Search Results

THE TERRITORY Director: Alex Pritz JACOB It's tough to describe exactly how tight a grip The Territory has on one's attention until you're in it, but once it starts, there's not a single moment where it disengages. Gorgeous photography and an absolutely thrilling musical score underscore this thunderously tragic, infuriating, and incredible look at the brutal deforestation of the Amazon rainforest under the Bolsonaro presidency. The sheer tenacity and impressive strength of the Uru-eu-wau-wau people looking to defend their lands is unquestionably inspiring. While the year’s not out yet, this could end up being its best documentary, and it’s already certainly one of its best films, full stop. JOSEPH It’s a strange thing, watching a genocide happen in front of you and being powerless to do anything about it. That’s the exact thing The Territory is trying to stress to the viewer: that the destruction of the Amazon rainforest is not just for land development, but also for the forced removal of indigenous peoples. The film admirably depicts the discussion from multiple angles, even adding B-roll of the lush flora and fauna of the Amazon to show exactly what deforestation affects. It’s an important and beautifully shot film that needs to be seen.

THE EYES OF TAMMY FAYE Starring: Jessica Chastain, Andrew Garfield, Vincent D’Onofrio, Cherry Jones, Mark Wystrach, Sam Jaeger, and Louis Cancelmi Director: Michael Showalter ADRIANO The Eyes of Tammy Faye was a very welcome surprise for me. Having not known too much about Tammy Faye and Jim Bakker, it provides not just a fascinating look at the rise and fall of their empire, but a humanizing portrayal of Tammy herself. Jessica Chastain has never been better, as she gives an unrecognizable and extremely emotional performance through some truly remarkable makeup and prosthetics. The story is told in an appropriately entertaining way that's both funny and moving, teetering the line of satire, and it's a fascinating film that I truly recommend. JACOB While not one of Michael Showalter's more balanced efforts, The Eyes of Tammy Faye remains yet another show of unspoken skill for the director. Apart from Jessica Chastain’s remarkable performance in the titular role, the quiet strength of the film is that it never becomes outright cynical despite remaining factual to the nature of its subject. The film invites one to know who Tammy Bakker was, regardless of how involved she may have been in the Bakkers' crimes. It's a bit long and feels slightly unfocused, but the heart is there, which Chastain carries to the end. QUENTIN While I can appreciate the effort that went into making The Eyes of Tammy Faye , especially Jessica Chastain’s transformative and award-worthy performance, I had a really tough time connecting with this movie. Maybe I have preconceived (and incorrect?) notions about who the Bakkers (Andrew Garfield and Chastain) were that are impossible to overcome, but this movie wants the viewer to feel undeserved sympathy for these religious fraudsters. Frankly, that’s a hard sell for me. It’s not easy to get invested in a movie when you don’t believe its message.

THE MITCHELLS VS THE MACHINES Starring: Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, and Charlyne Yi Directors: Michael Rianda and Jeff Rowe AMARÚ Mirroring producers Phil Lord and Chris Miller's signature combo of heart and self-aware humor, writer/director duo Michael Rianda and Jeff Rowe's The Mitchells vs. The Machines is a refreshingly laugh-out-loud good time. Scenes range from hysterically absurd to warmly tear-jerking, which helps prevent the repetitive meta-humor and familiar themes of world-ending artificial intelligence and strained parent-child relationships from becoming stale. Add eye-popping animation with a pitch-perfect voice cast (Olivia Colman's pocket sized personal assistant Pal may go down as an all-time animated character), and you get 2021's first contender for the Best Animated Feature Oscar. QUENTIN The Mitchells vs. The Machines is the type of movie that sneaks up on you. It's a little scattershot, pinballing from somewhat heavy-handed heartfelt moments to frenetic action scenes in the blink of an eye, all while sprinkling in some clever social commentary. As you watch, you're enjoying yourself, but you aren't blown away - a chuckle here, a twinge of excitement there - until you reach the end, which is when you realize it has surprisingly and genuinely hit you right in the feels. It becomes out-of-nowhere great, giving Sony and Netflix a film that easily rivals many Pixar movies. JOSEPH I cannot stress enough how beautiful the animation is in The Mitchells vs. The Machines . Thanks to a witty and timely script, as well as some dazzling visuals, the film manages to own a premise that isn't at all unique. It also uses humor to pay homage to internet and meme culture in some great ways. Along with that, the film is incredibly heartfelt, portraying a family that is a little more complicated than you typically see in family films. All in all, check it out! It's fun for all ages. JACOB Though less balanced than Into the Spider-Verse or the first two Lego movies. The Mitchells vs. The Machines puts yet another notch in producers Lord & Miller's victory belt. There are some scenes where dialogue or the characters could have used a polish, plus some minor plot holes, but the beautiful animation and earnest storytelling do plenty of heavy lifting. The trademark Lord & Miller humor isn't quite as sharp as usual, but it gets the job done. Having a queer film nerd protagonist in an animated movie is pretty sweet too. I'd certainly recommend this to anyone who asked.

BRIAN AND CHARLES Starring: David Earl, Chris Hayward, Louise Brealey, Jamie Michie, Nina Sosanya, Lynn Hunter, Lowri Izzard, Mari Izzard, and Cara Chase Director: Jim Archer JACOB Brian and Charles is absolutely adorable and full of genuine heart. Lightyear may have been the bigger theatrical release this weekend, but it’s this Sundance comedy that ultimately bests the Space Ranger spinoff in pure quality. Charming and creative in all the right ways, its mostly plain filmmaking is overcome through sheer inventiveness, which permeates through David Earl’s tender-hearted performance. There are some aspects of it which lack the nuance it needs to be one of the indie greats, but others work well enough to make up for it. It seems destined to become one of 2022’s most underrated films. ADRIANO Brian And Charles won’t change the world or anything, but it’s definitely worth a watch. Your appreciation for this film will depend on how much you enjoy British humor, though, because there is a lot of it in this movie. That said, the humor lands for the most part, but it’s a little awkward when it doesn’t. The central story isn’t anything mind blowing either, but it’s a sweet one for sure, especially with the titular relationship. It’s not something I’ll be rushing to watch again, yet I am happy that I saw it.

NOT OKAY Starring: Zoey Deutch, Dylan O’Brien, Mia Isaac, and Nadia Alexander Director: Quinn Shephard JOSEPH Not Okay has one of the most unlikeable leads I have ever seen, and that’s what makes it worth watching. Zoey Deutch embodies her character so well that you can’t help but hate her while remaining deeply fascinated. There’s a huge turning point in the movie that makes everything you’ve already seen so much more interesting and meaningful that it saves the film entirely. Its commentary on clout chasing is sometimes too broad for its own good, but it lands pretty smoothly by the end. Ultimately, Not Okay is bold and daring, sometimes to its own detriment, and it's a worthwhile and engaging watch. PAIGE Not Okay actually is more than just okay. It’s a dark dramedy satire that feeds on the hunger to be noticed in an age where popularity is measured by the number of likes you get. It’s not the best movie of 2022, but it is definitely one of the most relevant. Director Quinn Shepard clearly knows how to fine tune her actors’ performances, which leads to a vivacious performance from Zoey Deutch. But mostly, let Not Okay be a lesson to you - that what the internet gives you can just as quickly be taken away.

DEN OF THIEVES 2: PANTERA Starring: Gerard Butler, O'Shea Jackson Jr., Evin Ahmad, Salvatore Esposito, and Nazmiye Oral Director: Christian Gudegast NICK Den of Thieves surprised me back in 2018, as it presented a solid action film with interesting characters and an intriguing twist. The follow-up, Pantera , moves away from the action genre for a slow and methodical heist film that just doesn't work as well. Most of Gerard Butler's charm and edge as “Big Nick” remains, but the Donnie (O'Shea Jackson Jr.) who was set up in the finale of Den of Thieves , is nowhere to be found. Also absent is the action that made the original so exciting. It’s all a little boring, and production delays aside, there’s no excuse for that. ADRIANO Den of Thieves 2: Pantera feels like a neutered version of the first one. Don't get me wrong, it’s predecessor isn't anything special either; however, for all its flaws, I still found it to be well-made, with a fun and gritty tone. While this one is still well-made, the grit is exchanged for some goofy, and far less intense, buddy movie dynamics. Gerard Butler and O'Shea Jackson Jr. don't really work that well together, and while the heist itself was entertaining, the film is simply too unengaging and overlong for this sequel to feel necessary. AMARÚ Den of Thieves 2: Pantera has the blueprint of a 90-minute, January-released, Gerard Butler film: simple and action-packed with entertaining character dynamics. Butler and O’Shea Jackson Jr. provide plenty of charisma, but there’s an extra hour full of cat-and-mouse plot threads that are sometimes fun, sometimes silly, and always bloated. Without much action, you feel every bit of slog in the nearly 150-minute runtime, but the heist is exciting when it finally arrives. So, while this go ‘round is way too long, if next time we were to get a tight, 90ish-minute entry with Big Nick (Butler) and Donnie (Jackson), I’d be game.

CODE 3 Starring: Rainn Wilson, Lil Rel Howery, Aimee Carrero, Rob Riggle, and Yvette Nicole Brown Director: Christopher Leone QUENTIN Here's something I didn’t expect to have on my 2025 movie Bingo card: Code 3 is a gem of a movie and one of the year’s biggest surprises. Despite being marketed as a straight comedy, this is anything but. Yes, there are dark laughs, but only in the way that one must laugh in the face of tragedy just to get through the day. Otherwise, this is an honest and harrowing tribute to paramedics and a scathing indictment of the American healthcare system. It’s heartfelt, heartbreaking, and surprisingly moving, especially surprising if you’re only aware of the movie’s photo-shopped travesty of a poster. ROBERT I saw Code 3 was coming out and thought it would be Ambulance if Michael Bay had a funny bone. Turns out, it’s not only a higher form of comedy, but also a more complete movie. There is an insightful, biting commentary on the state of healthcare and how every cog in that machine tries to survive separately but together, while Rainn Wilson and Lil Rel Howery are not only hilarious together, but also separately. They convey emotional depth about the horrors of paramedic life and how to combat jadedness on soul-crushing shifts. They’re not the TS mother-f’ing A. They’re EMS… the real heroes. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

COBWEB Starring: Lizzy Caplan, Antony Starr, Woody Norman, Cleopatra Coleman, and Debra Wilson Director: Samuel Bodin QUENTIN Knowing nothing more than it starred Lizzy Caplan and Antony Starr, I went into Cobweb completely blind. I didn’t even watch the trailer beforehand, and I’d recommend you do the same because this movie succeeds on the strength of its creepy mystery and suspenseful atmosphere, which could be lost if you go in with any awareness. Admittedly, the way the story plays out leaves a little to be desired, but the effective jump scares, a few excellently shot scenes, and just the general ambiance of it all are more than enough to make this 90-minute under-the-radar gem an easy choice for horror heads. JACOB The atmosphere of Cobweb is thick, and it does a lot of things quite well. The scares are decent, the sound design is effective, and once the second act starts, the tension ramps up a decent bit. On the other hand, the things it doesn’t do as well kind of overwhelm its competently directed mystery, namely the script and characters (apart from Woody Norman’s) are a bit all over the place. There is a reason for it, but the execution of that reason leaves something to be desired. All that said, the film’s tight runtime does help mitigate any boredom. NICK Through the first half of Cobweb , I was hooked by its haunting vibe and the potential directions it could go. Although its latter portion turns up the intensity a ton, it loses the eerie tone that gives the film its strong start, which holds it back from reaching the heights of a film like Talk to Me . That said, the underrated Antony Starr, the reliably unhinged Lizzy Caplan, and Woody Norman (coming off an award-worthy performance in C'mon C'mon ) are pitch-perfect casting, shining on screen to elevate the material. Thanks to this, it's worth a watch, just go in as blind as possible.

MONKEY MAN Starring: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala, Sikandar Kher, Vipin Sharma, Ashwini Kalsekar, Adithi Kalkunte, and Makarand Deshpande Director: Dev Patel QUENTIN There is nothing bad about Monkey Man , other than since it’s reminiscent of so many movies I’ve seen before, I found myself losing interest as it went on. John Wick , Kill Bill , and Batman Begins are all there…they just have an Indian flavor now. Plus, I think the story would have been more engaging had it been told in a different order. That said, on a positive note, this is a tremendous debut for Dev Patel behind the camera. The shots he created demonstrate that he has an excellent eye, and if nothing else, Monkey Man has made me eager to see what he directs next. ADRIANO In Monkey Man , Dev Patel steps behind the camera for the first time with the ambition and talent of an experienced director. I do wish the movie's writing was more engaging and less of a sloppy mess, though. For the first 40 or so minutes, I was thinking to myself, "can we move on?" That said, once the action hits, it HITS; it's stylized, precise, gory, and so intensely brutal. I was eating every second of it, especially during the wildly kick-ass third act. I'm very excited to see what Dev Patel's directorial career has in store. NICK With Monkey Man , Dev Patel, in his directorial debut, becomes the latest actor to jump into the role of action star. In terms of his performance, he is badass, violent, and commands the screen. The direction and script need work, though. Patel shows promise behind the camera, but whether it’s him or the editors, the action in the first half of the film is far too frenetic and hard to follow. Also, the social and cultural commentary lack the development they need to carry weight. It’s a fine first crack, but I look forward to Patel’s growth in his next effort. AMARÚ Damn, Dev Patel did not have to go that hard. From the epic needle drops to his forceful direction and powerful performance, Monkey Man is his tour de force as writer, director, and action star. Even amongst massive pacing whiplash in the second act that made the film drag a tad bit too long, you can feel the sheer focus of Patel’s voice and the intense passion he put into each frame. This directorial debut is a helluva statement, and if his next outing can tighten up the narrative structure, we may have the next event filmmaker on our hands. KATIE Monkey Man is an electrifying directorial debut from writer, director, and star Dev Patel, who gives an exceptional performance as the titular action hero. Patel’s passion for the project is evident in every frame, and the film is not only an impressive addition to the action-revenge genre, but also sets itself apart by diving into themes of political unrest. The action is ultra violent and frantic, beautifully choreographed with enough sweat and grit to have an impact and appear authentically brutal, while the camera fluidly follows every punch thrown and bone broken. I cannot wait to see what Patel does next. PRESTON Monkey Man could be reductively classified as an Indian John Wick , but that may be giving the film a little too much credit. While I think Dev Patel does a great job with his acting, the film suffers from a lack of focus overall. Patel’s directing style, featuring crazy whip pans, shaky handheld shots, and zooms are ambitious but disorienting. For a style that is usually right up my alley, I quickly lost interest, and coming in at two hours, the editing could be much more robust. The potential is there, though, and I hope Dev Patel continues on this well-intentioned path. CALEB Although it has some problems, Monkey Man is still an extremely impressive directorial debut from Dev Patel. It’s a blood-soaked revenge-thriller that’s bursting at the seams with adrenaline and grit. The action sequences are undeniably fantastic, but the narrative occasionally stumbles. Although I can commend the second act for addressing some important cultural and political problems, I wish it didn’t have to grind the film to a halt in order to do so. Despite the wonky pacing, Monkey Man is still a solid action flick with amazing cinematography, passionate performances, and one hell of a finale.

THE BAD GUYS 2 Starring: Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne, Maria Bakalova, Alex Borstein, Richard Ayoade, and Lilly Singh Directors: Pierre Perifel and JP Sans AMARÚ The first Bad Guys is one of my favorite unsung films from Dreamworks Animation. The mix of heart and great characters carried that simple story a long way. While its sequel still has lovable characters and a matching voice cast, the comedic bits revert back to the shallowest of children’s sensibilities seen in Dreamworks’ lesser catalog. It focuses on bigger spectacle instead of its grounded themes of redemption, undercutting the solid messages it has surrounding second chances. Yet, with the amazing animation and some fun additions to the cast, I had a good enough time to want to visit with this crew on another outing. ADRIANO Like its predecessor, I don't have a strong inherent issue with The Bad Guys 2 . While I'd actually consider it an improvement, it just didn't leave a strong impression on me. But, I can't let that cloud the fact that it likely will for others. Setting aside that I didn't find it that funny, the film has an endearing message for kids on top of excellent voice acting and characters, and a pacing/animation style that led to pretty memorable set pieces. These movies aren't for me, but I see the value in recommending The Bad Guys 2 nonetheless.

M3GAN 2.0 Starring: Jenna Davis, Violet McGraw, Allison Williams, Amie Donald, Ivanna Sakhno, Brian Jordan Alvarez, Jen Van Epps, Aristotle Athari, and Jemaine Clement Director: Gerard Johnstone AMARÚ M3GAN 2.0 is a definite upgrade from M3GAN , vastly due to the massive improvements to the title character (Jenna Davis) in every way. M3GAN (physically played by Amie Donald) is hilarious, whip-smart, the perfect amount of petty, and Davis’ voice performance creates energy with every line she utters. When she is on screen, the action, comedy, and thrills deliver on the “knowing exactly what movie she’s in” fun you hope for. When she’s not on screen, the film is exposition-filled, predictable nonsense. Luckily, M3GAN is there 70% of the time, and 70% of her iconic energy outweighs 30% of stupidity. ADRIANO When I heard the sequel to M3GAN was going to shift tones entirely, opting for a more T2 -esque action feel instead of horror, I honestly thought that sounded hilarious. Unfortunately, M3GAN 2.0 takes itself way too seriously. It's at its silliest when the titular character is there, but she's barely in it. The performances aren't bad, but it focuses on these characters for so long that I eventually stopped caring about any of the emotional stakes. The action was fine I guess, but the M3GAN franchise needs to own its campiness, and this doesn’t own it at all. NICK What was viewed as a horror franchise has now turned into an action-comedy as M3GAN 2.0 goes the Happy Death Day route of genre-flipping the sequel. Despite that tonal shift, it still works about as well as the first film. As someone who thought M3GAN was fairly middle-of-the-road, this didn't change my opinion drastically in either direction. The laughs are more frequent, and M3GAN grows as a character, but the film suffers when she's off screen and it presents a very confusing stance on AI. This will still appease fans, but if you didn't love the first one, I don't expect this will change your mind. BODE I’d be lying if I said I was a huge fan of the first M3GAN , but I did still find it to be a decent enough horror comedy that crafted a memorable character and provided some undeniably meme-worthy moments. You’d think that creating a sequel to it - let alone one that pulls a Terminator 2 -style genre switch - wouldn’t be so difficult, but M3GAN 2.0 proves exactly the opposite. Its punchlines are barely funny, the action isn’t very exciting, and even its commentary on the threat posed by AI falls incredibly flat. It’s a downgrade in every way possible.

SISU Starring: Jorma Tommila, Aksel Hennie, Jack Doolan, Mimosa Willamo, and Onni Tommila Director: Jalmari Helander QUENTIN If I walked away from 2022’s Toronto International Film Festival with only one discovery that I needed to tell everyone about, it was Sisu . It’s an action-packed thrill-ride featuring over-the-top revenge violence directed towards everyone’s favorite villain, Nazis. Imagine John Wick meets Captain America: The First Avenger , as directed by Quentin Tarantino. Does that sound bonkers? It most certainly is. But it’s also one of the best times I’ve had in a movie theater in quite some time. It was easily one of TIFF’s best offerings, and is now one of 2023’s best movies. Plus, don’t be fooled by its foreignness - it’s in English. JACOB True to its premise, perhaps to a fault, Sisu is as simple as it sounds and as entertaining as its premise promises. About a former Finnish commander killing a bunch of Nazis in violent and brutally badass fashion, comparisons to the John Wick franchise are warranted, but director Jalmari Helander’s 90-minute actioner takes a more grounded approach to the mayhem as Jorma Tommila soldiers on through various perils to exact his vengeance. The film could have used a slightly more thorough emotional through-line (all we really get is one exposition scene), but beyond that, there’s very little not to enjoy here. ADRIANO Sisu is the kind of movie that falls apart if the director takes it too seriously, and thankfully, that’s not what happens here. While the story is paper-thin, the film is wholly watchable for the absurdity of it all. An old man expertly and gruesomely slaughtering Nazis left and right in a John Wick meets Quentin Tarantino fashion is a satisfying sight to behold. I wish the female prisoner storyline got a little more attention because I liked the potential of it much more than what we actually got; nevertheless, even if Sisu is really stupid, that’s why I enjoyed it. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.