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WENDELL & WILD Starring: Lyric Ross, Keegan Michael-Key, Jordan Peele, Angela Bassett, James Hong, Sam Zelaya, and Ving Rhames Director: Henry Selick ADRIANO I was excited for Wendell & Wild , but walked away disappointed. I’ll begin with the positives… I loved the stop-motion animation, and the character designs are very creative and visually striking. However, the film’s story is nonsensical. I’m pretty sure it’s a metaphor for the prison system, which is a weird and specific message for a kids’ movie, but, also, maybe I’m wrong about that being the point. Either way, the story is so all over the place, with something about amusement parks and hair cream, that I couldn’t really make sense of it all. I really wish I liked it more than I did. NICK My respect for the difficulty and precision put into stop-motion animation will always factor into a rating. To that point, on a technical level, Wendell & Wild is fantastic. The character design feels fresh, and different types of animation are used seamlessly throughout. Director Henry Selick is back, folks. However, the story feels oddly familiar. For a unique plotline, many of the story beats feel overdone, as if I’d seen this film before. Perhaps the idea of Wendell & Wild would be better served as a series so we could flesh these characters out more because, as it stands, it’s a tad forgettable. QUENTIN Netflix’s Wendell & Wild boasts a ton of top shelf talent behind the camera, including legendary director Henry Selick (The Nightmare Before Christmas , Coraline ) and the reuniting of Key & Peele (Keegan-Michael and Jordan, respectively); however, despite the impressive stop-motion animation, the movie struggled to hold my interest through its too-long runtime. Admittedly, maybe I’ve just outgrown this kind of kid-driven “horror,” but neither the humor nor the more macabre elements landed for me. The voice talent does a solid job, and there is a nice message to take away, but this one is probably best left for the children. AMARÚ The works of director Henry Selick, as iconic as they may be, have never resonated with me for some reason, and Wendell & Wild is no exception. The voice cast is great, and the animation is beautiful; however, the story is messy, quickly moving from one plot point to the next without much room to breathe. Instead, too much focus went into building creepily unique characters and spooky set pieces, making it that much harder to connect with much of anything. Those with a fondness for The Nightmare Before Christmas may enjoy this admittedly cool movie, but alas, it just ain’t for me. JACOB I’ll always give films that take chances a chance of their own, but unfortunately, Wendell & Wild is one of those weird experiments that just doesn’t work. The stop-motion movement is accomplished exceedingly well, but the characters are fairly thin and the script is even weaker. Several bits of dialogue hold no conviction or comic power, while others actively made me cringe. The film is also packed with too many ideas that never get fully explored. As such, they only get minimal screentime, and the story isn’t good enough for that approach to flow correctly. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE SUBSTANCE Starring: Demi Moore, Margaret Qualley, and Dennis Quaid Director: Coralie Fargeat QUENTIN If you get squeamish with gross body-horror imagery and flat-out disgusting noises, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. NICK The Substance is the latest film from director David Cronen... Psych! This feature is directed by Coralie Fargeat, and although there certainly is a Cronenberg feel at times, she makes it all her own. Exploring themes of mortality, self-confidence, and desperation, Fargeat tells a story that’s surprisingly relatable. Demi Moore is given a chance to strut her stuff for the first time in years, while Margaret Qualley lives up to exactly what her character needed to be. As for the body horror aspects, this still would have been a good movie without it, but it takes things to another level in the most wonderful ways. ADRIANO Dear God, Coralie Fargeat, you absolute mad woman. The Substance is insane. While the film features not one ounce of subtlety, its in-your-face approach winds up contributing to the primal enjoyment of this treat of a film. The execution is unique and fun as hell from the get-go, but towards the end, as it plunges itself deeper into madness, I couldn't keep my jaw off the floor because of the prosthetic work and overall insanity of the situation. It may not be the most effective message on beauty standards, but a one-of-a-kind blast nonetheless. PAIGE Coralie Fargeat’s The Substance may be one of the greatest body horror films I’ve ever seen! It’s an in-your-face type of movie that tackles Hollywood's beauty standards head-on. From a technical standpoint, this movie is flawless, featuring stellar sound design, fantastic practical makeup effects, and a unique framework, not to mention a career-best performance from Demi Moore. All in all, this satire is batshit crazy in the best way possible. The only thing holding this audacious piece of art back from being perfect is its over-the-top final act. PRESTON Have you ever seen videos of “The Hurricane Shot;” where the victim takes a shot, gets water thrown in their face, and is then slapped by some baddie bartender? Well, leaving The Substance felt like I did about five of those in a row. It is a masterfully daring film, featuring Demi Moore (Elisabeth Sparkle) and Margaret Qualley (Sue) on full, courageously brilliant display. The effects, makeup, and sound coalesce into a perfect symphony of grotesque horror. The film devolves in a tragic final act, but director Coralie Fargeat has earned, sight-unseen, must-watch status on her next effort. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

THE WOMAN IN THE YARD Starring: Danielle Deadwyler, Okwui Okpokwasili, Peyton Jackson, Estella Kahiha, and Russell Hornsby Director: Jaume Collet-Serra BODE It was only a matter of time before modern genre craftsman Jaume Collet-Serra returned to his horror roots, and with Blumhouse no less. But I don’t think that combination properly prepared me for what The Woman in the Yard had in store. Serra takes what could’ve felt familiar in its exploration of grief and depression, and pushes it (with the help of DP Pawel Pogorzelski and the committed brilliance of star Danielle Deadwyler) to surprisingly expressionistic places, further accentuating its palpable dread, and making some of the heavy-handedness in Sam Stefanak’s debut script easier to forgive. I mostly dug this. ADRIANO The Woman in the Yard's unapologetic bleakness is almost admirable, but it very clearly bites off more than it can chew. The filmmaking works. The excellent cinematography contributes to the storytelling and director Jaume Collet-Serra's tension. Danielle Deadwyler is (obviously) amazing, but the child actors, Peyton Jackson and Estella Kahiha, are equally great. That said... the writing tanks it. It sets up something interesting, but it's textbook "this should've been a short." It spins its wheels for way too long and its final act becomes nonsensical. I can respect the ambition, but it failed to leave the impact it tried for.

OH, HI Starring: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, and David Cross Director: Sophie Brooks KATIE Oh, Hi! is a charming rom-com with a hilariously dark twist. Starting as a dreamy romance, it takes an unexpected turn that works a lot better than I expected. It doesn’t waste a minute of its tight 94-minute runtime, all of the jokes land, and it's consistently funny. Logan Lerman is great and effectively supports Molly Gordon’s hilarious and heartfelt performance, and the pair have convincing chemistry. One of my few criticisms, and it isn't the film’s fault, is that I wish I hadn’t watched the trailer, as it would be even better to be surprised by it. AMARÚ Oh, Hi! is exhibit-A that the current state of movie trailers needs to revert back to not giving away too much. Going in blind had me locked into this seemingly straightforward two-hander between Logan Lerman and Molly Gordon, waiting for what would happen next. Their chemistry is natural, and the comedy, while not always laugh-out-loud funny, highlights the leads’ likability. And when shit keeps unraveling, the strength of their understated charm makes the exaggerated relationship conflicts much more relatable. This film gets weird, and edges toward shark-jumping, but the comedy-of-errors keeps the story amusingly in check. NICK Don’t get me wrong, the crazy ex-girlfriend story can be a good watch, especially when the whole thing takes place in relative real time, but I wanted to have more fun with Oh, Hi! Although Molly Gordon gives a committed performance as Iris and is tasked with carrying the majority of the film, the humour didn’t match the absurdity of the situation. Admittedly, my opinion is skewed because I just watched a very similar film, albeit with a different tone, but the wacky vibe this thing was going for just wasn’t realized for me. This started strong but just couldn’t keep its momentum. BODE It seems cliché to call Oh, Hi! a rom-com riff on Misery , but co-writer/director Sophie Brooks invites the comparison at almost every turn, right down to Molly Gordon’s charmingly unhinged performance (which owes a bit to Kathy Bates, via her own admission). And though it tries to use that framework to comment on the contradictions of modern dating, the approach feels rather one-note, and strangely lacking in momentum. It has some moments of wit, and the cast is animated enough. Overall though, I get the feeling Oh, Hi! might’ve benefitted more as a short rather than a full-length feature.

INSIDE OUT 2 Starring: Amy Poehler, Phyllis Smith, Lewis Black, Maya Hawke, Ayo Edebiri, Tony Hale, Liza Lapira, Kensington Tallman, Paul Walter Hauser, Adèle Exarchopoulos, Kensington Tallman, Diane Lane, Kyle MacLachlan, and Lilimar Director: Kelsey Mann NICK To use a baseball analogy, Pixar has been hitting a lot of singles and doubles this decade. Hits, sure, yet nothing exceptional… until now. Inside Out 2 is a home run. The new emotions enhance the film’s relatability while a smart tonal shift accurately reflects the feelings of maturing. Life is messy sometimes, with unclear pathways, and this sequel reflects that. There are fewer laughs, yes, but it’s by design thanks to the mature look it takes at our thoughts, emotions, and the mental strain they can all take on us. It’s a superb film and should be required viewing for anyone growing up. AMARÚ Inside Out 2 i s an excellent follow-up to one of Pixar’s best. It naturally builds out the world of Riley’s (Kensington Tallman) mind to explore simultaneously complex and familiar themes. With its emphasis on a subject as heavy as Anxiety (voiced brilliantly by Maya Hawke), the script is surprisingly hilarious, and it balances the ensemble’s strengths even better than its predecessor. The story could’ve benefitted from an extra 10-15 minutes to further flesh out poignant ideas that sometimes are told instead of shown, but even that excess exposition is so heartfelt that it will resonate with kids, teens, and adults alike. ADRIANO Following Inside Out is a near impossible feat, but Inside Out 2 does an admirable job. I don't think it gets anywhere close to the impact of the first film, but it comes close with its new approach and world expansion. There's sincere fun here, and some moments got me, even if it wasn't quite the gut punch that I was hoping for. The additions to the cast are very welcome, namely Maya Hawke, although Tony Hale didn’t impress me at all. Overall, it was another great Pixar outing, but nothing outstanding. PRESTON Insightful, truthful, emotionally engaging, funny, and endlessly clever; Inside Out 2 delivers as a sequel, easily matching its predecessor’s charm. We can picture these emotions in our own heads, and nostalgically look back on our most awkward and vulnerable moments that allow us to personally connect to these characters at every level. I have my own proclivities toward a slightly pessimistic and anxiety-ridden inner narrative, and even as I digress, Inside Out 2 wraps me in its loving embrace of acceptance. It can be warmly regarded as entertainment and as reassuring therapy concurrently. A must watch for all ages. SHADAN Recent disappointments have made me weary of Pixar sequels and off-shoots, but Inside Out 2 delivers the creativity, humor, and heart that I used to expect from the animation powerhouse. Of the new emotions introduced, Anxiety (Maya Hawke) steals the show, as it does with most teenagers, an authentic and well-executed addition. Much like the original, Inside Out 2 drags in the middle when the characters venture off into the recesses of Riley's (Kensington Tallman) mind, and there's a missed opportunity to fully flesh out new characters. Still, the clever banter, spirited voice-acting, and stunning animation more than make up for any faults.

THE SURFER Starring: Nicolas Cage, Julian McMahon, Nic Cassim, and Finn Little Director: Lorcan Finnegan QUENTIN Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. KATIE Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans. This film was reviewed by Quentin and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 BFI London Film Festival, respectively.

BLITZ Starring: Saoirse Ronan, Harris Dickinson, Benjamin Clémentine, Kathy Burke, Paul Weller, Stephen Graham, Elliott Heffernan, Sally Messham, Erin Kellyman, and Hayley Squires Director: Steve McQueen KATIE With emotional family drama, gripping action, and incredible special effects that are breathtaking in their sheer scale, Blitz captures the devastating destruction of war and the ways that it united and divided people and communities. Director Steve McQueen highlights the efforts and impact of those that history and cinema have previously ignored, specifically women and people of colour, neither of which have been represented fairly, if at all. The cast is also very strong, particularly a captivating Saoirse Ronan, as well as an incredible acting debut from the young Elliott Heffernan, who is our emotional lifeline throughout the film. ADRIANO I never hoped I'd have to talk about the latest film from one of my favourite directors like this, but I despised Blitz . It's solidly well-made from a production standpoint, but nowhere near the level of what we're used to from director Steve McQueen. The cinematography has that gross WWII grain, and I couldn't connect to anything, as hard as McQueen tried. The mother-son story was underdeveloped, and the film's protagonist (Elliott Heffernan) felt like nothing more than a capsule to go from one useless plot point to the next. Just one big bag of empty Oscar bait. AMARÚ I couldn’t tell you what exactly, but Blitz is missing… something. It’s fine, but I couldn’t fully connect to it like most movies with this subject matter and these performances. Maybe that’s it. It’s an amalgamation of a lot of other World War II movies I’ve seen before. Even with the always impeccable Saoirse Ronan and a great debut from Elliott Heffernan, I could see the next scene coming. And even when I couldn’t, I asked why did that even happen. Director Steve McQueen doesn’t know how to make a bad film, but this one shows he doesn’t always hit. PAIGE Steve McQueen’s Blitz may stand tall with its eye-catching visuals and stunning performances, particularly from Saoirse Ronan and Elliott Heffernan, but it falls flat on its face with its subpar narrative and underdeveloped themes. In addition, its editing and pacing are all over the place, occasionally feeling as if you're watching two clashing films lacking concentration on what it wants to convey. While the movie has some poignance, too many of its components don’t at all mesh well together. PRESTON Writer and director Steve McQueen has a hard time focusing on the story he is trying to tell in Blitz. It opens with expectations about the hardships that the English people face during the Nazi bombings at home, and with the associated evacuations. Then, he can’t help but introduce a competing, simultaneous narrative about racism. While important, the resulting unfocused plot detracts from the attention that both messages deserve. Incidentally, the scoring is, at times, oddly inappropriate for what is called for in the moment. It’s close, but the sometimes-tedious film is just too tepid to earn the additional half reel. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.

BARBARIAN Starring: Georgina Campbell, Bill Skarsgård, and Justin Long Director: Zack Cregger QUENTIN As a person who has a high bar for horror, Barbarian is one of the best horror films I’ve seen in several years. Admitting that I knew very little going in, it continually kept me in suspense, especially as it subverted many of my expectations, while boasting jump scares, creepy suspense, and palpable tension. The actors, while good, aren’t asked to do too much, as the movie mostly succeeds solely on its direction, writing, and score. It’s a genuine breath of fresh air for the genre, which, if you ask me, is pretty much anything that isn’t another sequel or spinoff of The Conjuring . JACOB Barbarian – sure to be dubbed by many as this year’s Malignant – is a wild ride. Although its start is a bit rough, it eventually settles into a pace more befitting its story…then abruptly turns the dial so you have no idea where it’s all meant to be heading until what the film is trying to say comes sharply into focus. The one thing I wish the film did better is commit to the ending it clearly wants to have, but still, anything that somehow blends Ti West, Terrence Malick, and Don’t Breathe… and still comes out this coherent…deserves praise.

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.

A NICE INDIAN BOY Starring: Karan Soni, Jonathan Groff, Sunita Mani, Harish Patel, Zarna Garg, and Peter S. Kim Director: Roshan Sethi KATIE A Nice Indian Boy is a sweet, feel-good film that presents the classic meet-the-parents rom-com with a twist. It's not a particularly original concept, as it reminded me a lot of East is East , but audiences rarely get to see gay characters in these cliché romantic scenarios. In that sense, it's refreshing and very moving. The leads, Karan Soni playing Naveen, and Jonathan Groff playing Jay, have great chemistry, but I would have loved a little more exploration of Jay’s character. Overall, A Nice Indian Boy is a heart-warming, comforting watch with genuine laughs and maybe a few tears. AMARÚ A Nice Indian Boy is a sweet romantic-comedy of old with touching modern day flourishes. The comedic timing coming from Karan Soni’s awkward energy makes for big laughs and palpable opposites-attract chemistry between him and Jonathan Groff, the latter whose charm pops off the screen. Soni, on the other hand, might portray one of the most irritating, self-deprecating rom-com characters I’ve ever come across, but the honest emotions their relationship forcefully uncovers makes for sincere familial drama amongst the typical romance beats. I said it already, but no other word works so fittingly than calling A Nice Indian Boy tremendously sweet.

FOE Starring: Saoirse Ronan, Paul Mescal, and Aaron Pierre Director: Garth Davis PAIGE Foe is an ambitious film that is more of a domestic drama than a world-building sci-fi spectacle. Don’t expect it to feel like the Black Mirror episode “Beyond the Sea” because its purpose is very muddled. While I actually quite enjoyed this character-driven flick, I do admit it’s a slow burn that needed a stronger story and better structure to fully come together. Still, the film does manage to play to the strength of its actors. Saoirse Ronan and Paul Mescal manage to deliver emotionally deep performances, even when the rest of the film stumbles along the way. ADRIANO Foe is a movie that drained me by the time it was over. The pacing is non-existent, and while a film doesn't need to be fast paced to be good, it usually needs to have compelling writing to drive the story through slower pacing. Sadly, that's not the case with Foe . The writing is confusing, lacking the deep insight into love and A.I. that co-writers Garth Davis and Iain Reid clearly thought they were providing. Paul Mescal and Saoirse Ronan are not on their A-game, either. Overall, although it looks nice, this movie is disjointed and uninteresting. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.

ENCANTO Starring: Stephanie Beatriz, Diane Guerrero, Wilmer Valderrama, Angie Cepeda, Rhenzy Feliz, Carolina Gaitan, Jessica Darrow, Adassa, María Cecilia Botero, Mauro Castillo, and John Leguizamo Directors: Jared Bush and Byron Howard JACOB Though not flawless, Encanto is a movie full of joy that families are sure to fall in love with. It bursts with life and color in every frame, and while the songs may not be Disney’s strongest lyrically, they’re all deeply infused with a Colombian energy worthy of the wonderful instrumentation throughout. The story itself takes a few narrative shortcuts at the film’s expense (namely in the third act) and it all wraps up a bit too neatly, but the ultra-detailed animation and fun characters make up for most of that. It would seem the Disney formula still makes magic. ADRIANO Simply speaking, I was delighted by every moment of Encanto . As per the case with most of Disney’s animated efforts, it’s gorgeously animated, it’s really funny, and it hits you directly in the feels. Lin-Manuel Miranda's original songs are both catchy and powerful, and they pair well with the film’s themes of family and self-worth, as well as the culture it’s representing. My only real gripe is that I had to see it in 3D, which I truly hate. Other than that, this movie is undeniably charming. NICK The recent focus on animated features delving into different cultural backgrounds has been refreshing, but doing so doesn’t guarantee a great film, which is evident here. Similar to Pixar's Onward , Encanto is just sort of there. It’s notes of Happy Feet with a magical twist, and that works fine. Unfortunately, in a year of musicals, most of the songs here are forgettable the moment they end. That is really what plagues this film overall… it just isn’t as memorable as its predecessors. The animation is gorgeous as expected, but otherwise this was a bit of a letdown.