FRANKENSTEIN Starring: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, and Lars Mikkelsen Director: Guillermo del Toro NICK Frankenstein is director Guillermo del Toro’s heart laid out on screen. The director’s passion for this story is evident in every scene, and I truly think this is some of his best work to date. The world building and appearance of the film are exceptional, as del Toro's unwavering use of practical effects shines through. Jacob Elordi as The Creature blows away all expectations while del Toro continues to succeed in finding humanity within a monster. It’s not perfect, mind you – Mia Goth is miscast and the script could be a touch tighter – but much like Frankenstein’s monster, it rises above any of its imperfections. ADRIANO Writer/director Guillermo del Toro's Frankenstein is long. There was never a moment when I wasn't engaged, but I'll admit there's some fat that could've been trimmed. But the ends justified the means here. As expected from a del Toro film, the crafts are magnificent, from set design to Dan Lausten's cinematography that fully immerses us into this world. But it's the compassionate writing that accurately brings Mary Shelley's book to life, pondering the difference between man and monster with a stunning performance from Jacob Elordi as The Creature. This Frankenstein is another stunning creature feature from the master del Toro! QUENTIN Truth be told, I’ve long considered director Guillermo del Toro to be overrated, but my tune has changed with Frankenstein . Although long-winded and somewhat tonally disjointed, I can’t deny that this immaculately crafted and lavishly designed adaptation hooked me almost immediately through its terrific performances and grand scale. Del Toro’s gothic sensibilities are perfectly aligned with Mary Shelley’s poetic story of loss and guilt, creating everything I wanted and failed to get from Robert Eggers’ Nosferatu (a slog of a movie). I wouldn’t call it a masterpiece like some have, but the Hollywood machine is doing cinema and cinephiles a disservice by releasing Frankenstein on Netflix. AMARÚ From the first swooping action scene in Frankenstein , you can feel that director Guillermo del Toro was aiming for his epic. The visuals and cinematography, coupled with an imposing score, make for a grand retelling of this well-known tale. However, I’ve never experienced it like this. Its grandiose scope clears the way for Oscar Isaac’s strikingly arrogant portrayal of the titular creator, and Jacob Elordi’s magnificent depiction of his creation’s vast loneliness. The three artists’ boundless marriage gives life to a surprisingly simple and straightforward story, so while the emotional resonance may not connect, the presentation and performances keep you fully engaged. BODE Guillermo del Toro has wanted to make his version of Frankenstein for forever. Now that it’s finally made it to the screen, does the long wait pay off? Well…sort of. His emotional connection to the source material is tangible, the performances (especially Jacob Elordi as The Creature) are solid, and, as always with a del Toro project, the technical aspects are top-notch. But it’s undeniably overlong, and the increasingly literal themes of “who’s the real monster?” (not new for GDT) kept me from embracing it further. Perhaps another viewing will smooth some issues over, but for now, I can only admire this. PAIGE While Guillermo del Toro’s take on this classic monster tale may not bring anything particularly new to the table with its story, it still is an exquisitely grotesque, atmospheric, and enthralling experience. Surprisingly, its weakness doesn’t lie in the humanization of the monster, as Jacob Elordi’s portrayal of the creature is actually my favorite part of the movie; it’s the character of Victor Frankenstein, played by Oscar Isaac, that is lacking here. Elordi brings so much depth and vulnerability with his performance, while Isaac’s character felt emotionless and somewhat stale in comparison. Despite its tragic yet hopeful ending, it’s missing a charm that would have made it feel complete. KATIE I enjoyed every minute of Guillermo del Toro’s Frankenstein. It’s a very del Toro film in the best way, with gorgeously detailed set design, a humanistic story that’s full of heart, and that crafty, theatrical yet lavish sheen. It’s romantic and darkly gothic, and the practical effects are fantastic and wonderfully squishy. The focus on the obsessive relationship between Victor Frankenstein, played with scene-chewing gusto by Oscar Isaac, and his monstrous creation, played by an impressively sympathetic yet imposing Jacob Elordi, is very compelling, and del Toro’s reverence for the story is evident in every frame. ROBERT When Frankenstein opened in the Arctic, I thought to myself, “I’ve seen this once upon a time”. As it continued, I kept being transported to previous iterations of the story I’ve seen, and while interesting to look at, I didn’t understand how this was specific to Guillermo del Toro. The production design with some of the practical sets was breathtaking, and the makeup and costumes filled out the aesthetic of 19th-century Europe spectacularly. However, the film drags in multiple areas, and while Jacob Elordi as The Creature is sympathetic, I can’t root for or connect with any other character; the seams here are exposed. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

LUMINA Starring: Eric Roberts, Emily Hall, Andrea Tivadar, Gino McKoy, Sidney Nicole Rogers, Eleanor Williams, and Ken Lawson Director: Gino McKoy KATIE Maybe I didn't understand Lumina , but I was constantly shocked and, at times, impressed by the lack of character development or reasoning for anything that happens. I did not understand the relationships between any of the characters, who are of little consequence and seem to materialise out of nowhere only to disappear just as quickly, and we’re given no insight into their ridiculous motivations. Plus, the excruciatingly shoddy and cheap-looking CGI is about as convincing as the awful performances. Nonetheless, some of the line deliveries and bad CGI are entertaining in their own way, resulting in something so disastrous I nearly had a good time. QUENTIN In 2015, I bought a car for $500. The paint was flaky and faded, the saggy cloth seats had cigarette burns, and when you cranked the AC, the headlights dimmed noticeably. It was an embarrassing and creaky shitbox, but it was, technically, an automobile. After months of “fuck this car,” I donated it for the tax write-off. Where am I going with this? That car was a 2000 Chevy Lumina. Gino McKoy’s sci-fi horror Lumina evokes that car’s memory. Is it technically a movie? Yes. Is it an embarrassing, “fuck-this-movie” shitbox that should have been shelved for the tax write-off? Also yes.

TETRIS Starring: Taron Egerton, Nikita Efremov, Toby Jones, Roger Allam, Anthony Boyle, Oleg Shtefanko, Sofia Lebedeva, Igor Grabuzov, and Ayane Nagabuchi Director: Jon S. Baird DARRYL Spearheaded by an electrifying performance from Taron Egerton, Tetris is a full-tilt blast of a film that absolutely captivates from start to finish. Jon S. Baird's clever and inventive direction, bolstered by Alwin H. Küchler's dynamic cinematography, creates a pot-boiling thriller with enough video game references sprinkled in to please any casual fan of a certain age. While likely closer to zero percent than a hundred in terms of accuracy, the movie nevertheless is a two-hour rollercoaster of moves and countermoves, deftly capturing the political tension of the 1980s. A must watch! QUENTIN While Tetris features a wild story and is an engaging watch, it’s a bit of a tonal mishmash. There are scenes of steely corporate intrigue and bleak, Cold War-era politics juxtaposed with a retro, 8-bit vibe that is inherently fun and silly. Those moments of silliness deflate the seriousness of the dangerous events occurring, which I guess is the point, but it causes a lot of whiplash. Still, even though some of the contract legalese about gaming rights can get a little confusing, Taron Egerton’s (mustachioed) performance and the overall tale is more than enough to make this an easy movie to recommend. AMARÚ Taron Egerton is doing something odd in Tetris . He has an infectious energy that is heightened by a weirdly annoying accent and cadence; the type of annoying that pokes and prods and doesn’t leave you alone until you agree to whatever craziness it’s spewing. That’s what this movie does. It quickly pulls you into a tense gambit of political intrigue, business machinations, and spy games that grabs your heart and keeps it racing non-stop. The story is expertly fashioned to make this unbelievable tale about one of the most famous video games in the world a crafty, stylized political thriller. Who knew? JOSEPH Tetris is one of those “so crazy it must be true” stories, and Apple has yet another hit on its hands…a hit that boasts one of Taron Egerton’s best performances. The transitions are sleek, employing a colorful use of stylish 8-bit that perfectly captures the aesthetic, and the synthy score only adds to it. It’s a fun ride that blends elements of The Founder and Argo while infusing them with a great deal of wit. If it were released during awards season, I wouldn’t be surprised to see Tetris snag some nominations. PAIGE Tetris is definitely worth hitting the play button on. While the film can feel a little silly and over the top at times, it works because of the fascinating tale being told about one of pop culture’s biggest games, a game we’ve all played and love. I promise you, if you love the classic game, you’ll be captivated by this somewhat humorous cloak-and-dagger thriller. Other than it feeling like a friendlier version of The Social Network , the film flourishes due to its fun and offbeat origin story and Taron Egerton’s energetic screen presence. ADRIANO Like the game, there’s something very infectious and lovable about Tetris . Maybe it’s Taron Egerton’s committed performance that you can’t help but fall for, maybe it’s the 8-bit style that gives the film an interesting edge - it’s hard to pick. Either way, I do wish the film’s tone reached the heights that the bonkers true story seems to deserve. I found myself constantly asking myself, “this didn’t happen, right?” Overall, it strikes a nice chord for someone like me, a viewer that loves to be entertained while I learn.

THE DEATH OF ROBIN HOOD Starring: Hugh Jackman, Jodie Comer, Bill Skarsgård, Murray Bartlett, Faith Delaney, and Noah Jupe Director: Michael Sarnoski ADRIANO At first, the promise of The Death of Robin Hood convinced me we had something amazing. Its grizzly nature meshed well with the redemption its titular character (Hugh Jackman) was seeking. But once it reached a much more meditative wavelength, it struggled to hold my attention in a way that director Michael Sarnoski’s slow-moving storytelling has in the past. The cinematography is stunning throughout, and its story is interesting, but we’re kept at too much of an emotional distance from Robin Hood to feel the true power of the catharsis. There’s something worthwhile in here, but it’s no bullseye. NICK Beyond a strong and grounded Hugh Jackman performance, The Death of Robin Hood is a dreary and laborious watch. Although it gets off to a promising start, the film wastes all of that early momentum. It’s as if director Michael Sarnoski set out to do his version of films like The Northman or Valhalla Rising but lost that intention along the way. The violence all but disappears and we’re left with a film that relies heavily on mediocre dialogue while failing to fully articulate the journey of Robin Hood (Jackman). I respect the new take on the character, but the execution here just didn’t work. BODE The opening of The Death of Robin Hood makes it explicitly clear that this is not the legend you remember. Inspired by a 17th century ballad, writer/director Michael Sarnoski forges his depiction in brutality and meditation, and brings about a tale about redemption and myth-making in the process. This could’ve easily felt like a cynical cash-in, but similar to his debut feature Pig , its soulful rhythms prove that it’s anything but. With strong performances, Pat Scola’s beautiful cinematography, and first-time composer Jim Ghedi’s haunting score, this challenging vision ends up being mostly worthwhile, should you give yourself over to it. QUENTIN For some, The Death of Robin Hood might feel like a bait and switch. The opening half-hour is gritty and violent, like if director Robert Eggers made multiplex entertainment instead of atmospheric art-in-motion period pieces. But after that quasi-prologue, Hood becomes far more meditative and melancholy, closely attuned with director Michael Sarnoski’s debut, Pig . That tonal switch may lose audiences wanting Game of Thrones -level brutality throughout, but after seeing a dozen Robin Hood (Hugh Jackman) movies, I was fully engaged in this fresh take on the character I love and the lore surrounding him. Terrific performances, beautiful cinematography, and a top-notch score only roped me in further. AMARÚ The Death of Robin Hood is a brutal watch. It’s a visceral attack on the senses that writer/director Michael Sarnoski was adept enough to beautifully show on screen. But unlike the film with Hugh Jackman's other literary “old man” character (until he’s 90!), I found it hard to find reason for this brutality. That is until a contemplative second-act turn worked extremely hard to bring redemptive balance to my indifference, much due to Jackman’s brilliance. Robin Hood is ultimately a tough watch with plodding pacing, but its performances keep you engaged to the end.

THE THURSDAY MURDER CLUB Starring: Helen Mirren, Pierce Brosnan, Celia Imrie, Ben Kingsley, Naomi Ackie, and David Tennant Director: Chris Columbus PAIGE Chris Columbus’ The Thursday Murder Club is a somewhat decent murder mystery despite the fact that it doesn’t reinvent the genre. The story is a bit sluggish and bland, but its lighthearted charm and terrific cast make it worth at least throwing it on in the background. Helen Mirren, Pierce Brosnan, Celia Imrie, and Ben Kingsley appear to be having a ball and play off each other seamlessly, but their chemistry alone isn’t enough to fully save the movie. This harmless mystery has its moments, but it heavily leans on formula, and by the end, it’s pretty forgettable. KATIE The Thursday Murder Club has a lot going for it: a starry cast, witty dialogue, and gorgeously luxurious settings. However, although I found it starts strongly, it ultimately falls flat. Helen Mirren is fantastic, and I’m always happy to see David Tennant on screen, but its perfunctory story and predictable twists make it a bit bland. Some of the cast seems disengaged too, which doesn't help, while the relentlessly bright colour palette makes it look like a TV film. It’s a very watch-on-your-couch-on-a-Sunday type of affair. It’s good enough, but I wasn't impressed. ROBERT While watching The Thursday Murder Club , I thought I got sucked into a mystery show advertised on BritBox. It seemed like it was the UK’s answer to Only Murders in the Building , but without the lived-in ribbing I get from Steve Martin and Martin Short, which buoys that show. I couldn’t get past how many people in this were in MobLand , but without the gangster edge and griminess that made that show slick and cool. Helen Mirren is a force, Pierce Brosnan is cool, and I will always advocate for slimier David Tennant, but otherwise, this was a shallow and neutered effort. QUENTIN With full recognition that I’m Bitesize’s resident Old Man, The Thursday Murder Club is for people even older than me. I mean, your grandmother and people who think Only Murders in the Building is too hip and edgy probably will love this movie, but for me, this murder mystery is far too bland to be engaging. I suppose the cast chemistry carries the film decently enough — how could it not with this cast of legends? — but still… ehhhh. Do you know that gentle, talk-to-the-elderly voice you use when helping a sweet old lady at the market? This is the movie equivalent of that.

DAY SHIFT Starring: Jamie Foxx, Dave Franco, Snoop Dogg, Natasha Liu Bordizzo, Meagan Good, Karla Souza, Eric Lange, and Zion Broadnax Director: J.J. Perry AMARÚ Day Shift doesn’t take long to set up what kind of movie it is. Two minutes in, and vampires are already being shot into the scorpion position (which happens a surprisingly large amount). Yet, the next action set piece doesn’t occur for at least another 30 minutes. Instead, it takes the clichéd “I need X dollars in Y days or I lose my family” storyline way too seriously for a movie that leans heavily into silly R-rated vampire movie tropes. Jamie Foxx’s natural charm could have made me overlook the predictability, conveniences, and undeveloped characters, but the tonal imbalance was hard to overcome. JOSEPH Day Shift , like Netflix’s other urban fantasy film Bright , is a cool idea that should work but unfortunately doesn’t. Everything about the world building feels complete, and the performances are engaging, but there is something missing. Plus, the overuse of CGI, lack of focus for the majority of the story, and weak jokes add additional hindrances. Still, a sequel or spinoff could prove to be successful with the right director and writer. Jamie Foxx and Dave Franco deserve better. QUENTIN When considering Netflix’s star-driven blockbusters, Day Shift has to be considered one of the streaming service’s weakest of the year, maybe ever. It’s basically just Ride Along , with the tiniest traces of True Lies and Zombieland , but with vampires. It relies on so many generic tropes that I don’t have enough space to even start mentioning them here, not to mention an over-the-top, WWE-style fight choreography that weirdly lacks fun and excitement. Plot points and the rules of the world we’re given don’t make much sense either, and there are a few downright odd camera angles put in play. Banging West Coast soundtrack, though.

ANACONDA Starring: Jack Black, Paul Rudd, Thandiwe Newton, Steve Zahn, Daniela Melchior, and Selton Mello Director: Tom Gormican AMARÚ We know what to expect when Jack Black sings, Paul Rudd and Steve Zahn play awkward, and Thandiwe Newton says, “I know what movie I’m in and will still show you I’m a great actress.” Knowing is half the battle, right? Unfortunately for Anaconda , execution is the other half, and it couldn’t execute anything remotely coherent. It could’ve had something if it stuck with the meta stupidity that one scene hilariously showcased, but with so many structurally misplaced storylines, the film is often confused on whether it wants to be silly or sincere. It tried to find that Tropic Thunder magic and spectacularly failed. ADRIANO I had some fears going into Anaconda , like the meta-narrative schtick annoying me. It actually made me laugh, though, particularly as Jack Black felt more in control than he has in recent years. Oddly, the best part is how sincere the “let’s fulfill our long lost dream” narrative is. That said, when it goes all in as a monster flick, it's a mess. Narrative cohesion is gone, and its tone misses every mark it seeks out, both serious and silly. This is a weird one, and I didn’t come away feeling entertained despite what it has going for it.

SCARY MOVIE Starring: Anna Faris, Regina Hall, Marlon Wayans, Shawn Wayans, Cameron Scott Roberts, Olivia Rose Keegan, Ruby Snowber, Savannah Lee Nassif, Sydney Park, Gregg Wayans, Dave Sheridan, Lochlyn Munro, Cheri Oteri, and Chris Elliott Director: Michael Tiddes NICK While 2025's The Naked Gun showed that you can still do parody, 2026's Scary Movie shows that maybe the Wayans can't anymore. With over a decade of horror fare to work with, this film is filled with uninspired spoofs and lazy, dated jokes. It’s actually strongest when it gets away from the film references. Even some of the legacy actors feel disconnected from their original characters, and the new crop are mostly annoying and forgettable. Sure, it’s nice seeing the original cast back, and every once in a while, something made me chuckle. But sporadic laughter isn’t what you look for in a comedy. ADRIANO After all the marketing promised a no-holds-barred pearl-clutcher, the most offensive part of Scary Movie is how incredibly tame it is. This whole movie feels like the ramblings of an out-of-touch dad asking, “can you even say that anymore?”, desperate to both offend and connect with the youth. In failing at both, Scary Movie not only feels outdated immediately, but worse than that, it forgets to be funny. Aside from a few chuckles, there are simply not enough laughs to forgive the glaring flaws like I did for the first two films of this franchise. ROBERT The summer season has been unkind to sequels and franchises so far, and Scary Movie is no exception. The excitement for it was palpable as there was a promise of recapturing what gave the parody series its legs, and while it tries, the re-incorporation of the Wayans is tired and lifeless. As a parody, character and story are meaningless, but if the bits don’t land with a modicum of plot to move things along, the film is aimless. Some jokes and cameos gave me hope, but it couldn’t hold onto that focus consistently. “Cindy, it’s just bones” …an appropriate description for this installment. BODE You either die a hero…or you live long enough to see yourself become Jason Friedberg and Aaron Seltzer. To be fair, there’s more laughs in the new Scary Movie than in anything those two hacks created. But for every good joke in the Wayans’ long-awaited return to this franchise, there’s dozens more that fall as flat as the ones in Date Movie or Epic Movie . And just like those movies, there’s no real plot to string them together. If nothing else, it was nice to see Anna Faris and Regina Hall reunited. I just wish it were for something better than this. Want to hear even more of our thoughts? Nick and Shak join Matt to take A Bigger Bite out of Scary Movie HERE .

FINESTKIND Starring: Ben Foster, Toby Wallace, Jenna Ortega, Tim Daly, Lolita Davidovich, Aaron Stanford, Clayne Crawford, and Tommy Lee Jones Director: Brian Helgeland NICK What did I just watch? Finestkind begins as a fairly straightforward story about brotherhood and fishing boats that seems to be building into an indie-feeling family drama, anchored by strong performances from Ben Foster and Toby Wallace. Then, about halfway through, it evolves into… some attempt at a crime thriller, with the tone making a complete 180. Perhaps the second half would have worked if it started that way, and I think there is a chance the first half would have worked had it stayed on track; however, put it together, and all you have is a mess. QUENTIN Though not quite the crime thriller it’s marketed as, Finestkind is a decent enough experience due to its workman-like presentation and solid performances, particularly from Ben Foster, Clayne Crawford, and Tommy Lee Jones (who, thankfully, does not attempt a Boston accent). Tonally, it’s a bit inconsistent, with the first and second halves feeling like they come from two different scripts, but as an A-to-B story, the beats mostly make sense and are organic. Overall, I didn’t love it, but I didn’t hate it either. Mostly, I’m just disappointed that Ben Foster was once again relegated to a straight-to-streaming movie that few people will see. PAIGE Finestkind is a tonal and narrative mess, and it seems to have no idea what it wants to be. The first half functions as a family drama following two brothers, played by Ben Foster and Toby Wallace, who were raised on two completely different walks of life, while the second half transitions into a crime thriller. Despite that sounding intriguing and being something that could have worked, director Brian Helgeland can’t rope these two plot ideas together to flow narratively well. Honestly, what keeps this film afloat are its performances. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

NIGHT ALWAYS COMES Starring: Vanessa Kirby, Zack Gottsagen, Jennifer Jason Leigh, Stephan James, Julia Fox, Randall Park, Eli Roth, and Michael Kelly Director: Benjamin Caron QUENTIN While Vanessa Kirby gives a standout performance, Night Always Comes disappointingly doesn’t invest enough in its story to match her efforts. First and foremost, it only superficially establishes the stakes. I understand that Lynette (Kirby) needs $25,000 by morning or she loses her house. But what does that mean? The movie never gives a reason to care outside of it being generally bad news. The story doesn’t develop many of the character relationships either, as Lynette’s night is a series of seedy vignettes, jumping from one B-level cameo to the next. It’s admittedly decently directed, but it’s still just a poor man’s Good Time . PAIGE Night Always Comes is an enthralling, bleak drama from start to finish that will have you stressfully rooting for Vanessa Kirby’s character to get out of a series of bad situations. For her part, Kirby continues to prove that she truly is one of the most underrated and versatile actresses working today. The rest of the supporting cast work to elevate the film too. That said, while the performances match the cool aesthetic, the overall film doesn't reach its full potential. I just wish it had bared its soul a bit more. ROBERT A movie premise that takes place in one day (or night) will always be popular because so many conflicts happening in such a short time is thrilling. Night Always Comes borrows from many previous films to progress Lynette (Vanessa Kirby) through her tumultuous evening in search of quick cash, relying on Kirby’s revelatory performance as someone always simmering with rage but trying to keep it under control for her family. Unfortunately, while the viewer isn’t given a chance to breathe, neither is the story around Kirby. There are seemingly no consequences for anything that happens, leaving a film that feels incomplete even though it is composed well. KATIE Unfortunately, Nothing about Night Always Comes is convincing. Vanessa Kirby gives a fine performance, but I didn’t get any sense of urgency from her actions or the circumstances that are forcing her hand. Characters come and go inconsequentially, and it feels like Kirby’s character just moves indifferently from one bleak event to the next. The film superficially engages with themes of financial insecurity and mental health, but doesn’t really have an emotional impact. It has some good-looking nighttime cinematography, but, overall, it lacks the tension and energy that are central to the success of any thriller.

WOMEN TALKING Starring: Rooney Mara, Claire Foy, Jessie Buckley, Ben Whishaw, Frances McDormand, Judith Ivey, Sheila McCarthy, Michelle McLeod, Emily Mitchell, Liv McNeil, Kate Hallett, August Winter, Kira Guloien, and Shayla Brown Director: Sarah Polley JACOB Sarah Polley’s Women Talking likely won’t blow anyone’s mind, but apart from a needlessly desaturated color palette, it’s one of the year’s best films. Adapted from the novel of the same name, the film’s script is its strongest element, but not its only strength. From Jessie Buckley’s steely resolve to Claire Foy’s righteous fury, every performer is in top-notch form, and the conversations they have hit particularly close to home if you grew up in a religious environment. It’s far more cinematic than one might expect, and the score by Hildur Guðnadóttir makes the composer two for two this year. DARRYL Women Talking is one of the year’s most powerful films. An excellent adaptation by Sarah Polley, as well as a masterclass in acting from virtually every member of the cast, this is just a top tier movie. Relying on the quality of the script and avoiding any needlessly complicated filmmaking, Polley’s simple visual approach ensures that all the focus is on the actors. A story about women choosing to break free from the bonds of an abusive patriarchal society, the underlying message that change needs to happen sooner rather than later is a brilliant beacon for any woman looking to improve their own life’s circumstances. NICK You can respect a film without overly liking it, and that’s about where I stand with Women Talking . The film, which plays out more like a Shakespearean play, feels incomplete, as if it were Act 1 of a larger story. Story wise, it leaves a lot to be desired. However, performance wise, there isn’t anything bad to say about this ensemble. Director Sarah Polley’s intentions are deliberate, and regardless of reception, she has reasoning behind every decision she makes, including the off-putting and drab colour palette. It may work for some, but it didn’t work for me. ADRIANO Women Talking is absolutely breathtaking, with writer/director Sarah Polley on her absolute A-game. As a director, she portrays the sheer vulnerability and terror of the plot seemingly effortlessly, but the script is incredible too, being tragic but also snappy and, weirdly enough, kind of funny at times. And the ensemble? Holy crap! Everybody is fantastic. That said, the film’s color palette is very bad. It seems nitpicky to criticize a movie's color grading, but it’s very distracting and just awful. Still, if the only flaw for a movie is the coloring, that’s a damn good sign. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

SPINNING GOLD Starring: Jeremy Jordan, Michelle Monaghan, Peyton List, Lyndsy Fonseca, Caylee Cowan, James Wolk, Dan Fogler, Jason Isaacs, Jay Pharoah, and Chris Redd Director: Timothy Scott Bogart QUENTIN If not for the soundtrack, Spinning Gold would have absolutely nothing going for it. It’s terribly directed, dreadfully acted, poorly written, and feels cheaply made. There are awful costumes and even worse green screen scenes. For reference, the lead actor’s last three movies were Hallmark Originals, and the writer-director, who happens to be the son of the main character, hasn’t written or directed a movie since a 2005, straight-to-streaming rom-com that is so obscure it doesn’t have a Wikipedia page or a Rotten Tomatoes score. This is the level of talent involved, and it makes for a painful watch; extra half reel for the music, though. JACOB The first rule of filmmaking is “show, don’t tell,” but if someone’s first movie experience was the dreadful Spinning Gold , they’d learn the opposite lesson. Without a doubt, this is easily one of the worst music biopics I’ve ever had the displeasure of viewing. Even after the second half finally debuts two actually coherent scenes, it can’t stop being so far up its own ass about how important it all is…and it never. stops. telling . you that. Nearly every role is irreversibly miscast, the dialogue is cringe levels of high school stage theater, and not one performance (or wig job) succeeds.