Search Results

THE AMATEUR Starring: Rami Malek, Rachel Brosnahan, Holt McCallany, Laurence Fishburne, Caitríona Balfe, Jon Bernthal, and Michael Stuhlbarg Director: James Hawes NICK Despite leading roles in Mr. Robot and Bohemian Rhapsody , it feels like Hollywood doesn't know how to utilize Rami Malek. But maybe they finally nailed it with The Amateur , as my biggest takeaway was how well he fit the role of Charlie Heller. Besides that, it's another run-of-the-mill revenge story that wants to stand alongside the Bourne series, but is unfortunately missing the urgency needed to do so. Heller's intended opposition never feels formidable, which waters down the film and allows for lulls. It’s not bad, and I hope to see more of this from Malek, but it all feels a little amateur. No pun intended. ADRIANO The Amateur is a movie that plays out in the ways you would expect, and even with that, it is entertaining but not much else. It mostly works because the quirks of the protagonist play perfectly into Rami Malek's sensibilities as an actor, so he gives the movie a lot to work with. But the film is just so obvious. There is earned tension from the man-using-his-brain-instead-of-his-brawn concept, but everything you think will happen, does happen. The way-too-dark colour grade only adds to its ultimate forgettableness. BODE When I saw The Amateur on a Friday evening, my screening was surprisingly full. For essentially an old-school spy thriller that could’ve been turned into a limited series today, that was nice to witness. If only the film were more fun, and given how simple and ludicrous the plot is, it really should have been. It’s certainly watchable, thanks in part to a cast filled with reliable character actors, but ultimately shrug-worthy. Still, I’m glad it exists, if for nothing else than clear proof that the audience who yearns to see these kinds of films theatrically lives on. AMARÚ I hate to say it, but I just don’t believe Rami Malek as the relationship guy, even in an opposites-attract relationship like they set up in The Amateur . However, I do believe him as the intelligence guy. So watching him puzzle his way through a pretty intriguing revenge plot helped mask some of the more unbelievable scenes with usually believable actors (that was laid on too thick, Holt McCallany). Laurence Fishburne, Jon Bernthal, and Michael Stuhlbarg, however, are always believable, and solidified my attention throughout this weirdly paced, yet oddly entertaining film… if you can believe that.

FLY ME TO THE MOON Starring: Scarlett Johansson, Channing Tatum, Jim Rash, Anna Garcia, Donald Elise Watkins, Noah Robbins, Colin Woodell, Christian Zuber, Nick Dillenburg, Ray Romano, and Woody Harrelson Director: Greg Berlanti AMARÚ Fly Me to the Moon is the first purely entertaining film I’ve seen in a while. No stakes, no problems, no drama…well, a little drama…but just enough to take the vibes slightly seriously. That’s what this film is: a mix of rom-com vibes, historical biopic storylines, and predictable satirical twists, which, in all seriousness, could’ve easily failed. But, with Channing Tatum and Scarlett Johansson’s charm, Woody Harrelson’s cheekiness, and a heartfelt supporting cast, led by CW legend Greg Berlanti directing fluff in his ever-enjoyable way, the perfect personnel were assembled to keep this too-long, thinly plotted film working in all the ways it needed to. ADRIANO Fly Me to the Moon will probably reach its intended audience of middle-aged moms, but considering I'm not 55 years old, I thought this movie was subpar. It’s not endearing or romantic enough to pass as a rom-com, and as revisionist history, it’s uninteresting, strangely convoluted, and way too long. Any laugh I got out of this was from Ray Romano's delivery (pretty big laughs, in fairness). Scarlett Johansson is serviceable, but Channing Tatum is very stilted; I didn't buy their romance at all. Fly Me to the Moon is harmless and silly overall, but I’ve forgotten most of it already. KATIE I was disappointed by Fly Me to the Moon . With the promise of a rom-com starring Scarlett Johansson and Channing Tatum, I expected irresistible chemistry, playful banter, and plenty of laughs. However, their characters, Kelly and Cole, don’t even seem to really like each other, which is a shame because Johansson’s performance is charismatic and fun. Tatum, on the other hand, lacks the light-heartedness necessary to make their dynamic work. It’s also too long, veering from romance to attempts at comedy to emotional drama, never settling on what it wants to be. PRESTON Playing on one of the most widely-held conspiracy beliefs that the televised moon landing was an elaborate government production, Fly Me to the Moon provides enough cleverness in its rom-com format to be an entertaining jaunt to the theater. Although a slow-starter and a bit too long, it still builds appropriately with enough competent pacing to endear the audience to its characters. Scarlett Johansson carries the flick nicely, while Woody Harrelson provides the saucy pop we have come to love him for. Incidentally, Channing Tatum and a cat also star in the film. SHADAN As a Houstonian, I will always be biased toward space-race flicks, but I was admittedly surprised by just how much I enjoyed Fly Me to the Moon . While nothing about the film is outwardly spectacular, the pieces fit together to form a charming, breezy few hours of harmless fun. While I wanted more from the romance between Scarlett Johansson and Channing Tatum, their mere presence here is a delight that further elevates the film to recommendable heights. A perfectly fine time at the movies.

THE LAST SHOWGIRL Starring: Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, and Billie Lourd Director: Gia Coppola NICK It’s clear The Last Showgirl was a labour of love for all involved, but for Pamela Anderson, in particular. Never accused of being a tremendous actress, she's great in a role that feels as if it was tailor-made for her. It's likely the best way to cap off her unique career too. She's also joined by a great supporting cast, so the acting is not the problem here. The issue is the story structure. Everything is a bit messy, and a few of the supporting characters could have used more fleshing out. Also, for a story about finality, the end should've landed better. ADRIANO The Last Showgirl just misses the mark for me. The performances are one of the obvious reasons you watch this movie, and they deliver. Pamela Anderson does something unlike anything you've ever seen from her, while Dave Bautista continues to show his range in a silent, nuanced role. Kiernan Shipka and Jamie Lee Curtis also are excellent. And admittedly, the movie is well shot and well paced, too; however, its story of re-discovering your purpose in the world felt pretty underdeveloped. It’s too rushed for its own good, ending up being ineffective. It might resonate with some, but I wanted more. QUENTIN As cliché as the story is, recalling The Wrestler and Crazy Heart , The Last Showgirl is generally effective because of the ensemble cast and fresh take of seeing this familiar tale told from a woman’s perspective. Pamela Anderson, though a bit uneven, still gives the best performance of her career as a character that perhaps she understands better than anyone else could, and she’s elevated by terrific supporting turns from Dave Bautista and Jamie Lee Curtis. Sure, some plot points could have been fleshed out much more, and I didn’t care for the multitude of literally out-of-focus camera shots, but Showgirl is more successful than not. PRESTON I grew up in the Phoenix area, and I would often join my truck-driving father on his weekly runs to Las Vegas. We would get a steak & eggs breakfast for $3.99 and circumnavigate the less glamorous areas of “The Strip.” The Last Showgirl perfectly captures the essence of the real backdrop of life in Vegas and those imperfectly fond memories. The gritty hand-held camerawork, lighting, and blurred edges inject just the right amount of grime to the glitz. The acting is terrific and I, for one, appreciate its minimalistic messaging and to-the-point storytelling. KATIE The Last Showgirl is a fleeting, poignant story of regret, nostalgia, and the impossible standards women are forced to grapple with. Pamela Anderson’s raw, honest performance as Shelly is extremely moving, and her character’s righteous anger at how women are discarded once deemed too old or not attractive enough is enhanced by Anderson’s real-life persona. She excels not only at exuding Shelly’s anger, but also her eccentricity and sense of hope, and the dreamy, soft-focus style combined with the unsteady handheld camerawork perfectly captures her nuanced character. The rest of the cast, particularly Dave Bautista (Eddie), is also fantastic, but ultimately this is Anderson’s film. PAIGE The Last Showgirl is a vulnerable film that allows Pamela Anderson to shine in her strongest performance to date. It's an intriguing character study that explores ageism in Vegas, but the overall film left me feeling a bit underwhelmed as it never quite measures up to Anderson's performance. The film relies more on montages and vibes than its actual story, so a lot of things feel underdeveloped by the time the closing credits roll since the script never delves deeply enough into its concepts or characters. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

JULES Starring: Ben Kingsley, Harriet Harris, Zoë Winters, Jane Curtin, Jade Quon, and Anna George Director: Marc Turtletaub AMARÚ I’m not sure how to feel about Jules except to say that I liked it. I think. It’s a weird little tale that feels longer than its runtime, yet still ends before fully committing to the movie it wants to be. It slowly creeps along as a slice-of-life drama, dabbles into a character-driven look into aging’s devastating effects, then adds a dash of quirky sci-fi thriller. While those meandering tones provide bits of laughter and heart tugs along the way, the story’s throughline barely holds the plot together, being just interesting enough to keep me connected through the end credits. PRESTON Watching Jules is like visiting your grandparents to have a chat on an otherwise busy weekend. Everyday comings and goings are accentuated and, except for giggling at your quirky grandpa’s occasional F-bomb, it is rather mundane. Jules makes you feel warm inside the same way grandma’s lasagna does, even though it will never be mistaken for one crafted by expert chef Thomas Keller. The acting is well performed, and nonsensical CGI effects are avoided. Mostly, the simple storytelling gives us an opportunity to sympathize and empathize over the inevitable decline we all face as life pushes forward. JACOB I wouldn’t blame you for never having heard of Jules – I hadn’t until it released – but in the midst of a timid August release schedule, it’s nice to have a charming little indie like it floating around. There’s not much that’s especially novel about it, and most of the jokes don’t land, but the sweetness of the narrative ended up winning me over, nonetheless. That said, most things on the fringes of the narrative – like Ben Kingsley’s family connection subplot – don’t really work as well as they could, becoming the unfortunate collateral damage lost in the story’s telling.

COMPANION Starring: Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, and Rupert Friend Director: Drew Hancock ADRIANO Companion is a fun time at the movies, featuring some exciting visuals and an unapologetic zaniness in its tension. Sophie Thatcher and Jack Quaid are both excellent and ground the film, which is necessary because it gets shallow when the film tries to truly explore its themes. The movie's attempts at being about toxic relationships and Andrew Tate-esque male insecurity essentially come across as "this is bad" and not much else. Also, there are plenty of twists, but I saw most of them coming. Still, from a pure entertainment standpoint, there's plenty to enjoy. KATIE Companion is a solidly entertaining thriller with good performances, but it's not without its shortcomings. At times, I was unsure if the dialogue was meant to be funny or just very obvious with the point, and I found Jack Quaid’s character, Josh, to be so underdeveloped that he felt like a caricature. The film attempts to comment on incellic notions of how women should act and behave, but it doesn’t feel earned and is ultimately unsatisfying. Nonetheless, Sophie Thatcher is incredible, showing off her scream queen potential, and I’ll be eagerly awaiting her next horror project. PAIGE Companion is a deranged and twisted sci-fi horror with sharp commentary that explores toxicity in relationships in a dark yet humorous manner. Even though the concept isn't totally original and the pacing is a bit all over the place, first time director Drew Hancock does a great job executing this story. The film isn’t shy, knowing exactly what it is: a fun, gnarly, and over-the-top thrill ride. Jack Quaid kills it as the too-good-to-be-true boyfriend Josh, while Sophie Thatcher is certainly an actress to keep an eye on as she delivers another great performance. QUENTIN Much like Barbarian , which has been referenced incessantly in the marketing (“from the creators of Barbarian ”), Companion is a great “the less you know, the better” movie that is sharp, slick, incisive, surprisingly funny, and a thrilling social commentary on perceived gender roles. It probably hits even harder given what is happening in the United States right now. It’s admittedly not overly original — I could rattle off at least a dozen movies that have touched on similar themes — but it’s a witty breath of fresh air in an overplayed genre. It’s hard to believe a movie this good was dropped in January. NICK Although I wish the marketing didn't give things away, Companion is more than just the sum of its twists. In his directorial debut, Drew Hancock infuses this horror-tinged love story with the right amount of laughs and thrills to keep things moving at a breakneck speed while the entertaining cast does their thing. Jack Quaid and Sophie Thatcher (both of whom seem to be having a moment) show off their range as they play off each other through a gamut of genres that will only enhance their rise. Even the side characters (Harvey Guillén's Eli, especially) leave their mark. A real buzzer-beater to salvage January.

RIDDLE OF FIRE Starring: Charlie Stover, Phoebe Ferro, Skyler Peters, Lorelei Mote, Lio Tipton, Charles Halford, Danielle Hoetmer, and Weston Razooli Director: Weston Razooli NICK Shot on gorgeous 16mm film, Riddle of Fire has a vintage look to it that really enhances the picture. A modern day fairy-tale, this is an exploration of a child’s imagination and that time in our lives where anything could become an adventure. The humour is on point – Skyler Peters (Jodie), in particular, embraces his Kids Say the Darndest Things vibe – and it’s easy to get swept into the children’s mischievous ways. Riddle of Fire is bound to fly under the radar, but it makes for a fun watch and harkens back to 80s films like The NeverEnding Story . It’s just a good time. KATIE I really enjoyed Riddle of Fire , a dreamy, modern fairytale story that feels like a hazy summer day with enough whimsy and charming performances from the young cast to make up for its overlong runtime. The nostalgia-driven aesthetic and naturalistic performances feel like authentic portrays of how children actually talk to each other, capturing the youthful innocence and uninhibited imagination of early childhood. Just watching the children interact is heartening, and it reminded me of the conscious amateurism of children in Wes Anderson’s films. Although it could benefit from some tighter editing, Riddle of Fire is an undeniably endearing film. AMARÚ One thing I can say about Riddle of Fire is that at least everyone is engaged. The four young leads (Phoebe Ferro, Charlie Stover, Lorelei Mote, and especially Skyler Peters) are a mischievous, yet charming ragtag gang that keeps you invested in the fairy tale. And that investment is truly needed to get past the random dialogue, amateur storytelling, and community theater acting. It’s tonally reminiscent of late 80s children’s adventure fantasies, made with the same whimsy, but nowhere near the professional production. There’s just enough of the former to get through it… if you have the patience for its low-budget quality. PAIGE In spite of its shortcomings, Riddle of Fire remains entertaining to watch, paying homage to throwback children’s adventure films while still creating a mood all its own. This movie does a great job of capturing the freedom and innocence of youth, not to mention the fact that director Weston Razooli shot this on 16mm, giving the movie a timeless feel and demonstrating his ambition and inventiveness alongside the likes of Wes Anderson. Granted, the pacing of this charming odyssey is a wee bit off, it’s still worth watching. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

NORTH OF NORMAL Starring: River Price-Maenpaa, Sarah Gadon, Amanda Fix, Robert Carlyle, Benedict Samuel, James D’Arcy, Janet Porter, Kelly Penner, and Riley O’Donnell Director: Carly Stone JACOB There’s nothing especially groundbreaking about North of Normal , from its structure to its fairly predictable story beats, but it nevertheless manages to enrapture open-hearted viewers through its carefully crafted character writing and excellent performances. The journey very much follows a traditional indie coming-of-age style, but it’s what informs that style that ultimately makes the journey worth taking, and there are plenty of small but sweet moments to go around. River Price-Maenpaa and Amanda Fix both turn in great work as the same character at different ages, but it’s Sarah Gadon who ultimately steals the show with a quietly heartbreaking turn. PAIGE WOW… While North of Normal is a simplistic film, it is such a pleasant surprise. I kinda adored this indie coming-of-age film. Yeah, it’s simple, but it has such a powerful journey within its story. This raw and beautiful hidden gem is elevated by its strong performances from Sarah Gadon (Michelle) and Amanda Fix (Cea), who have amazing chemistry as mother and daughter. North of Normal manages to be free-spirited while also being heartbreaking at the same time. With a great ‘70s soundtrack, this film will give you all the feels.

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.

TOP GUN: MAVERICK Starring: Tom Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, Monica Barbaro, Bashir Salahuddin, Charles Parnell, Ed Harris, and Val Kilmer Director: Joseph Kosinski NICK As someone with no particular connection to the original Top Gun , I was curious if Maverick would be for me. Boy, was it! This film is solid from top to bottom. The aerial scenes are exceptional, the new crop of pilots blend together well, and the emotional beats are such that they don’t require an attachment to the original film. This is both a tribute to its predecessor and a film that improves on it in every way. Also, props to Tom Cruise for still finding a way to have multiple running scenes in a film about flying. Never change. QUENTIN After seeing a few early reactions call it “the perfect blockbuster,” I was growing concerned that Top Gun: Maverick was getting overhyped, and while I wouldn’t go as far as to call it “perfect,” there isn’t much to hate about it either. It boasts phenomenal aerial sequences, a story that is surprisingly organic, a decent amount of humor, and even a few strong emotional beats. One could definitely nitpick a few things (like why do we need Jennifer Connelly’s character?), but it’s best if you just find the biggest screen possible, sit back, and let your need for speed be satisfied in thrilling fashion. PAIGE Grab your popcorn and hold on tight because Top Gun: Maverick soars! It’s not just the best legacy sequel ever, it's even better than the original with no one flying on autopilot. It’s a fantastic follow-up, and one that delivers the most extraordinary aerial sequences I’ve ever seen. It’s also filled with tons of nostalgic moments harking back to the 1986 classic, and let's be real, I’d be Tom Cruise’s wingman anytime because I’ve got the need… the need for speed after watching this film! JACOB Top Gun: Maverick is the kind of movie that movie theaters were made for. A perfect summer sequel, the likes of which just don’t get made anymore, that is not simply an appropriate tribute to its late-80s source material, but an elevation of it in almost every form. While it may be one set-piece short of calling itself action-packed , there’s no shortage of thrills delivered by the action we’re given. The aerial sequences are perhaps the best ever put to film, and within all of it, the heart is never once lost. The original’s director, Tony Scott, would be exceedingly proud. ADRIANO Top Gun: Maverick is incredible. As someone who doesn’t like the original film, this sequel greatly improves on it in just about every possible way. For one, this movie actually has a plot that is engaging and easy to follow. While the film does have moments of nostalgia, it isn’t reliant on them to tell its story. It’s also more character focused and has more emotional depth than I would’ve guessed, while the flight sequences are jaw-dropping. I couldn’t tell what was CGI and what was practical, but either way, I was impressed. An excellent summer blockbuster that requires the biggest screen imaginable.

MICKEY 17 Starring: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, and Mark Ruffalo Director: Bong Joon Ho ADRIANO After finally watching Mickey 17 , I'm glad all the delays, reportedly due to director Bong Joon Ho's refusal to adhere to studio notes, paid off. It's not another masterpiece, mind you, and audiences might be put off by the film since it's not always structurally sound. However, Bong's knack for scathing political satire and grand ideas is still intact, as it's not only outrageously funny, thanks in part to an excellent physical performance from Robert Pattinson, but also a brilliant punch to corrupt power-hungry politicians who use Catholic values as a shield. As a longtime fan, this was worth the wait. AMARÚ Mickey 17 is absolutely outrageous and a whole lotta of fun, but what else do you expect from the imaginative mind of Bong Joon Ho? Robert Pattinson, Naomi Ackie, Mark Ruffalo, Steven Yeun, and Toni Collette all understood the weird assignment tasked to them, and it results in a hilariously interesting tale with an unabashed reprimand of the abuse of groupthink. Its runtime allows the plot to meander too much, making this one of Bong’s most unfocused narratives, which creates some anticlimactic endings for its otherwise enthralling premise. But that doesn’t dampen a captivating experience that I would gladly watch again. ROBERT What truly makes someone human and establishes their value to society? Bong Joon Ho explores that idea, along with political cultism, militaristic occupation, and the ethics of technological advancement in Mickey 17 . Through the prism of the hilariously dark concept of “expendable” humans, we are privy to see Robert Pattinson’s Mickey Barnes come to terms with all the sides of himself, demonstrating that no matter your societal role or what you have done before, it doesn’t restrain your ability to evolve. This movie is weird, and the actors deliver on the satirical farce without hesitation. Breathe in all its beautiful toxins. PAIGE While Bong Joon Ho’s Mickey 17 is a lively and over-the-top sci-fi satire, its tone and pacing are a bit inconsistent. The movie attempts to incorporate too many genres and themes, which causes it to lose focus on what it is trying to convey to its viewers. However, because of Robert Pattinson's performance, which allows him to continue showcasing his range, the movie has a captivating zaniness to it. I enjoyed what I saw on screen, overall, but it's apparent that Mickey 17 never fully commits to the story it's attempting to tell. QUENTIN Mark Twain said that humor is tragedy plus time, and Mickey 17 — at least for me — is the wrong movie at the wrong time. With what is currently happening to federal workers in the United States right now, I take no pleasure in watching a sci-fi satire about a tyrannical buffoon and the dehumanizing expendability of those beneath him. But even if that wasn’t the case, Mickey 17 plays like an overlong and wildly uneven mashup of director Bong Joon Ho’s previous works Okja and Snowpiercer , which means it really isn't offering any fresh ideas. The performances are terrific, though. BODE Don’t go into Bong Joon Ho’s latest film, Mickey 17 , expecting another Parasite , because it’s more in the vein of his last English-language feature, Okja , in that its critiques are bigger in scope (capitalism, fascism, and religious fanaticism are just some of what it tackles) and wackier in execution. It does a lot, and as a result, its narrative is a bit scattered, resulting in pacing that can be fairly uneven at over two hours; however, with one of Robert Pattinson’s most inventive performances, as well as Bong’s distinctive visuals and humanism, there’s still enough to like. Pretty good, as is. BRYAN Bong Joon Ho reminds us why he’s one of the great modern auteurs with the long-awaited Mickey 17 : a gut-busting, sci-fi, black comedy that slowly transitions into a terrifying political satire. In typical Bong fashion, the film masterfully balances tone to present itself as something you didn’t expect when walking in. As a result, it’s easy to feel disappointed by the film, yet it worked for me on nearly every level. The visual language, as well as Robert Pattinson’s incredible performance, make the film the first great one to come in 2025. KATIE Mickey 17 is a lot of fun, but contains too many competing ideas for its own good. I loved the mix of sci-fi, romance, pathos, comedy, and political satire, but I was frustrated by the uneven pacing and plethora of ideas that are established but not explored enough to matter, which results in a muddled and unfocused plot that left me with a lot of questions. However, I still really enjoyed it. The visuals are immersive, it’s thought-provoking, and it's held together by incredible performances, especially Robert Pattinson, who infuses the film with his offbeat charm.

BARBER Starring: Aidan Gillen, Aisling Kearns, Liam Carney, David Herlihy, and Simone Collins Director: Fintan Connolly AMARÚ Barber feels like it would fit right alongside BBC’s Sherlock , delivering weekly investigations as a TV show. Coupled with an interestingly personal character storyline for the always fantastic Aidan Gillen, I wasn’t too mad at it. While it feels longer than its 90-minute runtime, focusing on a slow and simmering pace rather than the flash-bang intensity of other private investigator content, Gillen is able to chew up the pensive moments with his grizzled demeanor and gravelly tone. Barber isn’t anything new, but Gillen carries the titular private-eye role like he’s known this character intimately for more than a few decades. PRESTON Barber neatly fits into a style of film that I particularly enjoy. It is a thoughtful and (somewhat excessively) slow-developing whodunit that wields the tools of dialogue and subtlety with journeyman-like effectiveness. Aiden Gillen performs the role of complicated private investigator perfectly, and one can imagine a successful TV series spinoff. The editing is rarely clunky, but it still suffers slightly in execution as director Fintan Connolly rushes to fit a confusing myriad of characters into the film’s denouement. Incidentally, the timing of its filming highlights the more annoying aspects of the pandemic, which is never fun to relive.

CONCLAVE Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Isabella Rossellini, Sergio Castellitto, and Carlos Diehz Director: Edward Berger NICK I'm not particularly religious, so the concept of the conclave was foreign to me. That said, director Edward Berger instantly sucked me into this process and the tension surrounding the decision. This is high-concept drama told by highly acclaimed actors. The always reliable Ralph Fiennes, in particular, gives one of the best performances of his career, but it's the sum of Conclave 's parts that truly makes it shine. Whether it's the sound design and score, the beautiful yet simplistic visuals, or the overall tone of the film, it all amounts to a well-oiled machine I could have spent another hour with. ADRIANO Conclave is so much goofier than you'd expect from a movie about religion, and I say that complimentary. Featuring a stirring performance from Ralph Fiennes, Conclave is sabotage, conspiracy, twists, and shock at almost every turn. All of it is natural, too, never for the sake of a cheap rug pull, but instead to elevate a high-stakes thriller that had me second guessing and feeling tense throughout. The ending could divide audiences, but I thought it was a perfect cap to a film about how religious institutions desperately need to evolve. A well-crafted thrill ride of a film. QUENTIN Conclave is amongst my most overhyped movies of the year (I blame Nick). That’s not to say it’s bad, but at no point did I find the story gripping or thrilling, which is kind of the point of a “conspiracy thriller,” no? Granted, it boasts terrific performances and is handsomely made, but the characters are so underdeveloped that the twists and turns (including a silly final reveal) never hit as hard as seemingly intended. I genuinely didn’t care who became Pope, and a movie like this requires the audience to take a side to work effectively. Conclave is decent, I suppose, but a disappointment, nonetheless. KATIE Conclave is a ridiculously entertaining and suspenseful film consisting of little more than people talking in rooms, which is why it's so impressive. Even as someone with a Catholic background, I’ve never felt invested in the election of the next pope, but Conclave is immediately gripping, plunging you into a process filled with intricate drama and a mounting sense of tension that’s felt in every line of dialogue. It’s also sharply funny in the way it juxtaposes modernity with the absurd rigidity of Catholic tradition, and boasts a career-best performance from Ralph Fiennes. AMARÚ Please excuse the blasphemy on this particular review, but holy shit, because you can feel the tension from the first note of composer Volker Bertelmann’s violins and the immediacy of director Edward Berger’s striking images. Conclave is a powder keg of politics and power in papacy, delivering a conspiring mystery worthy of our favorite political thrillers. Oscars will be touted for the many brilliant acting performances here, but the spotlight belongs to Carlos Diehz, whose mere presence is a lightning bolt piercing through this monstrous ensemble. Conclave , by its final frame, is a potent crescendo whose gradual momentum explodes to a fantastically satisfying conclusion. PAIGE Conclave piques the interest of the viewer as a behind-the-scenes political thriller focusing on the oldest religious organization in the world, one with perhaps the most secretive and exclusive leaderships within that milieu. Director Edward Berger leans into the most mysterious components of the rites, traditions, and disciplines that influence so much of the global population. Political jockeying is highlighted as we stumble into each new revelation before the last shocking twist. My only complaint is that the plotline that drives us forward to the edge of our seats leaves us with a contemplative, but misleading and disappointing conclusion. This political thriller is a behind-the-scenes look at the corruption within the Catholic Church, but it unfortunately falls short of the excitement its compelling premise promises. That said, from a technical standpoint, Conclave is excellently crafted by Edward Berger and it’s well acted. It's just that the story isn’t as engrossing as I had hoped, primarily because the characters are so underdeveloped. The slow pacing also doesn’t do the film's reveals any justice, as they all feel too toned down. The story needed more tension and buildup to make this promising plot truly work. This film was reviewed by Quentin, Nick, Adriano, and Katie as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival, 2024 Toronto International Film Festival, and 2024 BFI London Film Festival respectively.