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

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

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

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

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

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

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

THE AMERICAN SOCIETY OF MAGICAL NEGROES Starring: Justice Smith, David Alan Grier, An-Li Bogan, Drew Tarver, Michaela Watkins, Aisha Hinds, Tim Baltz, Rupert Friend, and Nicole Byer Director: Kobi Libii ADRIANO The amount of potential squandered in The American Society of Magical Negroes needs to be examined by scientists. The film has a genuinely intriguing premise, but the film goes absolutely nowhere with its examination of race. It raises many questions, and has answers to none of them. What's more, the pacing is awkward, and the film is so sloppily written and directed that any entertainment value feels bogged down by its unclear world-building. I almost walked out of this theater on many occasions, but for some reason, I sat through this sluggish disaster until the bitter end. AMARÚ I love the recent trend of putting black people’s grievances front and center for all the whites to see, and The American Society of Magical Negroes , while plenty flawed, is another serviceable entry in this movement. I greatly appreciate the long overdue respect it gives the forever underutilized David Alan Grier, who helps compensate for the film’s narrative problems. Sure, there are glaring editing issues where items magically (and unintentionally) disappear, and scenes feel out of order or missing entirely; however, with Grier and Justice Smith fully committed to experiences they (and I) have lived, there’s enough punch to recognize the good within the mess.

JESUS REVOLUTION Starring: Jonathan Roumie, Joel Courtney, Kelsey Grammer, Anna Grace Barlow, Nicholas Cirillo, Kimberly Williams-Paisley, Mina Sundwall, Charlie Morgan Patton, Julia Campbell, and Jolie Jenkins Directors: Jon Erwin and Brent McCorkle JACOB Jesus Revolution doesn’t quite have the problem most religion-based movies do in terms of being poorly constructed or having weak performances, but that doesn’t mean it’s free from some of the same old clichés. The two different storylines don’t really line up, the “issues” the characters face are magically cured once their faith starts, and the speaking cast is – you guessed it – all white except for two people. That said, it does more to address the dangers of hyper-charismatic religious movements than most films of its kind do, even if it ultimately fails to actually confront those dangers. JOSEPH Jesus Revolution caters to both the secular and faith-based communities…until it doesn’t. It paints a nuanced but sanitized picture of the anti-war hippie movements, while also showing the often unspoken dangers within those communities. Kelsey Grammer does a solid job, but it’s Jonathan Roumie who steals the show with his performance as a censored version of Lonnie Frisbee. Unfortunately, the film loses focus towards the end, making it feel more like an advertisement for church rather than the exploration of a movement. Overall, Jesus Revolution mostly preaches to the choir, so it will resonate with evangelicals, but for others, it’s likely a hit or miss.

KNEECAP Starring Naoise Ó Cairealláin (Móglaí Bap), Liam Óg Hannaidh (Mo Chara), JJ Ó Dochartaigh (DJ Próvaí), Michael Fassbender, Fionnuala Flaherty, Simone Kirby, Josie Walker, Adam Best, and Jessica Reynolds Director: Rich Peppiatt KATIE Kneecap is one of the most exciting films I’ve seen in ages. Naoise Ó Cairealláin and Liam Óg Hannaidh, stage names Móglaí Bap and Mo Chara, respectively, play themselves in a fictionalised biopic that charts their recruitment of DJ Próvaí (JJ Ó Dochartaigh) and their sensational rise to success. It’s unbelievable that the trio has never acted before, and they drive the relentlessly energetic vibe. It’s also impressively innovative, with its hand-drawn visuals, frenetic editing, and inspired use of claymation to portray the effects of a ketamine trip. Presenting a deeply thought-provoking yet sharply funny exploration of Irish language and identity, Kneecap is a must-see. AMARÚ Kneecap has an upstart comedic feel similar to Shaun of the Dead , and an underlying-yet-in-your-face political fervor that will have you hyped beyond measure. Even more impressive is the powerful music and performances from the title group (Móglaí Bap, Mo Chara, and DJ Próvaí), given that they aren’t professional actors and their songs are mostly in an endangered language (Irish). Yes, they’re playing themselves, but it’s never a guarantee one can recreate a past emotional experience and have it still translate so wonderfully in the present. But hearing their music, you can understand why this movie hits so hard. QUENTIN Kneecap has a crackling energy, killer music, stylish directorial flourishes, and solid performances, especially considering the three leads are first time actors (even if they are playing themselves), but I struggled to become invested in the story. Maybe my lack of knowledge about the situation surrounding the Irish language in Northern Ireland caused me to miss important context, or that knowing it’s a heavily fictionalized “biopic” just took me out of it — hard to say — but this mashup of Trainspotting and Straight Outta Compton should have been right up my alley. Alas, it was not. Kneecap as a hip-hop group, though? I’m pressing play all day.

SOCIETY OF THE SNOW Starring: Enzo Vogrincic, Matías Recalt, Agustín Pardella, Felipe Otaño, Luciano Chattón, Valentino Alonso, Francisco Romero, Agustín Berruti, Andy Pruss, Simón Hempe, Juan Caruso, Esteban Bigliardi, Rocco Posca, Esteban Kukuriczka, Rafael Federman, Agustín Della Corte, and Tomás Wolf Director: J.A. Bayona ADRIANO Society of the Snow could've easily just coasted on the sheer undeniable power of the miraculous true story, but director/co-writer J.A. Bayona ventured beyond that to tell a powerful tale of human resilience. The story structure could've used some work, as many moments felt like they were going in circles, but the film is a technical marvel that puts us smack-dab in the freezing cold for a grueling two-and-a-half hours, filled with the lowest lows and the highest highs. Even for what I expected, the movie is an absolute triumph and a film worthy of its subject matter. KATIE Society of the Snow is a harrowing yet empathetic depiction of the 1972 Andes mountain plane crash and its Uruguayan passengers' fight for survival. The film explores the gut-wrenching ordeals of the crash’s aftermath with brutal and disturbing realism, focusing on the tender moments of compassion and hope shared by members of the group. Undoubtedly a tough watch, co-writer and director J.A. Bayona effectively encapsulates the abject horror of the situation whilst foregrounding deeply emotional themes of faith, morality, and friendship, all made possible by the remarkable performances and evocative score. QUENTIN The first and third acts of Society of the Snow are exquisite, highlighting the unimaginable choices one must make when fighting for survival in the face of near-certain death. It’s gritty and realistic, respecting the victims and survivors by not falling into exploitive sensationalism. That second act, though? Man… it’s sluggish. It’s often spinning its wheels, which maybe is the intent…to make you marinate in the awful situation for longer than is comfortable…but it results in a movie that is 30-45 minutes too long. Still, though, it’s a horrifically beautiful technical achievement that aptly touches on themes of morality, hope, friendship, and perseverance. AMARÚ Society of the Snow is absolutely horrifying and tremendously uplifting. That may seem oxymoronic, but it’s the most harrowing experiences that bring out man’s most resilient qualities. Director J.A. Bayona is no stranger to disaster movies, but with Snow , he focuses on the impossibility of hope and uses the story’s tragic event to bolster the staggeringly complex aspects of the characters’ humanity. With a mixture of scope, silence, a soulful score, and sinister sound design, Bayona, composer Michael Giacchino, and the terrific ensemble bring forth an extremely powerful end to the 2023 movie season. PRESTON Did you ever see Alive (1993)? Well, Society of the Snow is its more authentic, more complete, and much more accurate bigger brother. The camera shots are fantastic, the acting is top-tier, and director J.A. Bayona’s detailed re-creation does what few others in cinema could do, telling a complete story in under two-and-a-half hours. You will run the gamut of emotions through every perceived triumph and crushing setback, and wonder, “what the hell would I do?!” After seeing what these brave souls go through, I bet you don’t even complain about the subtitles. PAIGE Society of the Snow will provoke a stillness in its audience due to the grounded humanity of its characters. The relatively unknown actors give such exceptional performances that you feel like you’re right beside them in this unfathomable nightmare. While man vs. wild films can be tough to watch, this true story shouldn’t go unseen. Using close-ups to convey the rawness of these harrowing experiences, director J.A. Bayona does a fantastic job creating an emotional yet inspirational voyage of survival, supported by a powerful score from Michael Giacchino. CALEB When it comes to tales of human survival, it doesn’t get much more horrifying than Society of the Snow . Director J.A. Bayona’s new drama is an unflinching portrayal of human desperation, showing just how hellish a battle against the elements can become. The film kept me on the edge of my seat for the most part, but I’ll admit the third act began to lose me a little. It has a moving conclusion, but it really takes its time getting there. Still, the acting is impressive, the cinematography is stunning, and the haunting score is beautiful. Society of the Snow is a solid start to the year.

THE COLOR PURPLE Starring: Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, Gabriella Wilson ‘H.E.R.’, Halle Bailey, Phylicia Pearl Mpasi, and Fantasia Barrino Director: Blitz Bazawule ADRIANO As a lover of musicals, I really liked The Color Purple despite its flaws. The writing is the film's weakest link, leaving me feeling an emotional disconnect when I really shouldn't have. Plus, the arcs of all the characters except the lead feel rushed. Thankfully, the ensemble cast and Blitz Bazawule's direction do some heavy lifting. The performers are all great (Danielle Brooks is the definition of a scene-stealer), and the musical numbers, while not always super innovative, are well-lit, energetic, and incredibly well-choreographed. The ending honestly got me too. It's a mixed bag, but a rousing crowd-pleaser in the end. AMARÚ I was initially worried that The Color Purple ’s masterful musical numbers were going to make the film nothing more than a greatest hits version of the 1985 classic. It has the unenviable task of comparing to the original, and quick jumps from one recognizable plot point to another made some dramatic weight fall short. But as the film progressed, it found its own path to pay homage instead of play mimic. The beautiful sets, amazing songs, and dazzling choreography cements its musical leanings, and once it begins fully being its own movie, the talented cast takes the reins of this entertaining recreation. PRESTON It becomes quite obvious, very early, that this latest adaptation of The Color Purple is based on the stage musical rather than the previous film. While its style allows for the choreography, costume design, and vocals to shine, the opportunity cost for its constant musical numbers is that of developing the characters, which takes away from what should be a very deep and emotional connection to a tragic but inspiring story. The ensemble cast is particularly terrific, and there are a few goosebump-inducing moments, but too much was left on the table to make this a musical that I would revisit.