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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.

EILEEN Starring: Thomasin McKenzie, Anne Hathaway, and Shea Whigham Director: William Oldroyd ADRIANO I enjoyed Eileen up until the moment that I didn’t. Initially, the film presents itself as a Carol -esque love story of a lost woman, which really engaged me thanks to the performances of and chemistry between Thomasin McKenzie and Anne Hathaway. The pacing was slow, but I was into it nonetheless. However, while I won’t go into specifics, in the course of a single sentence, the film does one of the biggest 180s I’ve seen in film, to the point where it made the first two acts feel like a waste of time. I’m very disappointed in the way it turned out. QUENTIN Despite tremendous era-specific production design and terrific performances from Anne Hathaway and especially Thomasin McKenzie (with a great Boston accent), this slow-burning, twisty, coming-of-age thriller is just a tad too slow for its own good, while also featuring a third act that almost feels as if it’s from a completely different movie. Still though, at only 96 minutes, the chemistry and psychosexual tension between Hathaway and McKenzie, not to mention a great supporting turn from Shea Whigham, are more than enough to keep viewers mostly engaged until the end. KATIE Eileen is a compelling and exciting film featuring engaging and multifaceted performances, but it is let down by an uneven ending. I was completely onboard until its difficult third act, which totally blindsided me, because it feels disconnected from everything that preceded it. This is especially frustrating, considering that the film only scratches the surface on the fascinating relationship and intriguing chemistry between Eileen (Thomasin McKenzie) and Rebecca (Anne Hathaway). I wanted it to be bolder and to push further into the psychosexual strangeness that it hints at. PAIGE Eileen starts off as a slow burn psychosexual drama with a noir aesthetic due to its cinematography and jazz-like score, but then, all of a sudden, the film takes an abrupt turn in its third act, turning into an elevated mystery thriller. While on one hand, it's a somewhat intriguing avenue to take with these characters, on the other hand, it feels completely out of left field. As a result, the film just doesn’t come together fully, even with a magnetic performance from Anne Hathaway. This film was reviewed by Adriano and Quentin as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival and the 2023 Zurich Film Festival, respectively.

I SAW THE TV GLOW Starring: Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Fred Durst, and Danielle Deadwyler Director: Jane Schoenbrun ADRIANO I Saw the TV Glow cements Jane Schoenbrun as one of our most exciting upcoming filmmakers. Between this and their last film, Schoenbrun shows that they have a keen talent for unique storytelling, especially in their approach to themes of queer identity and our attachment to media. Schoenbrun's use of the camera and colour is particularly fascinating here, as the film takes a radical turn halfway through to become a surreal and intense experience that I was locked in for. I can't say I understood everything, but I feel I'll be pondering I Saw the TV Glow for a while. NICK It's rare that I go into a film completely blind, but that's exactly how I approached I Saw the TV Glow . Never in a million years did I expect to see an homage to Buffy the Vampire Slayer , but that is a running theme throughout. The film focuses on themes of sexuality, identity, and family trauma, all through the lens of a television program and the escape it offers. There is horror imagery, but this is much more of a psychological study, and for me, it is a welcome introduction to the direction of Jane Schoenbrun. PAIGE Similar to director Jane Schoenbrun’s previous film We’re All Going to the World's Fair , their newest release I Saw the TV Glow is a unique and moody slow burn that may not be for everyone, but is a film that allows outsiders to feel seen. With a captivating visual aesthetic, an amazing soundtrack, and hypnotizing themes of identity and escapism, Schoenbrun skillfully blurs the boundaries between fantasy and reality. Even though I didn't think the movie worked as a whole, I'm glad it was made, as it attempts to examine its themes in a surprisingly singular way. CALEB I Saw the TV Glow is a soul-stirring cautionary tale about the emptiness of self-repression. It’s a hallucinatory technicolor nightmare, brimming with style. Much like Director Jane Schoenbrun’s previous outing, We’re All Going to the World’s Fair , TV Glow adeptly explores how media consumption is interlinked with adolescence and self-discovery. Through their emphasis on acoustic indie-rock and suburban liminality, Schoenbrun weaponizes nostalgia, showing just how quickly a fond memory can transform into a source of lifelong regret. TV Glow is a wholly unique psychological horror with impeccable direction, fantastic performances, and an ending that shook me to my core. Don’t miss this one. AMARÚ With its central television conceit being based on Buffy The Vampire Slayer, I Saw the TV Glow has a cool cameo I genuinely appreciated. That’s as complimentary as I'm going to get, especially after watching a scene featuring a black mother driving off before seeing her child enter a friend’s house, which immediately let me know I wasn’t here for this ride. It's not that the movie doesn’t have merit - there’s a profoundly powerful message about identity here - but its psychedelically chaotic execution is 100% not my speed. If I never hear the words “pink” and “opaque" said in succession again, I’ll be happier for it. QUENTIN Just because a movie is an esoteric metaphor for an important theme like gender identity doesn’t mean the movie is actually good, nor does being inaccessible and artsy automatically equate to “substance.” I also think there are people who will say they love a movie precisely because they didn’t get it. Like, “if I didn’t get it, it must be smart!”, because no one likes admitting they don’t understand something. I Saw the TV Glow is where those thoughts meet because, despite the positive buzz, this movie is a monotonous slog so far up its own self-serious ass that it forgets to engage the audience.

A DIFFERENT MAN Starring: Sebastian Stan, Renate Reinsve, and Adam Pearson Director: Aaron Schimberg QUENTIN A Different Man is the type of not-great oddball movie that A24 Stans will champion anyway just because it’s from A24. Granted, it has a lot on its mind, asking thought-provoking questions about beauty, vanity, and self-esteem. It also features strong performances, particularly from Adam Pearson. However, the characters, especially Sebastian Stan’s Edward, make too many questionable decisions, which ultimately results in a very frustrating viewing experience. On top of that, it’s a bit of a slog, and the ending provides no catharsis or satisfaction. I appreciate what writer-director Aaron Schimberg wants to do, but he doesn’t do it well enough to make the movie recommendable. ADRIANO Even with the obvious narrative issues, especially with its unclear final 5 minutes, there's something so fascinating about A Different Man . The darkly comedic surrealist thriller tone helped keep my interest piqued for the entire movie, alongside an incredible performance from Sebastian Stan. Beyond that, the movie's self-image story could've easily just stuck to a basic "it's what's on the inside that counts" message, but I was really into how it decided to go beyond that, showing what a blunted self-image can do to someone. As weird and unsure of itself as it can be at times, I admired most of A Different Man . NICK A Different Man is an interesting case study. It's a film that doesn't shy away from taking risks, and it features some very good performances, which usually bodes well for me. Not so much here, though. The film feels as if it is split into two parts, with neither being given the time to establish itself. Meanwhile, the tone of everything is as if it's constantly in flux. It all just feels a little disconnected, which is a shame because both Sebastian Stan and Adam Pearson came to play. Too bad A Different Man doesn't do what it needs to do to provide them a worthy playground. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasy Filmfest.

BAD HAIRCUT Starring: Frankie Ray, Spencer Harrison Levin, Beau Minniear, Nora Freetly, R.J. Beaubrun, and Martin Klebba Director: Kyle Misak This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. QUENTIN Like many horror comedies, Bad Haircut has some trouble finding the right blend of the two genres. There are moments that should be filled with dread, but since the film leans a little too hard toward silliness in parts, that tension never truly manifests. That said, Frankie Ray — channeling Jack Sparrow, Buffalo Bill, and Iggy Pop as the tragically off-his-rocker barber Mick — gives a performance so magnetic that most perceived flaws fade away. The movie around Ray may not always work to perfection, but Mick is so damn electric and compelling that he could drive the next cult franchise, a la Art the Clown in Terrifier . NICK There's something oddly enchanting about Frankie Ray's Mick in Bad Haircut . He's got the looks of Iggy Pop, the mannerisms of Steven Tyler, and the psychosis of Joaquin Phoenix’s Joker. He’s quite the enigma, and you can't really take your eyes off him. Beyond his performance, is this film anything special? Not really. The rest of the cast turns the silliness up to contrast Mick, and it’s visually fairly unimpressive. But that lead performance? Much like Elvis Nolasco as Mr. Crocket in last year's festival, that will stick with me. I’d welcome a return.

THE WONDERFUL STORY OF HENRY SUGAR Starring: Benedict Cumberbatch, Ralph Fiennes, Dev Patel, Ben Kingsley, Rupert Friend, and Richard Ayoade Director: Wes Anderson QUENTIN Full disclosure: I’m not a Wes Anderson fan. I find his work to be style over substance, resting entirely on his personal brand of twee whimsy, candy-colored pastels, and hipster aesthetics. So, it should come as no surprise when I say that I hated The Wonderful Story of Henry Sugar . Even at just 38 minutes, it was painful to endure. The actors don’t so much give performances as they are reading Roald Dahl’s story to you, complete with fourth-wall breaks, acting it out in the way you might act out a bedtime story for your kids. Meanwhile, Anderson bludgeons you to death with his trademark style. KATIE The Wonderful Story of Henry Sugar is director Wes Anderson doing what he does best for just shy of 40 minutes. It’s sharp, meticulously designed, and the starry cast perfectly delivers the dry, witty dialogue in Anderson’s signature style. Roald Dahl’s distinctive authorial voice, alongside the fact that the source material is about storytelling, marries perfectly with Anderson’s unique aesthetic and habit of drawing attention to the artifice of filmmaking. Whereas I found this approach irritating in some of his previous films, mostly in The French Dispatch , it’s delightful in this case, emphasizing the quirky, whimsical nature of the story. PHILL Wes Anderson films often feel akin to watching a stage play as opposed to more conventional films, and The Wonderful Story of Henry Sugar takes that idea even further. This is almost like watching a picture book come to life. The dialogue is rapid even by Anderson standards, and the movie is filled with his usual thematic fashion of pastel-coloured symmetrical shots, not to mention the entertaining performances. Still, whilst very enjoyable, it’s a far cry from being Wes Anderson’s best work. It’s too fast and too quirky for its own good, often feeling like it is trying to speedrun the Roald Dahl story. CALEB The Wonderful Story of Henry Sugar is a delightful way to spend forty minutes. Unsurprisingly, director Wes Anderson and author Roald Dahl are a match made in heaven. Nearly everything about Anderson’s signature style compliments the fantastical source material: the dry wit, the whimsy, the dollhouse aesthetic…it all works perfectly in tandem with Dahl’s story. The whole cast does a good job too, but Dev Patel particularly stands out, easily providing the most entertaining performance here. Henry Sugar is a fun, thoughtful little story, and an easy recommendation for Wes Anderson and Roald Dahl fans alike. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

EVERYTHING EVERYWHERE ALL AT ONCE Starring: Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, Jamie Lee Curtis, and James Hong Directors: Daniels NICK The buzz for Everything Everywhere All at Once is sure to focus on its insanity and the wild effects, but at its core, it’s a wonderful story of family. Both Michelle Yeoh and Ke Huy Quan are tasked with performing in a variety of genre styles throughout, and they navigate each of them impeccably. However, it’s the directing duo of Daniels that elevates the story and its visuals to rare heights, as the film is a feast for the eyes. There are notes of The Matrix and Into the Spider-Verse , but the duo has created something that genuinely stands on its own. A true masterpiece. ADRIANO Everything Everywhere All at Once absolutely assaulted every one of my senses, and I could not get enough of it. Writing/directing duo Daniels’ multiversal film takes place mainly in an IRS building, yet it feels like we travel the entire planet. While absurdly funny and cool, it’s also a total rollercoaster of emotions. It’s the type of movie that had me audibly laughing at buttplug-related combat to being on the verge of an emotional breakdown in the very next scene. It is one of the best and most unique film experiences I have had in a very long time.

HYPNOTIC Starring: Ben Affleck, Alice Braga, JD Pardo, Dayo Okeniyi, Jeff Fahey, Jackie Earle Haley, and William Fichtner Director: Robert Rodriguez QUENTIN While there is an interesting idea and a decent twist at its (only 90-minute) core, everything about Hypnotic feels dated. Between the procedural-meets-slight-sci-fi angle that was huge in the early 2000s (remember Déjà Vu and Next ?) to Ben Affleck’s surly, Max Payne -inspired line delivery, this movie might have been a hit during the actor’s Paycheck era. Still, I can’t say it’s boring, but it’s not particularly entertaining either since everything is so noirishly dark and dour. Mostly, I’m left wondering, 1. what happened to Robert Rodriguez, who used to be among my favorite directors?; and 2. why, in 2023, did Affleck sign on for this? NICK "Dated" doesn't even begin to describe how Hypnotic feels. It's the kind of movie you'd come across on TBS while channel-surfing in the late 90s (which makes sense as the script was written back in 2002). Not bad enough to be terrible, nor solid enough to be good, it just sits in mediocrity. The action, writing, and performances leave no lasting impression, and the fact that Ben Affleck spent time on this project is honestly perplexing. Hopefully, director Robert Rodriguez will stop wasting his time with films like this and turn his focus to the long delayed Alita: Battle Angel sequel instead. JACOB Hypnotic has a lot of promise in its base elements and grounded roots, but it does eventually fall victim to biting off more than it can chew. Conceptually, it’s an interesting (if somewhat predictable) watch, but in its execution, the story becomes so convoluted and messy that the audience doesn’t really have anything concrete to hang onto by the film’s end, making it feel ultimately fruitless. Even with Alice Braga and William Fichtner doing what they can to elevate the material, neither can save the viewer from noticing Ben Affleck’s boredom with a script that doesn’t give him much actual depth. AMARÚ One word I never thought I would connect with director Robert Rodriguez is “bland.” However, when it comes to his latest thriller, Hypnotic , even his stylized attempts at science-fiction can’t cover for the boring action, expositional conveniences, and… well… bland world-building. After about the 10th time Diana (Alice Braga) explained something to Danny (Ben Affleck) about the rules of Rodriguez’s super-powered world, I was checked out; Then, the line “What? I have powers all of a sudden?” was uttered and I couldn’t help but laugh incredulously at the rest of the film. Sorry, Rob, but this one ain’t it. PAIGE Hypnotic honestly feels like a Walmart-version of a Christopher Nolan film. While the concept of the movie is pretty cool, the imagery looks cheap and the script needs way more depth. The actors try their best to elevate it as much as possible, but the script leaves them all, especially Ben Affleck, with little to work with. The fact that Robert Rodriguez, a veteran director, made this is kind of mind-boggling because of how amateur it looks and feels. With all that said, Hypnotic is fast-paced and will keep viewers guessing throughout.

EENIE MEANIE Starring: Samara Weaving, Karl Glusman, Andy Garcia, Mike O’Malley, Jermaine Fowler, Steve Zahn, Randall Park, Marshawn Lynch, and Chris Bauer Director: Shawn Simmons QUENTIN As far as straight-to-streaming distractions go, you could do worse than Eenie Meanie , mostly thanks to Samara Weaving. Her committed performance and take-no-shit charm are further evidence of why she should be a bigger star, especially considering she almost single-handedly saves Meanie ’s confused story. The problem is that writer-director Shawn Simmons doesn’t seem to know what kind of movie he wants to make. There is a bit of a character study at the center, but it’s drowned out by undercooked heist tropes, a wavetop toxic romance, and lackluster car chases. But worst of all? A complete waste of national treasure Marshawn Lynch. PAIGE Eenie Meanie , starring the always watchable Samara Weaving, has some promising elements to it, including cool driving sequences and a clever heist. This action thriller is right in Weaving’s wheelhouse, and she flexes her no-bullshit, badass attitude throughout. Unfortunately, the movie can’t quite get the tone and pacing right, both swerving all over the road. One minute it’s a high-speed chase, next it’s a family/romance drama, and then a crime comedy. Those mashups can work together, but director Shawn Simmons doesn’t blend them smoothly enough. Overall, Eenie Meanie may be rough around the edges, but I still stuck around and didn’t mind the ride. ROBERT It is heartening to see Hollywood generating stories for female actors that were normally reserved for their male counterparts. In Eenie Meanie , centering on Samara Weaving as the most competent wheelperson in the Rust Belt was an inspired choice. However, the ancillary pieces revolving around Weaving’s Edie, including the circumstances of the plot and the visual effects, were lackluster, resembling a Jason Statham B-movie. I couldn’t ride along fully with the film up until the last twenty minutes, when it ramped up to places I didn’t expect and found a deeper well of emotion of which I didn’t think it capable; not enough to salvage it though. KATIE Eenie Meanie is a mostly entertaining, if uneven and confused, thriller that’s driven by Samara Weaving’s performance. Her character is annoyingly one dimensional, but Weaving still manages to make her somewhat compelling. However, overall, I found the film lacking in emotional engagement even though the ensemble is great across the board. The car chases and stunt-driving showcase writer-director Shawn Simmons' ability to create exciting action sequences, but outside of that, the film is full of an array of clichés, giving the odd impression that it was trying to replicate something better rather than being a thing of its own.

AMBER ALERT Starring: Tyler James Williams, Hayden Panettiere, Saidah Arrika Ekulona, Kurt Oberhaus, and Ducky Cash Director: Kerry Bellessa KATIE Amber Alert feels like an episode of a long-running TV crime drama rather than an exciting thriller. Despite the pressing nature of the situation at hand, the film moves at a slow pace and characters act without any sense of urgency or common sense, which quickly becomes repetitive and boring. The amateur-feeling performances do not help, and Tyler James Williams’ (Shane) natural charm only highlights the shortcomings of the rest of the cast. Plus, the film distastefully uses exploitative implications rather than creating any genuine sense of suspense or tension. Frankly, the whole thing left a bad taste in my mouth. NICK Amber Alerts are a significant tool for finding missing children, and they haven't really been explored in the world of film. The movie Amber Alert does that, just poorly. In spite of the commitment of Hayden Panettiere and the charisma of Tyler James Williams, the film meanders its way through poor decision-making and a tensionless chase sequence that only leads to a rushed and nonsensical shootout. It’s a baffling final act that is so tonally removed from everything I had just watched. I didn’t hate the majority of what I was given here, but that ending really left a sour taste in my mouth.

THEY/THEM Starring: Kevin Bacon, Theo Germaine, Anna Chlumsky, Cooper Koch, Quei Tann, Anna Lore, Austin Crute Director: John Logan NICK They/Them attempts to empower its LGBTQ characters the same way Get Out empowered its black characters, but, boy, does it miss the mark. There are two positives in this film: 1. the spotlight it shines on the horrors of conversion camps; and 2. Kevin Bacon's snake oil salesman. Beyond that, it's a film filled with subpar-to-average performances, a lot of bare bums, and what is probably the worst scene I'll see in a film this year. Regardless of whether you identify as he/him, she/her, or they/them, this film probably isn't for you. PAIGE They/Them attempts to be a summer camp slasher thriller, but really just ends up being a half-assed stab at a queer horror flick. Even with some pretty strong performances, the cast couldn’t save the disaster occurring on screen. Director John Logan’s inability to balance the horror elements throughout the film is truly the core issue. I mean, the therapy scenes were more haunting than the actual kills. Unfortunately, this is not the queer slasher film we wanted or deserved.

BLACK ADAM Starring: Dwayne Johnson, Sarah Shahi, Bodhi Sabongui, Aldis Hodge, Pierce Brosnan, Odelya Halevi, Quintessa Swindell, and Noah Centineo Director: Jaume Collet-Serra AMARÚ Overall, Black Adam has great ideas but horrible execution. It tells you things it should have shown, and it constantly cuts away from halfway decent action. Worst of all, it has insightful themes on heroism covered in corny writing, and the writers didn’t seem to know whether Black Adam (Dwayne Johnson) should be a dramatic and dangerous threat or a comedic fish out of water. Johnson’s performance, like the movie itself, is just wasted potential, and with a ridiculous third act, the DCEU has another disappointment on their hands. The Justice Society (Aldis Hodge, Pierce Brosnan, Quintessa Swindell, and Noah Centineo) deliver great performances, though. JTE After years of willing it into existence, The Rock has finally brought Black Adam into the DCEU! Now, let me cut to the chase - Black Adam is not a very good movie. The film's pace leaves little to no room for character development, and the only actor who is able to really elevate his role is Pierce Brosnan (Dr. Fate). That being said, I didn't hate the film, and found it mostly entertaining through all of the noise. Hopefully, future installments can slow things down and give us a reason to actually care about our main character. QUENTIN Black Adam is so all over the place that I could take this review in multiple directions, both good and bad, but I only have 100ish words. So, this is what you get… The Good: Dwayne Johnson, Dr. Fate (Pierce Brosnan), bullet-time sequences, mid-credits scene. The Bad: lackluster villain, needle drops, some CGI, Justice Society feeling like underdeveloped Marvel ripoffs. Overall, I believe Johnson when he says this movie was 15 years in the making because it feels like the best superhero movie of 2007. And you know that DC hierarchy The Rock hasn’t shut up about? This falls somewhere in the middle alongside Aquaman . JACOB Black Adam is far from the outright disaster some feared, but it isn’t an especially safe bet to secure the future of the DCEU either. Dwayne Johnson brings a committed performance of brutality to the title character, but unfortunately, a weightless script with a half-note villain does him no favors in helping to carry things. Although it is fun to see The Justice Society (sometimes) in action, the characters themselves are quite thin, and the few decent jokes in the movie barely land. The VFX are adequate, but if you thought the green screen in Black Panther was bad, strap in. ADRIANO If Black Adam has anything to say about the so-called hierarchy of power in the DC Universe changing, then I continue to not care about the DCEU. This movie is a non-stop mess of action sequence after action sequence built on crappy VFX. While they can be entertaining occasionally, the story around them is nonsensical with an extremely 2000s superhero movie vibe. It’s not unwatchable…it’s dumb fun, to be fair…and Dwayne Johnson is clearly committed, but I question why this is the movie he has been obsessed with for the past 15 years.