MY FATHER'S SHADOW Starring: Sopé Dìrísù, Godwin Egbo, and Chibuike Marvellous Egbo Director: Akinola Davies Jr. ADRIANO Operating on a similar logic to Aftersun, My Father's Shadow's depiction of Lagos in 1993 under political turmoil, as well as fatherhood through the unaware eyes of children, is a memorable and even heartbreaking examination. Director/co-writer Akinola Davies Jr.'s direction is precise but, by design, rusty. Our perspective is through the kids, so the limited information enhances the beauty and horror of the plot. Sopé Dìrísù's performance blends masculinity with tenderness perfectly, and the child performances from Chibuike Marvellous Egbo and Godwin Egbo are great as well. By the end, it made me cry and reflect, the hallmark of a job well done. AMARÚ My Father’s Shadow is a strong feature debut for director Akinola Davies Jr. It’s powerful in its messaging of fatherhood, brotherhood, and sacrifice, with a grittiness to Davies’ camera work that brings a gripping authenticity, all anchored by Sopé Dìrísù’s vulnerable performance. There’s a scene between father and son that is so raw and real that it will stay with me for a long time. These deeply felt themes of family, community, and legacy help stave off small instances of stagnancy, and help bolster hope in the midst of unjust tyranny. This one hits at your heart’s core. BODE With My Father’s Shadow , director Akinola Davies Jr. and co-writer Wale Davies pull from their childhoods to explore multi-generational masculinity against the social unrest that surrounded Nigeria in 1993. It’s an examination that manages to somehow feel simultaneously epic and intimate. The personal, the political, the dreamlike, and the realistic hazily blend together in lovely and heartbreaking ways that nearly had me tearing up at various points (especially as someone of Nigerian heritage). It certainly helps that Sopé Dìrísù is excellent as the titular father, and the score from composers Duval Timothy and CJ Mirra is soul-stirring. A remarkable directorial feature debut. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

KRYPTIC Starring: Chloe Pirrie, Jeff Gladstone, and Jason Deline Director: Kourtney Roy This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN If director Kourtney Roy’s intent with Kryptic was to be…well, cryptic…it’s a massive success because this movie is borderline incoherent. As it went on, I felt myself getting increasingly confused as the David Lynch-style mysteries and symbolism pile on top of each other. I suppose it could become the type of movie that viewers watch and rewatch with the hopes of decoding it over time, but esoteric and slimy strangeness is really all this film offers. There is certainly a time and place for such weirdness, but it seems to be the only point here, which makes for a less than engaging experience. PAIGE Kryptic is an intriguing B-movie with a lot going for it. It boasts gorgeous visuals, a rad electronic sound design, and some slimy horror sequences that might make some people cringe. However, conceptually, it is too vague to really work. Unfortunately, I became lost in its meandering pace and slow unraveling of the mysterious soul-searching journey, which has left me with more questions than answers. All in all, though, even if the movie is a little disorganized, it's at least distinct by forging its own goopy path.

NOVOCAINE Starring: Jack Quaid, Amber Midthunder, Ray Nicholson, Conrad Kemp, Evan Hengst, Jacob Batalon, Betty Gabriel, and Matt Walsh Directors: Dan Berk and Robert Olsen NICK The reluctant hero is a role that fits Jack Quaid like a glove, and Novocaine allows him to showcase his talents as a full-feature lead. I'd say he passed his first test. The film has issues, mainly a wholly unnecessary twist and an over-the-top cartoony villain, but Quaid is not one of them - nor is Amber Midthunder who had been sorely underutilized since 2022's Prey . The gimmick (being impervious to pain) provides some gnarly injuries while the supporting cast supplies laugh-out-loud moments, but mainly, it’s just a fun time at the movie theatre. Tidy some things up and I’ll gladly take a Novocaine 2. ADRIANO Novocaine is a perfectly watchable piece of entertainment, but it lacks a personality, which is why I think it didn't have much of an impact on me. That said, there's clearly stuff to at least enjoy here, especially as a great showcase for Jack Quaid's leading man charm. Whenever the movie was committed to its ragdoll premise, it was really funny and borderline gross. It doesn't always commit, and the movie features a huge plot twist that adds nothing, but I left enjoying Novocaine , even if I suspect it'll be fleeting. BODE Novocaine sees Jack Quaid finally step into the role of leading man, and it’s an effective showcase as he’s able to infuse his natural charm into the protagonist with ease (his moments opposite Amber Midthunder are sweet highlights). Unfortunately, even with some wince-inducing moments, the film is too middling to leave a lasting impression beyond its central gimmick (especially at a near two-hour runtime) due to its cookie-cutter villains, lackluster humour, and big twist midway through that ultimately goes nowhere. Novocaine isn’t exactly a painful sit, but it’s not a memorable one either. AMARÚ Something I wasn’t expecting to say about Jack Quaid’s first real headlining film, Novocaine : that was really cute. Yes, it’s gory and action-packed, but the heart of the film is the relationship between Quaid and Amber Midthunder, who needs to be in many more things, by the way. They have real chemistry throughout, and if you want to call this a romantic comedy with lots of action, I wouldn’t hold it against you. I also didn’t hold the outrageous script and flimsy plot points against the film because of how enjoyably its rom-comical narrative is mixed with the well-shot action. Great execution of silly fun. QUENTIN I’m almost always a fan of “badass with a gimmick” movies like Crank and Upgrade because they at least try to inject something fresh into the one-man-wrecking-crew genre instead of being just another John Wick (look, Nobody is great too, don’t get me wrong. But it is what it is). As such, it’s no surprise that I thoroughly enjoyed Novocaine . Jack Quaid takes the skills he has perfected on The Boys to create a charmingly reluctant hero that you want to root for, which makes the increasingly clever use of the feels-no-pain plot device, surprisingly effective humor, and the appealing rom-com coloring even more fun. ROBERT I’m a sucker for Jack Quaid because his whole vibe speaks to me, so I was in on the first notice about Novocaine . His energy brings the heart to make it a cute movie with Amber Midthunder, and the action plays to the rules of the world and Nate’s condition. I found the funniest person to be Ray Nicholson, being as unhinged as ever, but I was searching for more laughs that never came. The composition of the film is well put together, but I still wanted more. Ironically, Novocaine hits you in the feels, but nowhere else. BRYAN Filled with a ton of adrenaline and a surprising amount of charm, Novocaine is a wildly entertaining romp, anchored by a wonderful Jack Quaid turn. The action sequences brim with creativity, as well as brutality. The blend of action, romance, comedy, and even thriller can be overwhelming, but I was never turned off by the effort. It does overstay its welcome towards the end, and some of the twists may not stick the landing; however, this is a true crowd-pleaser that shouldn't work as strongly as it does. Two hours at the cinema well spent, if you ask me.

SONIC THE HEDGEHOG 3 Starring: Ben Schwartz, Jim Carrey, Keanu Reeves, Idris Elba, Colleen O’Shaughnessey, James Marsden, Tika Sumpter, Krysten Ritter, and Lee Majdoub Director: Jeff Fowler ADRIANO Do you remember in 2019 when the first trailer for Sonic the Hedgehog came out, and Sonic had realistic eyelids and teeth? Look at how far they’ve come. Sonic the Hedgehog 3 is a franchise high. Like before, some humour doesn't land, but I'd still call the movie funny, thanks in part to Jim Carrey's dual performance. However, the shocking part? This movie made me cry. The film offers an oddly sincere and mature approach to grief and choosing love over despair. The writers of these movies clearly care about the characters, and it paid off this time in surprising ways. AMARÚ I really wish movie studios didn’t think that children only want butt jokes and TikTok dances. The end of Sonic the Hedgehog 3 proves it is more than capable of being fun, action packed, and heartfelt, especially when Sonic and Shadow (Ben Schwartz and Keanu Reeves, respectively) interact. Their fights are fantastic and resolved with great themes, but that was only 15 percent of the film. The rest is Jim Carrey, Idris Elba, and Colleen O’Shaugnessey being forced to make Robotnik, Knuckles, and Tails say and do “what the kids are doing today.” Next time, instead of stringing “hip” scenes together, please just make a movie.

CHALLENGERS Starring: Zendaya, Josh O’Connor, and Mike Faist Director: Luca Guadagnino ADRIANO Have you ever watched a movie, then walked out of the theatre with a sudden burst of energy? That was me after Challengers , a film so electric that I found myself unblinkingly enthralled. Director Luca Guadagnino threw every crazy idea at the screen, and while there are some misses, the ones that hit are too entertaining to watch. With the bizarre sexual chemistry between the three leads at the forefront, Challengers is a brilliantly thought-out and complex tennis match of psychological warfare that barely ever lets up, and I'd be surprised if it didn't remain one of the year's best come December. QUENTIN Despite what the trailers advertised, Challengers surprisingly is a semi-bore that isn’t very sexy or exciting, featuring thinly drawn characters, an unsatisfying ending that doesn’t align with the shallow story that preceded it, and an abundance of blatant product placement (I mean…Applebees?). Plus, director Luca Guadagnino clearly is in try-too-hard mode, using a non-linear structure that hurts the movie’s pacing and plotting, slow-motion sweat drips galore, and “tennis ball cam.” It wasn’t until the final ten minutes that I leaned forward in my seat with enthusiasm, which is too late in the game. Admittedly, the score rips and the performances are great, but overall? Fault, Guadagnino. PAIGE In tennis terms, Challengers is an ace. Sparkling with energy, this commercial arthouse film features an electrifying score by Trent Reznor and Atticus Ross, a deft editing style with clever framework, and three fantastic and palpable performances by Zendaya, Mike Faist, and Josh O'Connor. With tennis as its backdrop, this exquisite character study on passion and desire demonstrates the drive and dedication needed to maintain a relationship. With that said, director Luca Guadagnino serves up a fierce and intimate drama packed with pulse-pounding tension on and off the court. KATIE Challengers is absurdly exciting and sexy, with a show-stopping performance from Zendaya, who is absolutely dripping in star quality and alluring charisma. The trio at the centre of the drama have magnetic chemistry, and all their interactions feel like an intense match of witty dialogue and erotic tension. A throbbing techno soundtrack by Trent Reznor & Atticus Ross injects a bolt of adrenaline into every moment, heightening the rhythmic quality of the games and intensity of the verbal altercations. Challengers kept me entertained and on my toes throughout, further solidifying Zendaya as our next true movie star. CALEB With Challengers , director Luca Guadagnino has cemented himself as one of the boldest, most exciting filmmakers of our generation. It’s a confident, sexy tennis drama with more style than you can shake a racket at. From the pulse-pounding EDM score to the unbelievable camera tricks, every element of this film feels inspired. Mike Faist and Josh O’Connor make for excellent rivals, and Zendaya’s subdued but fierce performance caught me off-guard in the best way possible. It’s rare that a movie has me on the edge of my seat, but the last ten minutes of Challengers had me in a chokehold. This one deserves all the hype. PRESTON Challengers does little to enhance my enthusiasm for tennis, and it shows what extremes must be taken in order to coerce the audience into feeling emotionally invested enough to feel the tension in the final act. Director Luca Guadagnino creates a misleading love story with tennis-like, back-and-forth storytelling that is more distracting than riveting. The over-the-top sexiness of its marketing ploy doesn’t deliver either, although some innovative camerawork and the overall sound do make up for many shortcomings. Zendaya shines, as expected, in a film that definitely fits more into the realm of “challenger” than Pro Tour. AMARÚ There’s a palpable energy throughout Challengers that initially clashed with director Luca Guadagnino’s jerky pacing and risked the opening act grinding the film to a screeching halt. But as the movie progressed and the volley of chemistry between Zendaya (a capital S, Star), Mike Faist, and Josh O’Connor ramped up, there was no denying the pulsating groove that kept building and building to a satisfying finish. Add in a great use of POV shots, slow-motion, and a titillating Trent Reznor/Atticus Ross score to make you as hot and bothered as possible, and you get the sexiest and most captivating film of the year.

BEETLEJUICE BEETLEJUICE Starring: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, and Willem Dafoe Director: Tim Burton ADRIANO Warts and all, I will take the unflinching mayhem of Beetlejuice Beetlejuice over the majority of careless blockbusters we get nowadays. Yes, the script is overpacked, and a lot of what is set up is left in the wastebasket. However, director Tim Burton ditches any type of lame nostalgia baiting and pandering (Deadpool & Wolverine , cough cough) to go full sicko mode with wonderful practical effects and an on-brand insanity that had me laughing. You'd swear he and Michael Keaton never left the set in 1988 with their faithfulness to the original. QUENTIN I’m extremely divided on Beetlejuice Beetlejuice , which, frankly, isn’t a sequel I wanted or needed since Beetlejuice is such a stone-cold classic. With that in mind, Michael Keaton hasn’t missed a beat as “The Ghost with the Most,” and stepping back into director Tim Burton's visionary afterlife tickled all my nostalgia bones (Danny Elfman's score too!). However, the story is borderline trash, taking way too long to get going and having way too many moving parts. Plus, there are some flourishes and directorial choices that I really hated (some I loved too), resulting in an attempt that I formally appreciate, but a movie I’ll never revisit. PRESTON Beetlejuice …*sigh*…Beetlejuic e. After 36 years, the highly anticipated sequel only served to trample my meager hopes for something close to worthy of the original. Mostly, the pain I feel is a result of the shallow production that I had to witness. The chaotic plotline and numerous subplots are haphazardly shoved together in order to advance a shameless reliance on nostalgic pandering, with the nonsensical “Bobs” acting as a Minion -esque marketing ploy. Even the couple in front of me, who burst out in outrageous laughter during the Red One trailer, had difficulty mustering more than a faint chuckle during the film! Sad Trombone. PAIGE Though the plot is a bit overstuffed with story threads that are undercooked, there’s no denying that Beetlejuice Beetlejuice has heart, or that it brings us back into the surreal world Tim Burton created back in 1988. This sequel feels like a return to form for Burton, and the whimsical practical effects and vibrant production design in the afterlife are astounding. The returning ensemble, especially Catherine O'Hara and Michael Keaton, are fantastic, not to mention that Jenna Ortega fits right in with the madness. All in all, Beetlejuice Beetlejuice may be messy, but it’s a ghoulish good time! AMARÚ Nostalgia is working overtime to find much enjoyment in Beetlejuice Beetlejuice . While it looks beautiful, with Tim Burton putting his whole foot in the direction, the entire film treads through unfunny and overlong comedic set pieces to juggle fifty million storylines that never have enough time to delve deeper than made-for-TV story depth. One specific plotline, if focused on, would’ve been interesting if it wasn’t resolved in two-point-WTF-thats-all-it-took-to-figure-that-shit-out seconds. Every non-makeup or visual effect aspect of the film is treated with that modicum of care, and damn was it a waste of time. KATIE Beetlejuice Beetlejuice is one of the strongest legacy sequels I’ve seen, and I left the cinema refreshingly impressed with director Tim Burton’s darkly funny return to his 80s classic. Danny Elfman’s energetic score sets the tone for the film’s gleefully ghoulish energy, and Michael Keaton faultlessly reprises his titular role, bringing an infectious sense of eerie exuberance that made it impossible not to have a good time. Whilst the film cannot quite support the increasing weight of side characters and subplots, the practical effects are fantastic, the performances are strong, and, most importantly, it stays true to the anarchic spirit of the original.

MEAN GIRLS Starring: Angourie Rice, Reneé Rapp, Auli’i Cravalho, Jaquel Spivey, Avantika, Bebe Wood, Christopher Briney, Jenna Fischer, Busy Philipps, Tina Fey, Jon Hamm, and Tim Meadows Directors: Samantha Jayne and Arturo Perez Jr. NICK If you’re going to remake a film that was released in the 21st century, you need to offer me something new. With Mean Girls , that offer is solely a transformation into a musical with relatively forgettable songs. Beyond that, it’s just a retread of the original with a perfectly fine new cast who, aside from Jaquel Spivey’s take on Damian, don’t outdo their predecessors. All of it has a very Disney Channel Original Movie vibe. With fresh eyes, those new to the films may have differing thoughts, but if you’ve seen the 2004 version, there just isn’t enough new here to warrant checking it out. CALEB If being a musical is the only thing justifying the existence of Mean Girls (2024), then it probably should’ve had some better songs. There are about a dozen musical numbers in this broadway adaptation, and none of them are memorable. The singing isn’t terrible, but the dancing and cinematography are wildly underwhelming. The script was also a lot tamer than I was expecting, relying mostly on jokes from the original. While it isn’t awful, it’s pretty tough to recommend a musical without any good music. I wanted to enjoy it, but this new Mean Girls isn’t very fetch. AMARÚ I don’t blame the Mean Girls’ actors for the numerous times I said “you’re no Amanda Seyfried/Amy Poehler/Lacey Chabert”. I blame writer Tina Fey (who was somehow no… Tina Fey) for not understanding that good remakes don’t recycle story beats without earning it with something original. Nor do good musicals give their leads the blandest musical numbers. I do recognize that Auli’i Cravalo and Jaquel Spivey wholly understood those facts, so two reels go to them. Plus another half reel because along with Reneé Rapp, they had to carry the second half of Fey’s carbon copy script on their backs. ADRIANO As someone who loves the 2004 original and is a huge fan of musicals, Mean Girls should've been right up my alley. Unfortunately, this remake is a lazy carbon copy where everything is worse. Other than an entertaining Reneé Rapp, there was nothing to take away from this film beyond seeing actors poorly recreate well-known scenes and some forgettable songs accompanied by MTV-like musical numbers. I was genuinely taken aback when I found out Tina Fey wrote this. I don't know what happened, but she must have forgotten what made the first film so timeless.

MIKE & NICK & NICK & ALICE Starring: Vince Vaughn, James Marsden, Eiza González, Keith David, Jimmy Tatro, Ben Schwartz, and Stephen Root Director: BenDavid Grabinski NICK Who knew Vince Vaughn’s ideal scene partner would be… Vince Vaughn? Well, Mike & Nick & Nick & Alice brings that idea to life as Vaughn pulls double duty alongside the always delightful James Marsden. The “trio” provides plenty of laughs to counter the violence and mayhem littered throughout this R-rated comedy. Bolstered by an entertaining supporting cast including Keith David, Jimmy Tatro, Stephen Root, and Alice herself, Eiza González, this is a crowd-pleasing comedy that would greatly benefit from the shared experience of an audience. Unfortunately, as with many modern comedies, this is headed straight to streaming and will miss out on that opportunity. ROBERT It’s hard to make time travel fresh or innovative as a plot device, so making it seem benign as part of the joke of a film is deft handling. Mike & Nick & Nick & Alice figures out how to make two Vince Vaughns seem almost normal in a trumped-up gangster world; that ubiquitous feeling, along with the interplay of all the relationships, is its strength. The cast helps make up for some odd aesthetic choices, especially with guys like Vaughn and Keith David attempting action scenes. You won’t feel the need to erase this from your existing timeline, unless you hate laughter. PAIGE Mike & Nick & Nick & Alice is a cheesy yet entertaining action-comedy that feels like a throwback to the ’90s and early 2000s. Its tongue-in-cheek humor elevates the flick despite its lackluster premise. The time travel piece adds an element of intrigue to try to set itself apart, but that motive ultimately lacks the energy needed to leave a lasting impression. That said, the trio here (Vince Vaughn, James Marsden, and Eiza González) at least have great chemistry. Overall, it’s not a bad watch as it remained enjoyable even through its somewhat generic aspects. BODE A straight-to-streaming sci-fi action comedy like Mike & Nick & Nick & Alice is probably the last place where you’d expect multiple uses of the step-printing filmmaking effect, popularized by the great Wong Kar-wai. But it’s only one example of how writer-director BenDavid Grabinski constantly toys with expectations as to how this amusingly violent time-hopping tale plays out. And credit to him and his cast full of likeable players (including a hysterical Jimmy Tatro), I was consistently engaged. Not everything about it works, but it’s a big swing that I probably won’t look back in anger on. If you know, you know. KATIE Mike & Nick & Nick & Alice is a generally entertaining action comedy with a fun twist, but it's held back by some questionable stylistic choices and confusing use of music. Vince Vaughn plays to his strengths in the lead dual role, working well across from the charming James Marsden, and Jimmy Tatro made me laugh out loud on more than one occasion. However, a slow motion effect is employed frequently and with seemingly no motivation, so it's more distracting than creative, and most of the needle drops felt unnatural and unsuited to the scene.

AMERICAN FICTION Starring: Jeffrey Wright, Sterling K. Brown, Erika Alexander, John Ortiz, Issa Rae, Myra Lucretia Taylor, Leslie Uggams, and Tracee Ellis Ross Director: Cord Jefferson NICK Talk about making your debut with an exclamation point! American Fiction is a brilliantly written satire about the way the Black experience is viewed and desired in mainstream (read: white) media. Writer/director Cord Jefferson has crafted a smart and hilarious film around Jeffrey Wright, who instantly makes you question why he doesn’t lead more projects. Jefferson said one of his goals with this film was to amplify underused actors, and he takes full advantage of the likes of Sterling K. Brown, Erika Alexander, and the rest of this talented supporting cast. I can’t wait for others to get to see this one. ADRIANO American Fiction juggles comedy, family drama, and social-racial politics amazingly considering this is writer/director Cord Jefferson’s first feature. The film is hilarious throughout, with a healthy blend of absurdism and slice-of-life humour. While the family drama plot can seem familiar (not in the way I imagine was intended), the way it blends with the commentary on how black people are depicted in the media and in culture was nothing short of brilliant. I foresee the ending dividing people, but I thought it was incredible. American Fiction is, at worst, a familiar comedy; at best, an ingenious satire. AMARÚ For as much satire that’s in American Fiction , it’s some of the realest shit I’ve ever watched. Within writer/director Cord Jefferson’s innumerably layered script, what resonates most is its focus on black people’s use of humor to deal with grief. Not to mask or deny it, but to recognize that sorrow, while existent, is not an absolute in life. That fraudulence of absolutes is the meticulously utilized throughline that ties together such a profoundly multifaceted story. And I haven’t even mentioned the performances, the music, the heart, the ending… (I could go on and on). This movie is fucking brilliant. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

DEATH OF A UNICORN Starring: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, and Anthony Carrigan Director: Alex Scharfman NICK Death of a Unicorn should be a lot more fun than it is. Aside from the entertaining cast (Paul Rudd, Jenna Ortega, Richard E. Grant, Will Poulter), the writing isn't particularly clever nor does the story feel unique. At its core, this is another "eat the rich" movie, yet it never explores that message beyond surface level. Neither the violence or mayhem really hit because they're often utilized in visually dark scenes that take away the impact of the revenge. There was plenty of opportunity within this story, but the only impressive thing it truly accomplishes is making Paul Rudd unlikable. ADRIANO Yet another eat-the-rich satire, at least Death of a Unicorn has a funny concept. It's too bad it does nothing with it, though. The movie is almost entirely devoid of laughs, with the only exception coming from Will Poulter's delivery. Not even Paul Rudd's reliably lovable doofus schtick lands here. Admittedly, there's something there with the father-daughter storyline, but they don't develop it enough. Writer/director Alex Scharfman puts too much attention on the bare-bones commentary and less on the film's comedy and monster movie elements, making the film not nearly as fun as it should be. AMARÚ Death Of A Unicorn has all the makings of a quirky time spent with a perfect ensemble to pull off the weird, and Richard E. Grant and Will Poulter, in particular, do a fabulous job filling their archetypal characters. However, the film never truly commits to any one idea, moving on to the next thing before giving the current horror or comedic set piece time to breathe. Every individual scene has plenty of fun elements, especially everything involving Anthony Carrigan, but the shallow pacing stunts any cohesiveness the story or characters try to develop, resulting in a lot of lost potential. PAIGE Death of a Unicorn is merely another typical eat-the-rich movie, despite being a quirky and amusing, blood-soaked mythical tale. Although the film has some fun and compelling moments, its formulaic plot dilutes much of its ideas. Nevertheless, the ensemble seemed to be having a blast with what they were given, particularly Will Poulter, who ate up every scene he’s in. Sadly, however, Jenna Ortega and Paul Rudd were unable to establish a strong father-daughter dynamic. All in all, while slightly lackluster, Unicorn is still quite enjoyable and bloody entertaining. BRYAN Oh, look at that! We have another eat-the-rich satire in Alex Scharfman’s directorial debut Death of a Unicorn . While the fantastical element is a fascinating approach to the subgenre, the promise fades away early on when you realize what you're getting yourself into. It would've been refreshing had the film focused on one singular tone, instead of jarringly swifting from comedy to horror. Had it embraced the corniness, maybe this would have been a winner for me. Thankfully, the ensemble helped keep the film somewhat afloat, with Will Poulter hamming it up from start-to-finish. Serviceable, yet disappointing, A24.

EVIL DOES NOT EXIST Starring: Hitoshi Omika, Ryo Nishikawa, Ryuji Kosaka, and Ayaka Shibutani Director: Ryûsuke Hamaguchi PAIGE Evil Does Not Exist is a slow-paced, peaceful story about humans and their relationship with nature, as well as a commentary on the importance of preserving our natural resources. With a fantastic score and beautiful scenes throughout, I found myself more and more interested until I reached the third act. While I thought that the story would play out one way, the third act takes a somewhat out-of-the-blue turn that feels a bit abrupt and out of place. I didn't see it coming, that’s for sure, and maybe the metaphoric ending just needed more lead up to make sense. ADRIANO Not many directors can make an elongated wood-chopping sequence captivating, but that's what Ryûsuke Hamaguchi pulls off in Evil Does Not Exist as he takes on the environmental crisis with care and insight. The landscapes of the film are stunningly well shot, and the characters on both sides are handled with depth in a way that doesn't villainize anyone. Unfortunately, the final ten minutes take a turn for the worst, feeling like a completely different film that ditches the subtly for thrills. All in all, a once brilliant film that falls flat in the end. This film was reviewed by Adriano and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.

TRANSFORMERS: RISE OF THE BEASTS Starring: Anthony Ramos, Dominique Fishback, Peter Cullen, Pete Davidson, Liza Koshy, Cristo Fernández, John DiMaggio, Ron Perlman, Michelle Yeoh, David Sobolov, Tongayi Chirisa, Peter Dinklage, Michaela Jaé Rodriguez, and Colman Domingo Director: Steven Caple Jr. JACOB While not especially impressive from a storytelling perspective, Rise of the Beasts nonetheless comes off as a solid, B-tier Transformers story with real heart and some genuinely fun action sequences, particularly those that include certain 90s needle drops. The humor largely doesn’t work for most of the movie, and the titular beasts are more like guest stars than fully developed characters, but the film is well-structured with Optimus Prime (Peter Cullen) being given more dimensionality than he has ever had before. I wouldn’t say I’m “confident” in the future of this pretty much rebooted franchise, but I am cautiously optimistic. AMARÚ There’s nothing groundbreaking about Rise of the Beasts aside from it being Transformers’ second “not bad” film in a row. Although Beasts is nowhere near the heights of Bumblebee , returning to the run-of-the-mill action and dialogue that plagues most of these films, none of it is overly offensive. Pete Davidson’s voice work as Mirage is a highlight, and both Dominique Fishback (Elena) and Anthony Ramos (Noah) are absolute stars. Combine that with an excellent 90s hip-hop/R&B soundtrack, and the film’s perfectly okay. Plus, it gets an extra half-reel for including a certain Incan first name I’m highly familiar with. ADRIANO Rise of The Beasts is proof that what this franchise needed is less of Michael Bay’s sensibilities and more containment. That said, there’s still much more room for improvement. The first two acts drag their feet to a laborious degree by spending too much of its overlong runtime setting up uninteresting stakes that don’t engage as much as they intend to. Still, though, the new additions, such as Anthony Ramos and Pete Davidson, shine, and the final act excites. It’s a flawed film, but it’s watchable, nonetheless.