Search Results

SPIDER-MAN: ACROSS THE SPIDER-VERSE Starring: Shameik Moore, Hailee Steinfeld, Brian Tyree Henry, Luna Lauren Velez, Jake Johnson, Jason Schwartzman, Issa Rae, Karan Soni, Daniel Kaluuya, Oscar Isaac, and Shea Whigham Directors: Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson AMARÚ Only twice in my movie watching lifetime has a film left me utterly speechless. Across the Spider-Verse is the third (Inception and Blindspotting are the others). It took two watches to formulate thoughts substantial enough to describe it because it’s grand in every facet of the word. The transformative animation tops what we thought couldn’t be topped, and the voice cast is so talented that every character is special no matter the screen time. Yet, the most epic part of this The Empire Strikes Back -level sequel is the grounded, introspective story. It’s been 13 years since an animated Best Picture nominee. There shouldn’t be a 14th. JACOB As both part one of its own story and a sequel to the greatest Spider-Man movie ever made, Across the Spider-Verse is one of the most singularly ambitious and creatively realized superhero films ever put to screen. Without question one of the best movies of the year to date, this continuation of the Miles Morales (Shameik Moore) saga elevates and challenges its predecessor on nearly every possible level. It’s less of a joke-fest, but the characters are deeper, the art direction is somehow even more stunning, and the storytelling is second to none. One hundred words cannot adequately capture how blown away I was. NICK It's no surprise that the standout achievement of Across the Spider-Verse is the animation. It is innovative and stunning, bringing pages of a comic book to screen and creating a work of art worthy of a museum. It's more than just a visual feast, though. The voice work is great, and it is easily the best portrayal of the Multiverse that Marvel has done. The only things working against the film are a cliffhanger ending and an inability to ace things in the humor department. I give the first film the edge, but this is nothing if not a worthy successor. QUENTIN In its individual elements, Across the Spider-Verse is perfect in nearly every way. As a sequel, an animated film, a superhero movie, a comic book movie, and an Easter Egg deliverer…it’s nearly flawless. The story is equal parts poignant, meta, relatable, and fantastical while exploring themes that capture what it’s like to be a teenager, including self-doubt, young love, parental expectations, and the transition from boy to man. It’s also a great commentary on comic book canon and how strictly it needs to be adhered to. It’s so close to getting a perfect score, if only it weren’t for that pesky “to be continued…” cliffhanger ending. ADRIANO I still haven’t picked my jaw up off the ground since watching Across the Spider-Verse . It’s a genuine work of art that plays with just about every single animation style to make for one of the most stunning cinematic experiences I can remember. But beyond that, it’s so character-focused that the film’s high visual ambitions feel like they are only there to compliment the character work, and the final hour is so thrilling and wild that I don’t think I blinked once. The cliffhanger ending won’t make everybody happy, but it sure made me excited for the next one.

EMILY THE CRIMINAL Starring: Aubrey Plaza, Theo Rossi, Megalyn Echikunwoke, Jonathan Avigdori, and Gina Gershon Director: John Patton Ford PAIGE Emily the Criminal is a tight little 90-minute noir crime film that turns Aubrey Plaza into a badass. She shines by taking an offer she can’t refuse (making easy money through credit card fraud), but even with this side of her we haven’t seen before, it’s just a mediocre flick. It’s a shame too because the concept is there for a good story, but with the film lacking character development and feeling dry due to not enough depth or tension, it falls shy of being a decent thriller. JACOB Aubrey Plaza is an unwieldy talent and one of the most remarkable actresses working today, so it’s a shame that Emily the Criminal doesn’t quite match her natural energy. That’s not to say the film is bad by any means, only that it looks and sounds like every other small indie film of its kind. There’s not a whole lot to hold onto here, and the film doesn’t put forth a lot of effort in ensuring the story is as gripping as Plaza can often be. That said, it’s worth watching for her performance alone, just not for much else. QUENTIN Emily the Criminal features several of the more superficial aspects I look for in indie crime flicks, to include being shot in a grimy patina befitting the scumbag element at the story’s core. That said, be it the muddled stakes or the dispassionate social commentary, I just didn’t connect with it. Admittedly, Aubrey Plaza is like Kristin Wiig, in that it’s hard for me to take her seriously, which I’m sure didn’t help me to buy in completely since I kept expecting her to deadpan towards the camera like The Office . Whatever the reason, it simply didn’t work for me.

BLACK WIDOW Starring: Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, O-T Fagbenle, Ray Winstone, and William Hurt Director: Cate Shortland QUENTIN Black Widow is basically the MCU meets Red Sparrow , with a hint of the Bourne movies. It generally follows the Marvel formula, which leads it to be decently entertaining, but also gives it a "going through the motions" vibe: The action scenes are well-done, but not super exciting; The one-liners are amusing, but not funny; and Taskmaster is kinda cool, but just a henchman. It drags a little in the middle too. Florence Pugh is a highlight, but overall, it’s a little paint by-numbers. As a standalone MCU entry, it's better than Captain Marvel , but not as good as Ant-Man . AMARÚ Black Widow shines when it's a spy thriller with emotional stakes. When leaning into these aspects of Natasha Romanoff’s (Scarlett Johansson) life, it feels less like an MCU flick and more like a solid Bourne sequel. Florence Pugh shines every second she's on screen, to the point where Johansson, David Harbour, and Rachel Weisz seem like they're supporting her movie. Still, with Johansson leading, Black Widow is a good time, if a bit predictable. But with Pugh next to her, it’s the movie we've been dying to see for two years. JACOB Black Widow can't help but feel a bit like a placeholder due to its setting. Plus, it has a balancing issue that makes it difficult for the film to fully succeed. In the beginning, the action is too frequent; in the middle, there's not enough. It also falls prey to a lack of character development, as Taskmaster isn't particularly compelling as an antagonist. That said, most other things, such as the action, performances, and visual effects, are pretty well in line with Marvel standards, reinforcing that even lesser Marvel is still a damn good time at the movies.

DADDY'S HEAD Starring: Julia Brown, Rupert Turnbull, Charlies Aitken, and Nathaniel Martello-White Director: Benjamin Barfoot This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantastic Film Festival. PAIGE Although Daddy’s Head kind of feels like a ripoff of The Babadook , it’s still an unsettling and moody horror flick featuring a genuinely creepy creature design that will make the hair on your arms stand up. With that said, the characters don't have any depth, which makes them seem rather one-dimensional, even if the story does an effective job of tackling its theme of grief. Overall, this movie will be very hit or miss, as its ending is so rushed that it results in a very anti-climactic conclusion. Still, if you have Shudder, it's worth checking out for the haunting atmosphere in its first two acts. QUENTIN With Daddy’s Head , we have yet another atmospheric horror metaphor about dealing with grief. Honestly, it feels a lot like a knockoff of The Babadook , and, full disclosure, I am not a fan of The Babadook . As such, you can probably gather I wasn’t a huge fan here either. For one, it’s a very slow burn, rarely showing the creature we should be fearing until the very end, which becomes more annoying than anything. Second, it gives few explanations, seemingly trying to elicit forced interpretation to prove how smart it is rather than telling a story with clear purpose. Lastly…just meh. Meh, all around.

OLD DADS Starring: Bill Burr, Bobby Cannavale, Bokeem Woodbine, Rachael Harris, Bruce Dern, Katrina Bowden, Reign Edwards, Miles Robbins, C. Thomas Howell, and Katie Aselton Director: Bill Burr CALEB Old Dads is essentially actor-director Bill Burr’s excuse to whine about society for two hours straight. He never manages to comment on issues like global warming, runaway inflation, or the housing crisis because he has to make time to address real problems: the ones that affect rich, white comedians. You’ve got your cancel culture, your virtue signalling, wokeness, pronouns, etc, etc… All the usual ‘edgy’ stand-up bits make an appearance here, and they’re just as tired as ever. Thanks, but no thanks, Bill. If I wanted to hear old people complain, I could just volunteer at a nursing home. QUENTIN Old Dads isn’t a great movie, but I think the level in which one is willing to give in and appreciate it will come down to the generational divide and one’s feelings on writer-director Bill Burr’s brand of comedy. Generally speaking, this is Burr’s ranty schtick personified on screen, and for an unapologetic Burr fan, it works well enough because I agree with his frustrations at the insufferable (if exaggerated) Gen Z-ers as depicted in the film (especially since I’ve had similar experiences as his character). That said, if you are Gen Z, I suspect you’ll feel attacked, making for a less enjoyable experience.

DESPICABLE ME 4 Starring: Steve Carell, Kristen Wiig, Pierre Coffin, Joey King, Miranda Cosgrove, Stephen Colbert, Sofía Vergara, Steve Coogan, Chris Renaud, Madison Polan, Dana Gaier, Chloe Fineman, and Will Ferrell Director: Chris Renaud AMARÚ Despicable Me 4 has some of the best animation Illumination Studios has released to date. After that, it’s the silliness you’d expect: Minions, memes, and lots of bodily function jokes. Gru’s (Steve Carell) three kids (now four) are still adorable, and the Minions are still fun mayhem, but this is the first time a franchise entry has felt more like an amalgamation of a bunch of TV episodes than a movie. Towards the end, one plotline takes center stage, allowing the film’s heart to shine a bit more, but make no mistake…this is a fourth-time diluted version of a just-ok animated series. ADRIANO Despicable Me 4 is another Despicable Me movie. Take that as you will. If you liked the other three, you'll be into this one. Me? I enjoy it as a shut-your-brain-off kind of movie, well aware that it's made for literal babies. It's got some funny slapstick and heart, but most of the jokes are pretty obvious. Plot-wise, for a 90-minute movie, there is a wild amount of time fodder and non-sequiturs that amount to not much. Kids are gonna fall in love, and adults won't hate it, but they won't think anything of it either.

HEDDA Starring: Tessa Thompson, Nina Hoss, Imogen Poots, Nicholas Pinnock, and Tom Bateman Director: Nia DaCosta AMARÚ Before you know it, Hedda (both the film and Tessa Thompson’s character) has you completely wrapped around their finger. Thompson is scandalously mischievous in an enthralling lead turn, Nia DaCosta is somehow improving her already bewitching directorial vision, and Hildur Guðnadóttir ensnares it all together with her playfully mysterious score. By the time Nina Hoss’ Eileen lights a match to the gunpowder trail of a wandering first act, you look around wondering when this team completely snatched your attention. Hedda is a wonderfully mesmerizing train wreck of twists, lies, love, and lust that holds your heart in one hand just to snatch your throat with the other. ADRIANO After being in a franchise/IP hole for the past couple of years, it's nice to finally see writer/director Nia DaCosta stretch the capabilities of her talents. In Hedda , she directs the film with a wicked ferocity that keeps every conversation and conflict alive. It looks incredible, the pacing is perfect, and the trio of Tessa Thompson, Nina Hoss, and Imogen Poots are great. That said, the script didn't quite work. There's an interesting “poke the bear” narrative in there, but nothing ever made me want to grab onto it, even if I did have a fun time watching. QUENTIN Between Tessa Thompson’s scenery-chewing performance, Nia DaCosta’s magnetic direction, and the sultry set and costume design, Hedda has a lot going for it. Thompson, in particular, is captivating in the early goings as a mysterious agent of chaos. She keeps the viewer’s interest piqued as the curiosity of who she is and what she might be up to mounts. However, once her plot is revealed, it all kind of fizzles out. The intrigue is in the not knowing, and once you’re let in on Hedda’s (Thompson) designs, the air is let out of the balloon, resulting in an unsatisfying climax. It’s all fabulous to behold, though. This film was reviewed by Amarú, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

MAGAZINE DREAMS Starring: Jonathan Majors, Haley Bennett, Taylour Paige, Michael O’Hearn, Harrison Page, Harriet Sansom Harris Director: Elijah Bynum ADRIANO Magazine Dreams accomplishes its goal of telling the story of a man pushing himself to the edge of his sanity, yet I’m still mixed on the end result. It’s worth watching for Jonathan Majors’ performance alone because he is impossible to look away from as he gets closer to the edge. Plus, it’s shot well and the tone is both entertaining and uncomfortable. But a lot of the choices, particularly towards the end, don’t feel earned. I don’t think Majors’ character is fleshed out enough to justify many of his actions, and I just wound up being confused. AMARÚ There are movies that put a heartbreakingly pensive mirror up to obsession, mental illness, and the pursuit of perfection; then there is Magazine Dreams . Elijah Bynum’s direction is intense and greatly focused, but the story he wrote comes off as plain mean. Jonathan Majors’ portrayal of bodybuilder Killian borders on outright cruelty with how deeply he dives into the traumatized physical and mental psyche of his broken character. Throughout the film, he hate-watches videos and hate-reads comments about himself, which seems to be the point of Dreams . Instead of a cautionary tale, it’s a practice in self-mutilation, and for me, it’s too much. PAIGE Time to separate the art from the artist. I’d be lying if I didn’t say Jonathan Majors delivers a powerhouse performance in director Elijah Bynum's second feature; a beautifully shot, dark, and unsettling character study. Magazine Dreams provides a horrifying glimpse at toxic masculinity in the world of bodybuilding, and the negative effects that striving for perfection can have on one's mental health. Having said that, it’s a hard watch from start to finish, not because of its subject matter, but due to its uneven script. The film's inconsistent narrative caused it to drag, and by the end it became too tense for its own good. BRYAN Jonathan Majors disappears, emotionally and physically, as a troubled wannabe bodybuilder in Magazine Dreams , showcasing his best performance yet. Without him, the film would have just been a run-of-the-mill psychological character study, akin to Taxi Driver or Joker . Despite the similarities to those films, this manages to still be a fascinating watch, however. The terror and uncomfortableness are present from start to finish, containing a heartbreaking dive into trauma and mental illness. With all the promise in the first two acts, it does dwindle massively in the third act, which kept it from fully sticking the landing. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

CAPTAIN AMERICA: BRAVE NEW WORLD Starring: Anthony Mackie, Danny Ramirez, Harrison Ford, Shira Haas, Carl Lumbly, Xosha Roquemore, Giancarlo Esposito, and Tim Blake Nelson Director: Julius Onah NICK I don't need to tell you the MCU has lost a lot of its shine recently, although I don't think it's been as bad as others believe it to be. With Captain America: Brave New World , I'm starting to see their point. Aside from another great turn from Harrison Ford, this is a hollow sequel to The Incredible Hulk that nobody asked for. Plagued by re-shoots that led to choppy editing and shoehorned characters, all this film does is question Anthony Mackie's Sam Wilson as a leader while doing nothing to prove that he is one. Consider me nervous. Reed Richards, you may be our last hope. QUENTIN Have you ever tried to recreate your grandmother’s recipe, but it just doesn’t taste the same? That’s probably because it wasn’t “made with love.” Sadly, Brave New World is a lot like The Winter Soldier , minus the love. Don’t get me wrong, it’s fine – lower tier MCU is still decently good – but there simply isn’t much soul here, exacerbated by a very shoehorned-in, post-election commentary. Otherwise, it’s a weird blend of half-sequels to Edward Norton’s The Incredible Hulk and The Falcon and the Winter Soldier . Plus, the trailers absolutely spoil Red Hulk (Harrison Ford), which should have been an exciting “Cap catching Mjolnir” moment. ADRIANO I can't keep giving the MCU movies any passes. I thought Captain America: Brave New World was just awful. Harrison Ford was committed, I'll give it that. But aside from him, the visuals are repulsive, the editing is nauseating, the political aspects are void of anything, and the end credit scene is laughable. Worst of all, for a film trying to set up Sam Wilson (Anthony Mackie) as the new leader, it's so focused on being a sequel to The Incredible Hulk that they gave us no reason to care about him beyond a shoehorned emotional beat an hour-and-a-half in. AMARÚ There’s a good, maybe even great movie somewhere in Captain America: Brave New World (I mean, just look at some of Carl Lumbly's, Giancarlo Esposito's, and Harrison Ford’s performances), but you can feel the fear the studio had after initial test screenings because Marvel frankensteined multiple reshoots together to make a lackluster, fangless story that is way too easy for our new Cap (Anthony Mackie) to investigate. Its biggest fault is that it wants to tell, instead of show, anything and everything it can, leaving Mackie, the cast, and the audience with nothing more than a stepping stone towards the end of this inconsistent saga. ROBERT Emotional resonance used to be an indelible part of my MCU watches, but that has been few and far between since Avengers: Endgame . Tears and shouts of elation have been replaced by tacit responses of “Hey, look at that” and “That’s cool.” Captain America: Brave New World lives in that middling reaction pool like it was born in it. The failures of this movie are not a reflection on Anthony Mackie or Harrison Ford, as they put forth effort, but they seem to be the only ones. The Marvel machine is smoking and needs a ten-point restoration. PAIGE I want to preface my review by saying this isn’t a terrible movie; however, it certainly isn’t a good one, either. Even while I enjoyed some aspects of Brave New World , such as Harrison Ford's portrayal of President Thaddeus Ross, there are a lot of issues that you can't overlook. Despite Anthony Mackie's best efforts to carry this film across the finish line, it is dragged down by its disjointed and flimsy plot. Furthermore, it’s supposed to be a political thriller, yet it lacks a political stance while being too dull to be considered a thriller. BODE I’ve been critical of the MCU for some time now, and it seems I’m not alone in that sentiment these days. However, as someone who used to be a fan, I still go into Marvel films with an open mind, which was no different for Brave New World . Sadly, I found it somewhat mid-tier because there are problems abound, from the messy narrative to the poor CGI. It does have its moments though, particularly with Carl Lumbly, and I admired that it was lean and snark-free. It's nothing great (or even particularly good), but the MCU has delivered worse. BRYAN On paper, there is a lot to admire about Brave New World . However, I can’t say the same about how it’s brought to life on screen. Aside from a good outing from Harrison Ford, everything else left me feeling nothing - no excitement, no frustration - just disappointment. For a political thriller, it lacks any sort of thrills, and for a Marvel flick, it is tonally inconsistent and visually sloppy. Will the MCU ever be great again?

ROBOT DREAMS Starring: Ivan Labanda Director: Pablo Berger ADRIANO There is something to admire about the simple existence of Robot Dreams . An animated movie about the friendship between a robot and a dog that is told entirely with no dialogue feels like a relic of the past, and yet here it is. The animation is colourful and enticing throughout, while the themes of loneliness and the human desire to reach out make for an endearing watch. Unfortunately, while the movie feels like a short film stretched to feature length due to increasingly repetitive subplots that could have easily been removed, the final scene alone makes the experience worth it. AMARÚ Robot Dreams more than deserved the Oscar nomination it received at this year’s ceremony. Even more than five months after I initially saw it, the emotions it evokes from a dog and a robot still lowkey haunt me to this day. Not a scary or saddening haunting, but more of a bittersweet acceptance. With almost no dialogue, director Pablo Berger deftly utilizes music (shout out to Earth, Wind, and Fire), ambient noise, facial expressions, and anthropomorphic sounds to relay deeply felt themes of companionship, lost love, and new life that universally resonate. It’s a triumph of the heart and soul. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE BLACK PHONE Starring: Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, and James Ransone Director: Scott Derrickson JACOB There aren’t many surprises in store for those viewing Scott Derrickson’s first horror film since Deliver Us From Evil , but even so, this pseudo-supernatural drama does make for an entertaining movie experience. Less traditional horror than psychological thriller, the best thing about The Black Phone is how its ambitions don’t outstretch its reach. It’s not shooting for the stars or attempting to make some grand point. It’s simply taut, filled with good performers, and is very well-designed. I do wish we saw a little more of Ethan Hawke without the mask, but what’s given works well enough for me. PAIGE Director Scott Derrickson goes back to his horror roots with The Black Phone , a tense thriller set in the 1970s that is only enhanced by a creepy score. The film, which is adapted from a short story by Joe Hill (son of Stephen King), packs a punch similar to 2001’s Frailty . It’s a gut wrenching nail-biter of a film that will keep you on the edge of your seat, and while Ethan Hawke is haunting as The Grabber, I do wish we got more of his character. The real standouts are Madeleine McGraw and Mason Thames though, both of whom give breakthrough performances. QUENTIN In an effort to correct your expectations, The Black Phone is not a horror movie, and despite a few attempts at jump scares, it’s not really all that scary. It’s more of a suspense thriller, a sort of creepy Frequency meets Frailty . That said, it’s still pretty good, and Ethan Hawke plays an effectively unnerving villain (though his mask does a lot of the heavy lifting). Some genuine laugh out loud moments (both intentional and not) undercut the tension a little too much, and several of the child actors are downright dreadful, but you’ll never lose interest in what’s happening on screen.

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