into another bland and obvious Jason Statham movie with Sharknado -level CGI. Sylvester Stallone is as fun as always, but he’s been downgraded to a borderline cameo. Aside from some blood and guts thrown in there, this is another poorly executed and forgettable action flick. PRESTON OK, let’s start on a positive note…Expend4ables does manage to narrowly escape my involuntary and hyperbolic thrashing at its mere mention by wrapping up nicely and giving an intangible feeling that Jason Statham can now safely be added to the Hall of Fame of Lovable and Forgivable One-Liner Action Stars alongside Sylvester Stallone and Arnold Schwarzenegger. Without the action-savior-buffer, my rant would include green-screening overkill, lackluster sets and props, maddening military tactics, and a dialogue that seems to flow from a rehearsing cast’s second table read. On second thought, let’s just talk about something else. PHILL Expend4bles is one of the worst film title stylizations ever committed to the visual medium, which is appropriate for this appalling and abysmal fourth outing. Whilst it is always fun seeing Barney Ross (Sylvester Stallone) and Lee Christmas (Jason Statham) together again, everything else that made The Expendables and its sequel so enjoyable is completely lost. The R-rated violence is back, but there is nothing remotely fun or interesting with what they do with it. Plus, it is sorely missing the one-liner, pun-spewing ensemble cast that made this love letter to 80s and 90s action films so interesting in the first place.

GOODBYE JUNE Starring: Kate Winslet, Andrea Riseborough, Toni Collette, Johnny Flynn, Timothy Spall, Fisayo Akinade, Stephen Merchant, and Helen Mirren Director: Kate Winslet ROBERT The death of a parent is wrought with emotional pitfalls, especially when intermingled with everyday life’s struggles and interfamily turmoil. Goodbye, June never allows you to hide from the impending doom and crushing weight of the inevitable as you spend the entire film with the Cheshire family in the hospital without respite. In her directorial debut, Kate Winslet composes scenes that exemplify both the emptiness and the chaos within the characters at any given moment, making every shot meaningful. The performances sell the realistic gravity of June’s (Helen Mirren) situation and how everyone tries to cope. Do not skimp on the tissues. BODE Given the number of great filmmakers Kate Winslet has worked with throughout her career, it’s no surprise that she would step behind the camera herself for Goodbye June . Though it can come off a bit too saccharine for its own good (especially as it concludes), there’s still an honest core in its depiction of how a dysfunctional family deals with the impending loss of their mother that manages to shine through with realized performances, editing (by Lucia Zucchetti) that creates an intimate feel, and a gentle score from composer Ben Harlan. Decent as far as directorial debuts go.

LUCK Starring: Eva Noblezada, Simon Pegg, Jane Fonda, Whoopi Goldberg, Flula Borg, Lil Rel Howery, Colin O'Donoghue, and John Ratzenberger Director: Peggy Holmes JACOB Try as it might, Luck marks a tumultuous debut for Skydance Animation and a lackluster return to film production for ex-Pixar CCO John Lasseter. The film attempts to look and sound like a Pixar film, but ends up feeling like a half-baked copy of previous ideas from that library. The animation looks nice, but the story and expo-dump dialogue are all over the place, occasionally reaching Saturday morning cartoon levels of underdevelopment. Even if kids may enjoy this to a point, they’ll soon be bored by its overly padded length. Better luck next time. AMARÚ Let’s start with what’s good about Luck : the good luck/bad luck gimmick doesn’t get as old as you’d think. The not so good: it’s written like it was meant to play after an episode of Blue‘s Clues . This Monsters, Inc. wannabe goes from one exposition dump to the next in order to build its world of luck, and as much as the voice cast seems to like voicing their fantastical characters, they don’t do enough to make Luck anything more than a predictable, run-of-the-mill children’s story. Kids may have some fun with this one, but it doesn’t reach much beyond that. JOSEPH Luck is the type of cute family film that your kid can watch as you catch up on chores. It’s not terrible, but it can feel a bit generic at times. While the voice cast is good, the voice-syncing and animation are inconsistent, with some characters looking magnificent and others looking like they’re from an overseas Disney bootleg. Despite its flaws, there are enough laughs to be had to not make it a painful watching experience, but it's nothing remarkable or memorable. It’s just content for content’s sake; decent background noise that your toddler might really like.

WE HAVE A GHOST Starring: Jahi Di'Allo Winston, Niles Fitch, Anthony Mackie, Erica Ash, David Harbour, Isabella Russo, and Tig Notaro Director: Christopher Landon AMARÚ There is a much better movie hiding somewhere in We Have a Ghost, but it never settles itself enough to find it. Whether it’s the intriguing family drama that isn’t fully explored, the tense mystery thriller that is sidelined for an oh-so-cliché government conspiracy, or the kooky supernatural family comedy with a cringeworthy social media side story, each section has merits amongst its flaws. The charming cast could’ve carried those flaws well if there was a consistent tone, but haphazardly stitching tonal shifts together every 30 minutes halts any momentum the cast generates, accentuating the messy script to the film’s detriment. JOSEPH Borrowing elements from other bizarre family films such as E.T. , Casper , and Beetlejuice , director Christopher Landon’s latest film, We Have a Ghost , treads no new water. While the cast is great, there are far too many ideas at play, never allowing this relatively straightforward tale to set a proper tone. Along with that, the film is far too safe, rarely leaning into its campier elements, nor does it feel like a true mystery. It’s a shame too because there are funny and surprising moments, but they’re just not consistent enough. Ultimately, it has some charm, but it's mostly forgettable. PAIGE Director Christopher Landon has stepped away from his horror comedy norm for a more lighthearted and family friendly ghost story with Netflix’s new original film We Have a Ghost . The flick is mostly a mix of Casper and The Haunted Mansion , with a dash of a modern twist, and while the film tries to conjure up some supernatural jokes and scares, they unfortunately fail miserably. The overall story just feels too weak, all the way down to its bones. I expected more of the witty writing Landon delivered with Happy Death Day and Freaky , but this is nothing more than a run-of-the-mill family haunting tale. NICK With two Happy Death Day movies and Freaky , director Christopher Landon has shown a knack for horror comedy. We Have a Ghost , however, isn't really either of those genres. It has hints of both, but the vibe is more akin to a family film with horror elements, like The Haunted Mansion or Monster House . It certainly takes a while to get going, and the tone changes with rapid succession, but it hits its stride in the latter hour to become a surprisingly moving film. Yes, there’s some modern cringe and things can be a tad ridiculous, but it is a ghost story after all. QUENTIN For what it is, We Have a Ghost isn’t terrible, but I’ve just outgrown this type of movie. At almost 42-years old, sanitized horror comedies with coming-of-age storylines just aren’t for me anymore. That said, I probably would have really dug this movie as a middle schooler, as it would sit comfortably on the shelf next to similar movies from my youth like Casper and Little Monsters . Everything about it – the humor, the scares, the action – is played too safely, which could make this a solid addition to Halloween movie night with the little ones, but it’s probably skippable for most adults.

THE ZONE OF INTEREST Starring: Sandra Hüller, Christian Friedel, Medusa Knopf, Daniel Holzberg, Sascha Maaz, Max Beck, Wolfgang Lampl, Johann Karthaus, and Ralph Herforth Director: Jonathan Glazer ADRIANO The Zone of Interest is a haunting portrait of the Holocaust that will stay with any audience member willing to take the journey. Writer/director Jonathan Glazer presents an analysis of evil, and how some of the most atrocious human beings can look so normal. While the film revels in the mundane to an uncomfortable degree, Glazer is not afraid to get experimental on us, presenting the audience a challenging way to view humanity in all its ugliness. I left this movie feeling disturbed and angry, yet awestruck at the brave approach to this subject matter. PAIGE While The Zone of Interest is well-crafted, I can’t help but feel cold and disengaged from it. Mica Levi’s haunting and chilling score does create a unique atmosphere, but it’s writer/director Jonathan Glazer’s direction that didn’t have me emotionally invested in whatever story this film is trying to tell. The movie lacks narrative momentum because it feels like two films are happening at once: one you see and one you hear. If those two stories were combined together more gracefully, this slow burn Nazi drama could’ve had more weight to it. This film was reviewed by Adriano and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.

YOUR LUCKY DAY Starring: Angus Cloud, Jessica Garza, Jason O’Mara, Elliot Knight, Mousa Hussein Kraish, Jason Wiles, Sebastian Sozzi, and Sterling Beaumon Director: Dan Brown NICK The headlines from Your Lucky Day likely will be focused on the late Angus Cloud in one of his final roles (one that is very similar to his character, Fezco, on Euphoria ), but the film as a whole deserves to be commended. The story delves into how greed affects those from all different walks of life and how strong one’s morals truly are. It will probably force you to ask yourself some questions as well. The ensemble cast brings a sense of realism to the proceedings, which only helps build the tension in this taut thriller that warrants some more recognition. QUENTIN With a simple but interesting premise and an appropriately grimy sheen, Your Lucky Day does enough to keep you engaged throughout due to its solid performances, tense moments, and intriguing questions posed. I mean, where would your morality end if it possibly meant you’d become a millionaire? Also, since most press has focused on this being the late Angus Cloud’s final role, I figure I must address it: He’s fine, perhaps even good, but he’s essentially playing the same character he did on Euphoria . In fact, if you imagine that his nameless character here actually is Fezco, it kinda feels like a Euphoria side quest. KATIE Your Lucky Day is a gripping, fast-paced thriller that kept me on the edge of my seat all the way through. Alongside tense action and gritty violence, it confronts the failings of a system that enables corruption and forces struggling people to do unthinkable things to access a better life. Although the script sometimes hinders the pace, the characters are compelling enough, and the way in which their morally complex motivations are slowly revealed throughout the film is very engaging. Plus, Angus Cloud is perfectly cast as Sterling, giving a genuine, charismatic performance reminiscent of Fezco from Euphoria . PAIGE Your Lucky Day is a hot-blooded thriller that shows us how quickly people will throw their values and morals out the window when given a chance at wealth. Director Dan Brown succeeds where similar films fall short by letting the characters shine. While the suspense builds throughout this flick, it will leave viewers on the edge of their seats wondering who is going to come out on top. The ending may be a little far-fetched and some motivations can feel a little forced, but I was mostly on board with this tense gem. This film was reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023.

HUSTLE Starring: Adam Sandler, Juancho Hernangomez, Queen Latifah, Ben Foster, Anthony Edwards, Kenny Smith, Robert Duvall, María Botto, and Jordan Hull Director: Jeremiah Zagar QUENTIN Just because Hustle isn’t reinventing the wheel - it’s basically Basketball Rocky - doesn’t mean that it isn’t a damn fine sports drama. It hits all the required beats of being inspirational and heartfelt, but wraps them in an authenticity and sincerity that elevates even the most predictable elements. Adam Sandler’s love for basketball is palpable in his performance, which is maybe the most natural of his career, and his easy chemistry with Juancho Hernangomez is remarkable. Flat out, Hustle is one of the best sports movies I’ve seen in probably a decade and the best basketball movie I’ve seen in who knows how long. AMARÚ Hustle is a feel good sports movie that may not rank as an upper echelon underdog story, but it will have you cheering nonetheless. Adam Sandler’s passion for the game is evident, looking like he just walked in from one of his viral pick-up games, three-month old beard and all, while mixing his comedic stylings with some dramatic intensity. However, he never strays too far in either direction. Juancho Hernangomez’s performance is surprisingly believable, and NBA star Anthony Edwards revels as the villainous rival. The NBA’s hands are all over this, sanctioning tons of roles and cameos, altogether making Hustle a journey to root for. JACOB The film itself never quite gets above average in its storytelling, but Hustle remains worth exploring for viewers, even if it’s only for its two leading performances. Not everything excels, but almost everything works. Adam Sandler’s career resurgence appears to be in full swing post-Uncut Gems , but while the titan of industry shows no signs of slowing down, his co-lead Juancho Hernangomez is hot on his heels. With enough real-world cameos to make it feel like Endgame for NBA fans, this film is still a showcase for the young star, and he puts on a damn good show. JOSEPH Hustle is definitely a sports film for sports fans, particularly basketball lovers, and it feels like a passion project that was crafted with love. At times, things feel tropey and familiar, with some clear homages to Rocky popping up, but the sharp, fast-paced editing makes for an exciting watch. Plus, Adam Sandler is an immediate Oscar contender for Best Actor, giving a performance that will easily go down as one of his best. As someone who doesn’t care for sports, I found my interest waning at parts, but I have to say, objectively, Hustle is one of the best sports films of all time. ADRIANO If you’re looking for something new, you won’t find it in Hustle . Thankfully, it’s so endearing and easy to fall for that I can forgive the film for that. Adam Sandler, once again, proves he’s a tremendous dramatic actor. His love of basketball is apparent, as this might be the most natural and least chaotic Sandler has ever been, and Juancho Hernangomez also gives an incredible performance in his acting debut. The film is extremely well edited and is clearly made with love and passion, which makes it hard not to get sucked into.

CRIME 101 Starring: Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Monica Barbaro, Corey Hawkins, and Nick Nolte Director: Bart Layton ADRIANO A send-up to Michael Mann that actually seems to be learning the right lessons from him? Well, I’ll be damned. Crime 101 far surpassed my expectations, despite it being longer than it should have been, thanks in part to a romance plot that could’ve been scrapped. But in general, it’s well-shot and paced as an exhilarating crime movie. What impressed me most was all of these storylines, which could’ve been too much for one film, ultimately coming together in grand fashion. I could use more original and effective character-driven heist films like this more often. NICK In his first fully fictional feature, director Bart Layton brings us a type of film we don't really get much anymore. Evoking memories of prime Michael Mann films, this is a no nonsense, star-studded heist film that never goes too big. There are moments of tense action, sure, but they’re calculated and within a grounded character examination. Chris Hemsworth suitably steps into the lead role, supported by the likes of Halle Berry, Mark Ruffalo, and Barry Keoghan (not to mention Monica Barbaro, Corey Hawkins, and a well-cast Nick Nolte), but it’s the slick stylings of this film that leave the most lasting impression. AMARÚ 30 minutes into Crime 101 , a Run The Jewels track starts playing and confirmed my feelings up to that point. Just as RTJ are all-caps RAPPERS, writer/director Bart Layton’s homage to peak 90s crime thrillers is an all-caps MOVIE. Layton’s gritty camera work lays the foundation, Blanck Mass’ intense score sets the tone, and Chris Hemsworth’s against-type, contained vulnerability engrosses you in this briskly paced, two-plus hour, absolute banger. I thought it impossible to believably make Hemsworth awkward, call Halle Berry “too old”, or proclaim a heist film worthy of phrases like “shades of Heat ”, but Crime 101 did a helluva job proving otherwise. BODE There’s no way to talk about Crime 101 without addressing the most obvious point about it: writer-director Bart Layton very clearly loves Michael Mann. Why else would you make a heist film set in Los Angeles if you weren’t aiming to pay homage to Heat in some way, shape, or form? For what it’s worth, the British documentarian is pretty successful in pulling it off, with all the style, muscle and grounded character development that comes with this sort of thing. Add in a star-studded cast (all doing solid work), and you’ve got a pleasantly solid surprise.

KILL Starring: Lakshya, Raghav Juyal, Tanya Maniktala, Abishek Chauhan, Harsh Chhaya, Ashish Vidyarthi, and Adrija Sinha Director: Nikhil Nagesh Bhat AMARÚ For a bit, I forgot the structure of Hindi-language action films, but when reminded of it about 40 minutes in, Kill went from pretty good to “y’all done fucked up now.” The title explains it all, and with Raghav Juyal’s electric antagonist Fani battling Lakshya’s statuesque hero Amrit, their gruesome fights live up to the name. Yet, this film is far from mindless death. Director Nikhil Nagesh Bhat adds true emotion and stakes to the tightly paced, blood-soaked action, bringing authentic emotional investment to each character relationship. Kill is an epic journey with a palpable score and great performances to match, promising a top-notch savage thrill ride. ADRIANO Fun fact: This was my first Midnight Madness premiere at TIFF, and I believe I made the right choice starting with Kill . To put it plainly, Kill is like The Raid on a train. The first act has its fair share of violence, but in the second act, it never stops. The kills are ultra gory, slick, stylized, and messy in the best ways possible. Now, you'd think with a movie like that, it would mainly rely on its kill count, but there's a shocking emotional throughline to compliment the gore. Kill is simply a killer good time. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE SHADOW STRAYS Starring: Aurora Ribero and Hana Pitrashata Malasan Director: Timo Tjahjanto ADRIANO Fifteen minutes into The Shadow Strays , two badass ninjas cut multiple heads off, gun down multiple people, and slice folks up. So, suffice it to say, I fell for this movie quickly. The Shadow Strays rarely lets up with its ultra-violence, and when it does, it elevates the characters and the world around them. The movie never feels repetitive either, as director Timo Tjahjanto finds new and exciting ways to chop bad guys up…so much so that I found myself having a blast for all 144 minutes. If we truly are getting the sequel that is set up, bring it on. QUENTIN Writer-director Timo Tjahjanto seemingly makes one kind of movie, and to be fair, he’s really good at that type of movie. However, the problem is that to make each one more brutal and violent than the last, which is a tall task because they’re all viscerally action-packed, the only new thing he has to offer is longer runtimes. The Shadow Strays , his longest film yet, still packs the same bloody brutality as his other films, which is fun, but it drags at 143 minutes, resulting in a diminished entertainment factor. The carnage is there, but it gets unrelentingly repetitive and becomes almost exhaustingly too much. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.