THE MONKEY KING Starring: Jolie Hoang-Rappaport, Jimmy O. Yang, Jo Koy, Hoon Lee, Stephanie Hsu, Andrew Pang, BD Wong, Ron Yuan, James Sie, and Bowen Yang Director: Anthony Stacchi KATIE The Monkey King is a fun - if average - animation, best suited to very young viewers. The central character, Monkey (voiced by Jimmy O. Yang), is annoying, but not in an endearing or funny way. He can be slightly unlikable, which makes it very difficult to appreciate his character arc, but did make me appreciate Lin’s (Jolie Hoang-Rappaport) unwavering understanding. On a positive note, I thoroughly enjoyed the Dragon King’s periodic appearances. Voiced by Bowen Yang, he channels the extravagance of The Little Mermaid' s Ursula with a menacing intensity, and his fabulous musical number was my favourite part of the film. PHILL The Monkey King has very little going for it, outside of some flashy colours. Every single character in the film is completely grating and hugely unlikable, and they never really evolve or develop in any way. The action sequences are exceptionally dull, and they make up far too much of the runtime. Unfortunately, watching a stick spin around and bonk a bad guy on the head can be entertaining only so many times. Strangely, the biggest offender might be the incredibly bizarre soundtrack that never seems to pick a consistent style or suitably compliment a scene.

BALLS UP Starring: Mark Wahlberg, Paul Walter Hauser, Benjamin Bratt, Eva De Dominici, Daniela Melchior, Molly Shannon, Eric André, Jackson Tozer, Chelsey Crisp, and Sacha Baron Cohen Director: Peter Farrelly ROBERT Sometimes you can go home, and other times you can’t. Despite streaming comedy warning flags, I figured Balls Up would be a refreshing return to R-rated comedy for Peter Farrelly and Mark Wahlberg. Unfortunately, despite the aesthetics and general return-to-the-1990s feel, the sentiment was missed horrendously. I think Wahlberg and Paul Walter Hauser have decent chemistry, and both Molly Shannon and Benjamin Bratt come out firing in their limited time, but the jokes are outmoded, the setups lack energy, and the set pieces don’t inspire fun. There is too much bad to swallow here. BODE If there’s anything notable about Balls Up , it's that it's the only movie to come from an Oscar-winning director with a premise built on one long dick joke. But while it’s admirable that Peter Farrelly hasn’t abandoned his comedy roots, this latest effort is just another reminder of how he’s struggled to fully recapture the lowbrow charm of his earlier works. It’s not without some laughs here and there, but there aren’t enough to distract from the haphazard plotting, surprisingly lethargic pacing, and lack of buddy chemistry between stars Mark Wahlberg and Paul Walter Hauser. Balls Up ? More like balls down.

NONNAS Starring: Vince Vaughn, Lorraine Bracco, Linda Cardellini, Joe Manganiello, Drea de Matteo, Brenda Vaccaro, Talia Shire, Michael Rispoli, Campbell Scott, and Susan Sarandon Director: Stephen Chbosky KATIE Nonnas is an unexpectedly heart-warming comedy inspired by a true story. I loved the themes of connecting to your heritage and loved ones through food, and the sincere approach to the story makes it overly sweet, but easy to enjoy. The “nonnas” Susan Sarandon, Lorraine Bracco, Talia Shire, and Brenda Vaccaro are an endlessly charming bunch, and although some of their scenes don’t quite work, their performances are still a pleasure to watch, complemented by Vince Vaughn’s reliable, good-guy charm. Like the best Italian dishes, Nonnas is warm, cheesy, and familiar; a true Sunday afternoon kind of film. ADRIANO As an Italian man, I may have a bias to this personally relatable story, but I was so endeared by Nonnas that it nearly brought me to tears. I don't expect people without that connection to have a similar reaction as the movie can be pretty flat, both dramatically and comedically. But when I watched the nonnas and Joe (Vince Vaughn) discuss their familial migration history in a warm and goofy way, it was hard not to smile. Now, if you will excuse me, I'm going to go hug my nonnas. ROBERT A recipe for a successful Vince Vaughn comedy usually doesn’t rely on heart and emotion, but The Internship proved that is when his films are at their most unique. Nonnas is no exception, as juvenile humor has been replaced with warm messaging about honoring elders and the dead, and keeping family alive in tradition passed down, like food. Those heartfelt moments spoke to me the most, and seeing actresses I haven’t seen on screen in a while, like Lorraine Bracco and Talia Shire, inspired the most joy. I went in expecting something like 80 for Brady , but was fed something much more substantial.

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

LUTHER: THE FALLEN SUN Starring: Idris Elba, Cynthia Erivo, Andy Serkis, and Dermot Crowley Director: Jamie Payne DARRYL While not as strong as the series it stems from, The Fallen Sun is enjoyable for what it is: a feature length crime thriller spearheaded by everyone's favorite rogue criminal inspector. Idris Elba continues to be brilliant in his portrayal of the long-suffering protagonist, showing Luther as a weary ex-cop weathered by past decisions while doggedly pursuing his man. Although he has been better in recent roles, Andy Serkis (and his ridiculous wig) is serviceable as the weakly written antagonist. The story crumbles in the third act, but The Fallen Sun still holds up enough to be a decent weekday watch. QUENTIN As a fan of Luther , The Fallen Sun scratched my itch for more gruff crime-solving from Idris Elba and his trademark overcoat. However, as a standalone movie, it’s nothing particularly special, coming in slightly better than serviceable-yet-forgettable 2000s crime thrillers like Along Came a Spider and Taking Lives . I guess it feels bigger and more “professional” than the show, but it doesn’t quite feel cinematic either. Still, the acting is solid (despite whatever Andy Serkis’ wig is doing), the cat-and-mouse games are just compelling enough to hold viewers’ interest, and best of all, you don’t need to have seen the show to enjoy the movie.

IS THIS THING ON Starring: Will Arnett, Laura Dern, Andra Day, and Bradley Cooper Director: Bradley Cooper ADRIANO After really not liking Maestro, but being quite fond of A Star is Born , Is This Thing On? might be my favourite directorial outing from Bradley Cooper as it's the antithesis of what I despised about Maestro . It's much more sedated, trading his previous films’ large scale for a small yet emotionally cathartic and consistently funny story of a couple working out their problems to beautiful results. Despite how small it is, Cooper's direction feels very purposeful and intriguing, and with Will Arnett's incredible performance to anchor the piece, Is This Thing On? is a nice surprise. NICK Outside of TV, Will Arnett is often relegated to supporting roles. Is This Thing On? not only gives him an opportunity to lead, but it does so in a fairly serious role. He nails it. There’s comedy to be found, sure, but this is a mature look at modern relationship dynamics. Arnett, alongside the equally great Laura Dern, explores the ebbs and flows of separation through subtle yet poignant direction from Bradley Cooper. Unlike his previous films, Cooper takes a backseat to tell a more grounded story. It's a new wrinkle in his game, and perhaps the beginning of a new path for Arnett. AMARÚ The intimate way in which Bradley Cooper directs Is This Thing On? was such a great choice. It immediately connects you with the main characters’ dynamic as a couple and individually, creating a thoughtful examination of Alex and Tess Novak’s (Will Arnett and Laura Dern) separation and subsequent reinventions. Every emotion is up close and personal, with two powerful leads that carry the laughs, the love, and the loathing with a recognizable honesty. Between the immersive direction and the committed performances, Is This Thing On? is a reverent and relatable pleasure to watch

COYOTES Starring: Justin Long, Kate Bosworth, Mila Harris, Brittany Allen, Norbert Leo Butz, Katherine McNamara, and Keir O’Donnell Director: Colin Minihan This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. QUENTIN When making a horror movie (or, in this case, a horror comedy) where the villain is simply a bloodthirsty wild animal (meaning nothing supernatural or with inherent personality), you need at least one of two things: compelling characters that you want to root for or creatively over-the-top kills. Ideally, you’d have both. Sadly, Coyotes has neither. On top of that, the probably intentional B-movie aesthetic just looks cheap, like if the Hallmark Channel pivoted to horror. Frankly, there just isn’t much to recommend here. Neither the horror nor the comedy elements hit, which is especially noticeable with the sluggish pacing early on. NICK Creative kills, compelling characters, and big swings are ways to salvage a bad genre film. Coyotes has none of these. The performances are bland (especially Kate Bosworth), and there's just nothing new or ambitious here. Hell, even the coyotes aren't all that scary, as most of their attacks come from the fallout of incredibly dumb decisions, one after another, by every human being on screen. Do they, at least, acknowledge how dumb their actions are? Nope, because they seemingly want this to be taken somewhat seriously. It shouldn’t be. This doesn't work as a horror. This doesn't work as a comedy. This one just flat doesn't work.

HUSTLE Starring: Adam Sandler, Juancho Hernangomez, Queen Latifah, Ben Foster, Anthony Edwards, Kenny Smith, Robert Duvall, María Botto, and Jordan Hull Director: Jeremiah Zagar QUENTIN Just because Hustle isn’t reinventing the wheel - it’s basically Basketball Rocky - doesn’t mean that it isn’t a damn fine sports drama. It hits all the required beats of being inspirational and heartfelt, but wraps them in an authenticity and sincerity that elevates even the most predictable elements. Adam Sandler’s love for basketball is palpable in his performance, which is maybe the most natural of his career, and his easy chemistry with Juancho Hernangomez is remarkable. Flat out, Hustle is one of the best sports movies I’ve seen in probably a decade and the best basketball movie I’ve seen in who knows how long. AMARÚ Hustle is a feel good sports movie that may not rank as an upper echelon underdog story, but it will have you cheering nonetheless. Adam Sandler’s passion for the game is evident, looking like he just walked in from one of his viral pick-up games, three-month old beard and all, while mixing his comedic stylings with some dramatic intensity. However, he never strays too far in either direction. Juancho Hernangomez’s performance is surprisingly believable, and NBA star Anthony Edwards revels as the villainous rival. The NBA’s hands are all over this, sanctioning tons of roles and cameos, altogether making Hustle a journey to root for. JACOB The film itself never quite gets above average in its storytelling, but Hustle remains worth exploring for viewers, even if it’s only for its two leading performances. Not everything excels, but almost everything works. Adam Sandler’s career resurgence appears to be in full swing post-Uncut Gems , but while the titan of industry shows no signs of slowing down, his co-lead Juancho Hernangomez is hot on his heels. With enough real-world cameos to make it feel like Endgame for NBA fans, this film is still a showcase for the young star, and he puts on a damn good show. JOSEPH Hustle is definitely a sports film for sports fans, particularly basketball lovers, and it feels like a passion project that was crafted with love. At times, things feel tropey and familiar, with some clear homages to Rocky popping up, but the sharp, fast-paced editing makes for an exciting watch. Plus, Adam Sandler is an immediate Oscar contender for Best Actor, giving a performance that will easily go down as one of his best. As someone who doesn’t care for sports, I found my interest waning at parts, but I have to say, objectively, Hustle is one of the best sports films of all time. ADRIANO If you’re looking for something new, you won’t find it in Hustle . Thankfully, it’s so endearing and easy to fall for that I can forgive the film for that. Adam Sandler, once again, proves he’s a tremendous dramatic actor. His love of basketball is apparent, as this might be the most natural and least chaotic Sandler has ever been, and Juancho Hernangomez also gives an incredible performance in his acting debut. The film is extremely well edited and is clearly made with love and passion, which makes it hard not to get sucked into.

HOKUM Starring: Adam Scott, Peter Coonan, David Wilmot, Michael Patric, Will O’Connell, Florence Ordesh, Brendan Conroy, Mallory Adams, and Austin Amelio Director: Damian McCarthy NICK The one thing that really sticks out in director Damian McCarthy’s films is his ability to create a genuinely eerie atmosphere. Hokum is no different. Although McCarthy relies a little heavily on traditional jump scares here, he blends Irish folklore into his haunted house tale in a way that enhances the story. It also helps that Adam Scott's brand of “unlikable yet accessible to root for” is just what this story calls for. Hokum doesn’t reach the heights of McCarthy’s previous work, but it's a solid film that makes for the perfect rainy night ghost story. ROBERT What if Stephen King were trapped in one of his own novellas, and the only way out was an introspective look at his past and damaged psyche? That is the vibe Hokum set for me, which was reminiscent of Secret Window in a way, another Stephen King inspiration. The smallness and intimacy of the settings and the story don’t lend themselves to heart-attack-inducing moments, but they do ratchet up the unease and make you question everything you are seeing. This harkens back to a timelessness of suspense, where it could belong to any era, and it oozes creepiness and vulnerability… anything but hokum. KATIE Hokum is a deeply creepy, supernatural folk horror film driven by a compelling story. It’s full of effective jump scares that aren't cheap, but well-crafted and reliant on steadily and meticulously building tension and suspense. It makes excellent use of the secluded setting and confines of the hotel, and the cinematography grips your attention to solidify our point of view with the protagonist, leaving the audience as nerve-wracked as he is. Plus, Adam Scott is wonderfully unlikeable and convincing in the central role as the cynical alcoholic writer, Ohm, but also conveys the trauma that is barely concealed under the surface. ADRIANO Hokum is so off-putting, and not in the way it strives for. Writer/director Damian McCarthy clearly wants to make a film akin to the modern definition of “elevated horror”, but despite introducing folklore and themes of grief, it becomes a basic horror movie. All the tension results in a jump scare fest, and everything that happens all culminates in an ending that seems to intentionally pants itself. Now, am I saying Hokum ’s bad? No. It’s well-made, there is some good tension building, and the story is interesting. But it does not hit the heights it aims for.

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

THE CONJURING: LAST RITES Starring: Vera Farmiga, Patrick Wilson, Mia Tomlinson, Ben Hardy, Beau Gadsdon, Kila Lord Cassidy, Elliot Cowan, Rebecca Calder, and Steve Coulter Director: Michael Chaves KATIE Last Rites is the finale to one of my favourite horror franchises, even after the disappointing The Devil Made Me Do It. Thankfully, this is a huge improvement on that entry, and I enjoyed it more than I thought I would. I’m very invested in Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga), so I liked the time it spent on the family’s story and emotional side of their relationship. I expected more intensity, and it's more horror-drama than outright horror, but it does build tension and deliver a couple of good jump scares. ROBERT When a horror franchise promises an end, especially a franchise as successful as The Conjuring , you expect massive box office numbers, which Last Rites delivered for Warner Bros. However, this finale doesn't feel definitive, no matter what the opening scroll or epilogue suggests. I was promised some kind of shockwave for Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga, respectively) to get them to quit ghost hunting, but I was given another standard paranormal case, simply with more involvement from their family. It drags considerably too, trying to really drive home that the Warrens weren’t doing investigations anymore despite what we all knew. Bloated and uninteresting was not the exclamation point we deserved.

ON BECOMING A GUINEA FOWL Starring: Susan Chardy, Elizabeth Chisela, and Henry B.J. Phiri Director: Rungano Nyoni QUENTIN Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though. ADRIANO On paper, On Becoming a Guinea Fowl could have been one of the year's most talked about films, but something was lost in the execution. Well acted across the board, Rungano Nyoni wrote and directed this film with a very unique lens, leaning heavily into absurdism in its approach to toxic familial relations and the dark secrets that lurk underneath. That said, a lot of the absurdism winds up being less poignant and more confusing, resulting in a film that winds up being kinda messy and unclear on exactly what it wants to say. I respect the swings, but this was mostly a miss. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.