AIR Starring: Matt Damon, Ben Affleck, Jason Bateman, Chris Messina, Marlon Wayans, Chris Tucker, Matthew Maher, and Viola Davis Director: Ben Affleck QUENTIN Considering it’s a movie about a shoe deal, which doesn’t sound remotely interesting on the surface, it’s wild just how well Air comes together. Between the terrific performances, banging soundtrack, and inspirational-but-not-overly-sentimental monologues, director Ben Affleck and writer Alex Convery take what could have been an extremely dry corporate story and turn it into a film that pops with the energy of March Madness. Admittedly, certain parts feel a little too breezy, making Air an apt title, but whatever the film lacks in gravitas, it more than makes up for in rousing entertainment value and, for basketball fans of a certain age, pure nostalgia. JACOB Ben Affleck is back in the director’s chair with Air , and while I won’t say it blew me away in any capacity, it is probably about as good as a movie like this can be. The performances are all solid (Ben Affleck and Chris Messina steal the show), the script is workmanlike and structurally sound, and Affleck’s direction is as assured as ever. Somehow, the movie gets you to care that Michael Jordan says yes to a shoe line, and it’s not because of Jordan himself. I do wish the film felt a little more epic to non-NBA followers, though. ADRIANO I say this with no exaggeration: I left Air with my fists stuck in the air. It’s the kind of crowd-pleaser that you want to experience in a packed theater; one that makes you want to dream big, yet it never feels overly sentimental or cheesy. I know nothing about basketball, but that didn’t matter. I was able to follow this inspiring story through and through, thanks in part to a surprisingly funny script and one hell of an ensemble. I don’t know who I wouldn’t recommend this one to. It’s a movie for everybody. AMARÚ Air ’s structure consists of two main components: needle drops and monologues. One great song sets up an inspiring and superbly acted speech from the likes of Matt Damon (Sonny Vaccaro), Viola Davis (Deloris Jordan), and the rest of the great cast (Matthew Maher as Peter Moore is a standout), which cues the next great song, and so on and so forth. While the film’s last act is a rousing culmination of this round robin, the film would have elevated from really good to great if the entire runtime felt as cohesive as the last 30 minutes.

FLORA AND SON Starring: Eve Hewson, Orén Kinlan, Joseph Gordon-Levitt, Jack Reynor, and Paul Reid Director: John Carney ADRIANO Flora and Son doesn’t reach the same levels as writer/director John Carney’s other films, but it’s still very hard to resist. It’s elevated by the effortlessly charming lead performance of Eve Hewson, whose vulgarity makes way for some serious emotional payoff. Carney, once again, looks at how we can find healing through music, and while it can come off as corny at times, it's an irresistible crowd-pleaser that is funny, sweet, and easy to get behind. NICK Headlined by the underrated Eve Hewson, Flora and Son mixes a dysfunctional family drama with a modern-day love story. Hewson's Flora works well with all characters, but none as strongly as Joseph Gordon-Levitt's Jeff. This is thanks to director John Carney coming up with creative ways to make sure we aren’t just staring at a laptop screen for half the runtime, as well as the perfect casting of Gordon-Levitt. It’s just such a pleasant surprise, and as unlikely as it may be, I’d genuinely be interested in seeing the continuation of this story. PAIGE While director John Carney delivers another feel-good music-infused film, I can’t help but feel that Flora and Son is lacking the heart and magic present in Carney’s previous film, Sing Street . Don’t get me wrong… I quite enjoyed this movie due to the natural and charming performances of Eve Hewson, Joseph Gordon-Levitt, and Orén Kinlan, but it needed more oomph to fully convey the solid message of a mother trying to reconnect with her son through music. I needed more Flora AND SON than Flora and Gordon-Levitt’s character. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival, and Nick as part of the 2023 Toronto International Film Festival.

THE TRAGEDY OF MACBETH Starring: Denzel Washington, Frances McDormand, Kathryn Hunter, Corey Hawkins, Brendan Gleeson, Harry Melling, Bertie Carvel, Moses Ingram, and Ralph Ineson Director: Joel Coen ADRIANO It rarely gets as good as The Tragedy Of Macbeth , as director Joel Coen’s Shakespeare adaptation is a soaring technical marvel. Every single department is firing on all cylinders, from the sound work to Carter Burwell’s score to Bruno Delbonnel’s stunning cinematography. When it comes to the performances, Frances McDormand never fails to deliver, but Denzel Washington is ferocious and mesmerizing as Lord Macbeth (Kathryn Hunters also is a stand out). Sadly, the film leans hard into the Shakespearean dialogue, so if you’re not in tune with the Old World way of speaking, this may not be for you. JACOB There aren’t many new elements that separate director Joel Coen’s The Tragedy of Macbeth from other straightforward adaptations of Shakespeare’s work, but for fans of the source material, it is as rich as candy. The cinematography by Bruno Delbonnel is amongst the most stunning 2021 has to offer, simultaneously emblematic of both traditional theater and film, and the performances it captures only elevate its power. Denzel Washington and Frances McDormand turn in typically world-class work, but it’s Kathryn Hunter’s take on the witches that gets under one’s skin, along with the stellar score and indissoluble sound design. I loved it.

EEPHUS Starring: Keith William Richards, Bill “Spaceman” Lee, Wayne Diamond, Joe Castiglione, Cliff Blake, and Frederick Wiseman Director: Carson Lund QUENTIN Given its low-budget appearance and lack of recognizable stars, I’m not sure Eephus will work for everyone. However, if you’re a middle-aged man that grew up playing little league baseball before graduating to beer league softball, this movie will speak to you like sentimental poetry. I saw versions of myself in nearly every character, and while it’s funny like a Yogi Berra quote — more dryly amusing than laugh-out-loud hilarious — there is such an authenticity to the dialogue that you feel like part of the team. In Moneyball , Billy Beane (Brad Pitt) rhetorically asks, “how can you not be romantic about baseball?” Eephus doubles down on that ideal. KATIE Eephus is a cozy film that I enjoyed more than I anticipated. There’s something comforting about the time it takes to appreciate the effect of autumn on the colour of the trees and the warm evening light as the ball game carries on late into the night. The cast of interesting characters give naturalistic performances, and it often feels like these are real people. There are, however, some artificially constructed scenes that attempt to be quirky but are realistically annoying. Overall, like the elusive pitch that the title refers to, Eephus was slowly paced but took me by surprise.

WAKE UP DEAD MAN: A KNIVES OUT MYSTERY Starring: Josh O'Connor, Daniel Craig, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Thomas Haden Church, and Jeffrey Wright Director: Rian Johnson NICK I hate to pigeonhole a director, but if Rian Johnson continues making murder mysteries for the rest of his career, I'd be fine with that. Johnson has a knack for this, and his pairing with the now iconic Benoit Blanc (Daniel Craig) is magic. Although Blanc takes a backseat to Rev. Duplenticy (Josh O’Connor) here, he still has moments to shine as Johnson tries his hand at creating a gothic horror film. It's ambitious, but it works, though not quite as well as the previous two entries. That said, I will still gladly take a fourth film on the work of one Benoit Blanc. ADRIANO Wake Up Dead Man is Benoit Blanc's (Daniel Craig) most ambitious mystery yet. Continuing the trend of writer/director Rian Johnson's Knives Out films, Johnson flips audience expectations on their heads in ways that had my eyes glued. Even if you guess who the killer is, the “how” will still shock you. Easily the darkest of the franchise so far, it has great Poe-esque iconography and an interesting take on the radicalizing power of organized religion, all while keeping that Knives Out humour intact. You could argue this is the best of the franchise, and I wouldn't fight you on that. QUENTIN By default, one of the Knives Out movies must be considered the “least good,” a mantle that falls upon Wake Up Dead Man . Don’t get me wrong, it’s a worthy franchise entry, but it’s so different that it’s comparatively weaker. The biggest change is that Benoit Blanc (Daniel Craig) isn’t really the main character, playing second fiddle to Rev. Deplenticy (a fantastic Josh O’Connor). Also, although it maintains a sense of humor, it’s much heavier and somewhat predictable, which makes it less lively and fun. Lastly, Josh Brolin aside, the ensemble cast mostly fades away as glorified cameos. Still, it’s a highly recommendable mystery. PAIGE Wake Up Dead Man is a darker Knives Out entry, and while the mystery is still fun and intriguing, a convoluted plot and messy screenplay hold it back from being as good as its predecessors. The movie takes far too long to find its footing, and when all is finally revealed, it’s dense and unnecessarily complicated. Not to mention, aside from Josh O’Connor, its star-studded ensemble of suspects are completely underutilized and don’t feel like integral pieces to the puzzle. In the end, I didn’t find Daniel Craig’s Benoit Blanc/Scooby-Doo crime angle to be that clever this time around. ROBERT I know it’s been Kenneth Branagh’s corner to bring Agatha Christie adaptations to modern cinema as Hercule Poirot lately. But it’s director Rian Johnson that has more aptly captured that spirit with the Knives Out franchise and Benoit Blanc (Daniel Craig), albeit a wholly Americanized version. Regardless, Wake Up Dead Man keeps the high standard alive in this now-trilogy with an engaging mystery and referential material regarding religiosity and politics, and how they intertwine in an entertaining package. Overall, I would rank it second behind the original due to an overall weaker ensemble, except Josh O’Connor, and Blanc being somewhat muted in his own universe. KATIE I’ve never been a fan of whodunnits, and whilst I’ve not disliked Rian Johnson’s Knives Out films, I’m not enamoured with them. Like its predecessors, the murder plot in Wake Up Dead Man is convoluted, predictable, and somewhat annoying. However, I loved Josh O’Connor as Reverend Jud, as this is his film. Daniel Craig’s performance as Benoit Blanc is fantastic, and I liked the focus on his and the Reverend's compelling dynamic, as well as the religious themes; however, I wasn’t ecstatic that Blanc takes a back seat, and the rest of the cast feels much less a part of the story than the previous films. AMARÚ Director Rian Johnson went scorched earth on our incessant habit to repeat the historical hypocrisy of power, but the initial lack of subtlety isn’t always effective. That is until the revelatory juxtaposition of Josh O’Connor’s stand-out performance repeatedly generates genuine spiritual catharsis through his Priest Duplenticy’s authentic displays of grace’s healing power. Going HAM on the real-life idiocracy in which we currently reside makes the acts of faith much more resonant, laying a foundation for Duplenticy’s narrative arc and the star-studded ensemble’s performances that allow the “Scooby-Doo shit” mystery to unfold so damn entertainingly. Sorry, Rian, I didn’t see the vision until it was already checkmate. BODE While the Knives Out films have continued to show writer-director Rian Johnson’s knack for crafting compellingly breezy murder mysteries, I think his awkward attempts at social commentary held the first two movies back from true greatness. That’s what makes Wake Up Dead Man , the third in the franchise, fascinating for me. His social commentary on religion is surprisingly poignant, holding the film together in a way that the needlessly convoluted and overlong mystery almost can’t. Maybe he’ll never get the balance right with this series. Oh, well. Josh O’Connor is a star, at least. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

EBONY AND IVORY Starring: Sky Elobar and Gil Gex Director: Jim Hosking This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2024. NICK What the fuck did I just watch? I haven't seen a film as painfully unfunny as Ebony and Ivory in some time. I spent the entire runtime wanting to turn it off, but didn't because I needed to review this thing in all its idiocy. The cheap imitations of Paul McCartney (Sky Elobar) and Stevie Wonder (Gil Gex) neither personify the actual people, nor provide a lick of laughs. I think we're supposed to laugh at Wonder displaying the symptoms of Tourette's syndrome? Because that’s clearly funny… God I hated this. QUENTIN As divisive as they are, I really enjoyed Jim Hosking’s The Greasy Strangler and An Evening with Beverly Luff Linn , so I was committed to seeing whatever off-kilter nonsense Hosking had cooked up with Ebony and Ivory . Woo, boy, is this some nonsense. It’s not so much a plotted movie as it is a collection of conversational anti-comedy skits, and despite a few quick-hitter moments that came ever-so-close to winning me over, they eventually undermine themselves for going on way too long. One almost needs to see it to believe how dumb and outlandish it is, but also, please don’t do that to yourself.

THE BLACK PHONE Starring: Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, and James Ransone Director: Scott Derrickson JACOB There aren’t many surprises in store for those viewing Scott Derrickson’s first horror film since Deliver Us From Evil , but even so, this pseudo-supernatural drama does make for an entertaining movie experience. Less traditional horror than psychological thriller, the best thing about The Black Phone is how its ambitions don’t outstretch its reach. It’s not shooting for the stars or attempting to make some grand point. It’s simply taut, filled with good performers, and is very well-designed. I do wish we saw a little more of Ethan Hawke without the mask, but what’s given works well enough for me. PAIGE Director Scott Derrickson goes back to his horror roots with The Black Phone , a tense thriller set in the 1970s that is only enhanced by a creepy score. The film, which is adapted from a short story by Joe Hill (son of Stephen King), packs a punch similar to 2001’s Frailty . It’s a gut wrenching nail-biter of a film that will keep you on the edge of your seat, and while Ethan Hawke is haunting as The Grabber, I do wish we got more of his character. The real standouts are Madeleine McGraw and Mason Thames though, both of whom give breakthrough performances. QUENTIN In an effort to correct your expectations, The Black Phone is not a horror movie, and despite a few attempts at jump scares, it’s not really all that scary. It’s more of a suspense thriller, a sort of creepy Frequency meets Frailty . That said, it’s still pretty good, and Ethan Hawke plays an effectively unnerving villain (though his mask does a lot of the heavy lifting). Some genuine laugh out loud moments (both intentional and not) undercut the tension a little too much, and several of the child actors are downright dreadful, but you’ll never lose interest in what’s happening on screen.

SUITABLE FLESH Starring: Heather Graham, Judah Lewis, Barbara Crampton, Johnathon Schaech, Chris McKenna, and Bruce Davison Director: Joe Lynch QUENTIN As a movie, Suitable Flesh isn’t something that viewers need to rush to see. However, as an homage to certain movies of the 80s and 90s, I can’t deny that I appreciated the approach and intent. Now, by “certain movies,” I mean the sex-driven, almost soft-core pornography that aired on Cinemax back when it was lovingly referred to as Skinemax, movies like Embrace of the Vampire and Shannon Tweed’s entire filmography. Suitable Flesh nails that aesthetic perfectly, complete with (purposely) wooden acting, a cheesy saxophone-driven score, shoddy special effects, and the oddly era-specific framing. Overall, it’s a nice tribute wrapped in a somewhat meh movie. KATIE Suitable Flesh is a wild ride. The film enthusiastically blends slapstick levels of violence, black comedy, kitchen-sink drama, and psychosexual thrills with cosmic horror. If this sounds insane, it's because it is, in the very best way possible. Although it may appear to have some questionable visual effects and cheesy dialogue, this only serves to enhance its B-movie-inspired appeal. Heather Graham and Barbara Crampton’s performances are delightfully excessive and entertaining, and you can feel how much fun they’re having with the roles. This would be the perfect film to enjoy with horror fans who appreciate nasty-esque video fun.

THE CHRISTOPHERS Starring: Michaela Coel, Ian McKellen, Jessica Gunning, and James Corden Director: Steven Soderbergh AMARÚ Here is one thing I didn’t think I would say about The Christophers : it’s adorable. Or more appropriately, Sir Ian McKellen playing devilishly adorable makes the film an entertaining watch. He’s a one-man wrecking crew of brash insults and hilarious narcissism. Michaela Coel, conversely, plays off him tremendously with just a piercing look, and both performers needed all the charm they could muster to dive deeper into the messages of adequacy and affirmation the surface-level script couldn’t quite grasp. The leads prove there’s something to this film, and you could feel that every time the story just escaped beyond that something’s reach. BODE Whenever director Steven Soderbergh and screenwriter Ed Solomon have collaborated, the results (which include Mosaic and No Sudden Move ) have never been uninteresting. The Christophers is their fourth project together, and it’s a chamber piece that ruminates on the relationship between art and commerce. It never gets as deep as one would hope, and the pacing can be a bit lackadaisical at times, making it their weakest effort. Still, it’s got great actors like Ian McKellen and Michaela Coel charmingly riffing off each other, alongside a great score from Soderbergh regular David Holmes. So, you can’t go too wrong with that. ADRIANO Director Steven Soderbergh’s commitment to always delivering something different continues with The Christophers . This one seems a lot more personal to him, as it explores the mere idea of singular artistic expression, although his recent gleeful acceptance of AI does make me question that thesis. All that said, while watching Michaela Coel and an erratic Ian McKellan going at each other's throats is entertaining, The Christophers loses its edge early, in part due to the loose plot ending quickly. Soderbergh’s direction is also uncharacteristically unengaging, making even the more enjoyable moments, like the film as a whole, ultimately forgettable. This film was reviewed by Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

THE MAN IN MY BASEMENT Starring: Corey Hawkins, Willem Dafoe, Anna Diop, Jonathan Ajayi, and Pamela Nomvete Director: Nadia Latif AMARÚ Nadia Latif’s directorial debut is a darkly meditative look into family legacy, history (specifically surrounding Black people in the U.S.), and self-worth that uses spooky imagery and sinister blocking to create an eerie tone. But truthfully, her great direction is merely a runway to showcase a career-best performance from Corey Hawkins. It’s very hard to make you forget about Willem Dafoe, but Hawkins’ commanding desperation (which, of course, is elevated by Dafoe being Dafoe) is the lynchpin on which every aspect of this film turns. It’s a tremendously shattering performance that delivers a remarkably thought-provoking movie. NICK Maybe I’ve just gotten too used to Willem Dafoe playing outlandish characters, and expected something more in that vein, but I found The Man in My Basement to be a bit of a bore. I can’t put this on the performances of Dafoe or Corey Hawkins because they’re fine, if unspectacular. I just think everything hit a lull following its mysterious setup. It’s not a film devoid of good ideas, it just doesn’t present them in a way that could keep my attention. There’s something here, no doubt, but it needed a lot more work to be brought to fruition. ADRIANO As effective as the eeriness of The Man in My Basement is, I'm afraid I have no clue what the goal of this was. Corey Hawkins and Willem Dafoe are great, but the story never clarifies its ultimate trajectory. It brings up grand points about class, colonialism, the history of race in America, and even smaller stuff like struggling to get by. But if that feels like too much for one film, it's because it is, and it never quite finds enough balance to actually make a statement. I would chalk this down as a swing and a miss, even though it's well-made. ROBERT After reflecting on The Man in My Basement for a while, I haven’t concluded what I was supposed to take away from it. I understand there are considerations about family legacy, history and how those often get co-opted, but with two disparate storylines floating around Corey Hawkins’ Charles, I am uncertain if they were meant to intertwine into a clearer message. The performances are fine and there is a general creepiness to it, but being creepy without a salient reason feels incomplete, which is where I ended up with the film. You don’t need to lock yourself away for this one. BODE With The Man in My Basement , director Nadia Latif crafts a debut feature that is as hauntingly surreal as it is frustratingly overstuffed. In tackling as many themes as it does, such as grief, generational trauma, and colonial history, it risks stumbling under its own weight (and honestly makes the film longer than it should be). But the eerie atmosphere Latif creates is effective all throughout, thanks to some of her blocking and unsettling sound design. Corey Hawkins and Willem Dafoe both deliver great performances as well, enlivening much of their material. Messy for sure, but it’s never not interesting. This film was reviewed by Amarú and Nick as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

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

WHISTLE Starring: Dafne Keen, Sophie Nélisse, Percy Hynes White, Ali Skovbye, Sky Yang, Stephen Kalyn, Michelle Fairley, and Nick Frost Director: Corin Hardy ROBERT Horror has seen a recent run of monkey paw/cursed item films (The Monkey, Talk to Me , etc.). Why? Probably because it is a safe, simple, and clear path to easy success. Whistle is in that same vein: ancient Aztec artifact that calls Death to anyone within ear shot (I have major questions as to the range of the curse, but I digress). It was fun to see Dafne Keen take a shot to lead this, but from her to everyone down the line, it’s all caricature or fodder, with wasted screen time for Nick Frost and Michelle Fairley; B-level Goosebumps storytelling. BODE Like a cross between Final Destination and Old , Whistle builds itself around an ancient artifact that speeds up death for both whoever blows it and whoever hears it. It’s a premise that could provide a reasonably fun time, and credit to director Corin Hardy, some of the kills featured (especially one that involves a car crash) are pretty accomplished. But they’re brief moments of genuine spark in a film that fails to capture the early 2000s teen horror vibe it so clearly seeks, and it’s not helped by the clunky dialogue, one-dimensional characters, and affectless performances from most of its cast. Such a real blow. PAIGE Whistle is an angsty, young adult horror flick that is unfortunately fairly generic. This Final Destination -esque movie delivers some pretty creative kills, an utterly ear piercing sound design, and a clever concept, but its rules surrounding the Aztec death whistle take too long to develop, which lessens the story’s stakes. Not to mention, its dialogue is cringy and its characters are stereotypical one-dimensional high schoolers. All in all, while the kills are memorable, the rest of the film left a lot to be desired.