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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.

NO HARD FEELINGS Starring: Jennifer Lawrence, Andrew Barth Feldman, Laura Benanti, Matthew Broderick, Natalie Morales, and Scott MacArthur Director: Gene Stupnitsky AMARÚ No Hard Feelings could’ve been disastrous, but it has two major strengths that prevent such a fate: Jennifer Lawrence thriving in her role, and the heart necessary to sustain these raunchy comedies. It’s nice to see Lawrence seemingly care about a studio film again, and she uses her renewed ferocity to make both the comedy and drama work. The plot is predictable, but her convincing chemistry with co-star Andrew Barth Feldman made the outlandish bits funny and the emotional beats believable. No Hard Feelings is a pretty good time, and I’d love to see Lawrence continue this lane with an even better script. JACOB No Hard Feelings has all the right tools to be a great summer studio comedy, but it doesn’t seem to know how to use the tools in question most effectively. Despite the sheer star power of Jennifer Lawrence in the lead and Andrew Barth Feldman’s subtly charming performance, the film’s execution is almost too tame for what the premise promises. Even with an undercurrent of sweetness lining its story, the film is largely devoid of laughs, apart from a few well-timed one liners. That said, the film is competently made, and it will remind audiences that Hall & Oates’ “Maneater” still slaps. QUENTIN While I would have liked to see this R-rated comedy lean more raunch than heartfelt, I can’t deny that I laughed enough at No Hard Feelings to make it a worthwhile watch. Jennifer Lawrence fully commits to the shenanigans, especially during a beach fight scene, but also manages to make the more emotional beats hit home too. I’ve never been a huge J-Law fan, but it was nice to see her actually enjoying herself on screen instead of chasing statues, and when paired with Andrew Barth Feldman, that vibe creates considerable charm. Overall, this is probably among better pure comedies I’ve seen since 2020’s Palm Springs . ADRIANO R-rated comedies are where I initially found my interest in film, so this film piqued my interest based on that alone. Sadly, No Hard Feelings didn’t give me the ride I was hoping for. I laughed a couple of times, but a good chunk of the jokes didn’t land for me; most of my laughter was due to Jennifer Lawrence’s commitment rather than the writing. I also didn’t buy the relationship at the center, partly because the story just kinda trudges along to the next plot point without properly developing its characters. I appreciate the fact that it exists; I just wish it was better.

DINNER TO DIE FOR Starring: Shamilla Miller, Steven John Ward, and Nina Erasmus Director: Diana Mills Smith This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Dinner to Die For just didn't do it for me. It feels like an unnecessarily drawn out short film, has the look of a well made commercial, and doesn't provide a particularly engaging plot. I understand there's budgetary limitations (this was in the Burnt Ends section of Fantastic Fest), but the struggles of this one go beyond that. It’s no excuse for the sluggish pacing and pedestrian performances (which give this the feel of a high quality student film), nor the film's rushed conclusion that was wholly unsatisfying. Nothing to die for here, in fact you’re lucky if you feel anything. QUENTIN Playing as part of Fantastic Fest’s (low-budget) Burnt Ends section, I can’t be too hard on Dinner to Die For because it probably does more with less than most of its competition. However, at only 75 minutes, the film is caught in no man’s land between being too long for a short film and too short to sustain itself as a feature. As a result, the pacing is laggy and the story’s stakes aren’t adequately fleshed out to create the suspense required. Director Diana Mills Smith seems to have a decent eye, but the general cheapness made me wish I had skipped this meal.

DIE MY LOVE Starring: Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, and Sissy Spacek Director: Lynne Ramsay NICK Die My Love and If I Had Legs I'd Kick You have many similarities. Both Jennifer Lawrence and Rose Byrne play grieving mothers, while directors Mary Bronstein and Lynne Ramsay each try to put you into the psyche of those mothers. Both films work, but If I Had Legs does it a little bit better. That said, Lawrence gives one of her best performances alongside a committed Robert Pattinson, all while Ramsay does a great job of intentionally unsettling her viewers. Unfortunately, besides those aspects, Die My Love struggles to pair Lawrence’s superb performance with a cohesive and compelling story. ADRIANO For a film as abrasive as Die My Love , it's no wonder writer/director Lynne Ramsey's latest takes its time to put everything together firmly. Thankfully, like the best works of art, I began to appreciate the film's depths the longer I sat with it. I admire the surreal filmmaking, the creative descent to madness on display, and Ramsey's risky but profound portrait of a relationship slowly withering away. It genuinely makes the audience engage with this type of psychosis in a visually remarkable way. Jennifer Lawrence and Robert Pattinson giving outstanding performances just make it even more outstanding. AMARÚ While I can’t deny it’s entertaining to watch Jennifer Lawrence and Robert Pattinson play unhinged, out-of-their-wits new parents, I honestly can’t tell you whether or not I enjoyed Die My Love ’s unfiltered look into postpartum. Lots of unpredictably random things happen, lots of mundane everyday things happen, and the entire time, both actors, but especially Lawrence, are digging into the most primal parts of themselves to give completely untethered performances. But it’s only because of them that I didn’t cut this off an hour in. Two less talented actors would’ve turned the unsettling “what the fuck” chuckles into a bunch of “I don’t give a damns.” BODE As a director, Lynne Ramsay has always tackled seemingly simple loglines in the most expressionistic ways, making them feel anything BUT simple. Her latest, Die My Love , finds her doing this to the point of abstraction. While I wouldn’t say that this is Ramsay at her strongest, I still found myself admiring how confidently fragmented this is in its depiction of how love can tear people apart (like Joy Division once proclaimed). It helps that Jennifer Lawrence and Robert Pattinson keep things interesting with their deeply raw performances. Pair it with If I Had Legs I’d Kick You for a bracing double feature.

CLIFFORD THE BIG RED DOG Starring: Darby Camp, Jack Whitehall, Izaac Wang, John Cleese, Sienna Guillory, Tony Hale, and David Alan Grier Director: Walt Becker JACOB Were it not for the notion of entertaining small children, I cannot think of a single reason to recommend the latest iteration of Clifford the Big Red Dog . The underwritten narrative rushes around from theme to theme with no sense of direction, and the giant CGI canine makes less and less sense (looks-wise) every few frames. Its main characters are hollowed out caricatures of actual people, with its side characters just plain old hollow shells fueled by laughably bad dialogue. I will give the movie partial credit for making me laugh twice (and emotional once), but that’s about it. JOSEPH Clifford the Big Red Dog is exactly what you’d expect it to be. There are hijinks akin to animal-buddy movies from the 90s and mid-brow humor, but nothing too special. You’d think with a giant dog there’d be more unique visual gags, but nope. Still, as children’s movies go, it could be worse, and the themes on the importance of community are nice. There’s much this film could have improved upon, but for its target audience, it should be enjoyable enough. As for adults, it’s not a total waste of time, but you might be better off skipping it.

MASH VILLE Starring: Park Jong-hwan, Jeon Sin-hwan, and Jin Ye-sol Director: Hwang Wook This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK I don't partake in hallucinogenic drugs, but I can only imagine that's how director Hwang Wook wants you to watch this film. Mash Ville is bright, loud, campy, frenetic, and all over the map in a way that would make SNL 's Stefon blush. This film has everything: stylish cult members, poison liquor, shotguns, drunk cops, fake corpses, real corpses, the purest love... There's barely a coherent story here, and pretty much everyone in this thing is a cartoon character brought to life… but damn if I wasn't entertained. Mash Ville likely falls into the "so bad it's good” category, but I’ve certainly seen worse this year. QUENTIN Mash Ville is one of the most “extra, try-hard” movies I’ve ever seen. This chaotic mashup (get the title?) of comedic, western, thriller, crime drama, and action sensibilities makes no damn sense, nor is it remotely funny. Admittedly, I’m of the opinion that comedy is a genre that doesn’t work with subtitles because so much relies on timing, but still… I generally had no idea what was going on. I suppose that could mean something was lost in translation, but other than the Ennio Morricone-inspired score, I can’t call anything about Mash Ville watchable. How Hwang Wook won Best Director for this, I’ll never know.

UNFROSTED Starring: Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Max Greenfield, Hugh Grant, and Amy Schumer Director: Jerry Seinfeld AMARÚ There’s a reason I never really watched Saturday Night Live . By the time I was old enough to be interested, the legends had already left and the new stars were stuck doing unfunny skits. That last bit is what immediately came to mind watching a huge number of well-known comedians come together to be as unfunny as they are in Unfrosted . Jerry Seinfeld’s “what’s the deal?” schtick is great for his stand up, but it doesn’t make a good movie. The cast must have been doing Seinfeld a favor because their uber-obvious, literal punchlines fail to reach even a serviceable semblance of satirical skill. ADRIANO I knew Unfrosted wasn't going to be good, but I’m a big Jerry Seinfeld fan. So, when I turned it on, I said "let's turn the brain off and have some laughs." Even with that mindset, this was a painful movie to sit through. Not only did I not laugh once, but the movie also quickly abandons its simple concept of "here's how Pop Tarts happened" for an abundance of unfunny bits and subplots that amount to nothing. I’m just confused as to why exactly this movie was made. I'm sad to say, Seinfeld is simply past his prime. QUENTIN The most remarkable thing about Unfrosted is just how unremarkable it is. With a stacked cast full of A-list comedians and celebrity cameos, not to mention a delightfully silly premise, how did this movie become so bland and boring? I’ll give Jerry Seinfeld credit as the director because he has created a colorfully goofy world featuring a tremendous 1960s pastiche, but as a writer? Oh man. So many “jokes” from so many comedy stars, and almost none of them land. One has to imagine that being on set was a riot, but none of that comes through on the screen. Overall, an unfunny disappointment. KATIE My feelings about Unfrosted align with my opinion on Pop Tarts: somehow both overwhelmingly sweet yet bland and devoid of substance. I was bombarded by innuendos, goofy gags, references, and cameos at a staggering rate, and some of the dialogue is so inconceivably stupid that I couldn’t help but laugh. Despite this, it is often dull, featuring, at best, half-hearted performances, but it's also so silly and dedicated to the pastel 1960s aesthetic that, I’m ashamed to admit, it’s kind of fun, but not quite good. Honestly, I’m left confused by the whole ordeal. PRESTON Unfrosted is deceivingly marketed as a nostalgic, satirical jaunt down semi-historical memory lane. However, it seems that Jerry Seinfeld’s legacy only works to lure a star-studded cast to serve as the enticing central-filling to a film that instead resembles the empty shell of the treat it attempts to exploit. Perhaps I go too far, but I felt a Good Will Hunting -esque waste of potential while I endured through its shallow comedic implementation. A few jokes land and it’s watchable, but I was so confused that I thought I might have been watching what would have otherwise been an impressive improv performance.

SORRY, BABY Starring: Eva Victor, Naomi Ackie, Lucas Hedges, John Carroll Lynch, Louis Cancelmi, and Kelly McCormack Director: Eva Victor ADRIANO It's surreal watching a film so confidently directed and perfectly paced, only to remember that it’s a feature directorial debut. Writer/Director Eva Victor had every opportunity to take conventional approaches in Sorry, Baby , perhaps even to emphasize the seemingly personal trauma presented and highlight its tragedy. Instead, she chooses a nuanced approach that's both hopeful and hilarious, with many moments to breathe in the protagonist's (played by Victor herself) arrested development, but the tone is so unique that it always feels like it's moving. The more I sit with this, the more I find reasons to love Sorry, Baby . BODE If you became familiar with Eva Victor through their viral tweets and comedy shorts, I’d have to imagine the quiet ambition of her directorial debut Sorry, Baby will be something of a shock. But the more you settle into it, the more you’ll realize that it’s a good shock. Victor depicts the before, during, and after of a traumatic event assuredly, effectively balancing gallows humour with tender perception, and with restrained camerawork that allows the lived-in performances and sweet intimacy to breathe. Certain aspects can feel exaggerated (for a film that’s mostly grounded), but still, it’s pretty solid.

BALLAD OF A SMALL PLAYER Starring: Colin Farrell, Fala Chen, Deanie Ip, Tilda Swinton, and Alex Jennings Director: Edward Berger NICK Coming off of Conclave (my personal favourite film of TIFF 2024), director Edward Berger returns with Ballad of a Small Player, and it’s a big disappointment. Aside from giving Colin Farrell the stage for a reliably terrific performance and being a great showcase for Macau, the film feels kind of hollow. I understood the themes of addiction, temptation, and the search for fulfillment throughout, but the story gets muddled despite a strong and dynamic start. It finds its footing again for the conclusion, but it’s too little too late. Some heavy lifting by Farrell isn’t enough to salvage Berger’s misstep. ADRIANO With All Quiet on the Western Front and Conclave , director Edward Berger was seemingly on a hot streak. Well, here's Ballad of a Small Player to effectively end that streak. Colin Farrell is terrific, but he can't save this obnoxiously empty film. Berger infused this with flair and style, but forgot to put in substance or anything meaningful beyond excessive depictions of addiction and a plot gimmick that comes with a twist you can instantly call. I can't even say the film's well-intentioned because the movie insists on leaving us in the dark on what its intention is. QUENTIN Though incredibly stylish and anchored by a committed and typically terrific performance from Colin Farrell, Ballad of a Small Player is simply too messy to be anything but a passing diversion, especially if you have a curiosity about Macau. I assume director Edward Berger’s intent was to demonstrate the chaos in Lord Doyle’s (Farrell) life by making everything on screen equally chaotic, from the genre hopping to the camera work; however, in execution, that lack of focus leaves viewers on an island with an awful character for no justifiable reason. It’s a hollow experience that left me with more questions than answers. Doyle’s suits, though? *chef’s kiss* This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

CARNAGE FOR CHRISTMAS Starring: Jeremy Moineau, Chris Asimos, Dominique Booth, Lewi Dawson, Olivia Deeble, Lisa Fanto, Molly Ferguson, Patty Glavieux, and Betsey Brown Director: Alice Maio Mackay This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN Given that this is an uber micro-budgeted film from a 19-year-old director that somehow has six features under her belt, I suppose I’ll give Carnage for Christmas an “A for effort.” That said, this thing is bad, man. It’s like a student film you’d find on YouTube. The acting is really rough, some of the visual flourishes are incredibly cheesy, the acceptance messaging is over-the-top preachy, and, honestly, it’s barely even a Christmas horror movie. Other than a Santa suit, this movie could have taken place in July without much changing. At only 70 minutes, this felt much longer and tremendously lacking. PAIGE Alice Maio Mackay’s queer, Santa-slashing, mystery movie Carnage for Christmas lacks the traditional horror and holiday spirit it is going for. This amateurish, low-budget film truly feels like an R-rated, wannabe Nancy Drew knockoff built on lifeless performances and cringe worthy dialogue. The film's visually distinct, almost overexposed, aesthetic is another flaw on top of the 70-minute runtime that is surprisingly sluggish. I hate to say it, but with all things considered, this movie deserves to be on the naughty list for how bad it is.

EDDINGTON Starring: Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O’Connell, Micheal Ward, Austin Butler, William Belleau, and Emma Stone Director: Ari Aster NICK Regardless of what you think of Ari Aster films, they're always interesting and Eddington is no different. With a good chance to go down as the definitive COVID film, Eddington is a window into a time we all wish we forgot. It's political and bound to be divisive to be sure, but it's also tense and exciting and funny and absurd. It's a little bit of everything, but not in a sloppy way, in a deliberate way. I wouldn’t be surprised to see some label this a masterpiece (I’m not, though it flirts with brilliance) but I can confidently say Ari is four for four. ADRIANO You can't deny writer/director Ari Aster's films leave a unique impact. With Eddington , that impact left me unsure if the extreme nature of this COVID satire is playing it safe or twisting a societal knife. Eddington could've easily pointed a judgmental finger solely at the most nutty 2020 behaviours, but instead, it examines how this moment was the selfish breaking point for a media-savvy society. As fun as the bizarre turn of events and Joaquin Phoenix's amazing performance are, the impact is something unfamiliar, and that in itself is an accomplishment. BODE What do you make of a film like Eddington , particularly after you’ve had some time to mull it over? Well, I’d certainly say that it’s the most engaged I’ve been with an Ari Aster film in a while, especially in the nerve-shredding back half. And while I don’t think it’s the definitive film about the pandemic (that’s Steven Soderbergh’s Kimi ), it’s fairly sharp in its observations of the American disconnect at that time. It’s much too long, and most of its humour can feel too obvious, but this is still something of an improvement over Aster’s previous two efforts.

PRISCILLA Starring: Cailee Spaeny, Jacob Elordi, Dagmara Dominczyk, and Ari Cohen Director: Sofia Coppola ADRIANO As a long-time admirer of director Sofia Coppola, I'm delighted to say that Priscilla exceeded my expectations. The sheer force of Cailee Spaeny's nuance alone makes Priscilla something special, but in true Coppola fashion, she pushes beyond what is expected of her to create an almost fairytale-like story about the flame of young love and when that flame goes out. The film is remarkably judgement-free while simultaneously never giving Elvis Presley (played astonishingly by Jacob Elordi) a pass. There is maybe one scene I'd take out, but beyond that, Priscilla is a fantastic telling of one of history's most famous couples. QUENTIN Although it drags a bit in the middle (and I admit a proclivity to liking almost all things related to Elvis Presley), Priscilla is easily director Sofia Coppola’s finest film to date. By flipping the script to tell the other half of the story, we come to learn more about the at times beautiful but often troublesome relationship between Priscilla (Cailee Spaeny) and The King (Jacob Elordi). It’s obviously more subtle, empathetic, and sensitive than last year’s Elvis , but no less affecting as it paints an honest portrait of young love, insecurities, and seeing your way through to the other side. NICK One of Sofia Coppola's best directorial efforts, Priscilla ’s success comes down to decision-making. The film’s vibe adapts to suit the themes within Elvis (Jacob Elordi) and Priscilla Presley’s (Cailee Spaeny) romance, yet never attempts to exploit or villainize these characters. A successful relationship needs to be one of partnership, not ownership; sadly, their union fits the latter. Spaeny’s journey from smitten schoolgirl to discouraged wife is classy and poised, while Elordi exposes Elvis’ darker side in a performance focused on the man over the celebrity. Each gives a terrific performance that should carry Priscilla straight into the awards conversation. PRESTON Priscilla is absolutely beautiful cinematically, and it perfectly captures the aesthetics of the time. Otherwise, it is an unsatisfying slog that leaves a lot of meat on the bones…I know, I’m bummed too. Elvis Presley is only one generation removed from my own, and the storytelling assumes the viewer has trivia-level knowledge of the Presleys' lives. Why not tell Priscilla’s (Cailee Spaeny) whole story instead of just demonstrating that Elvis (Jacob Elordi) was an asshole and that she was, somewhat complicitly, taken advantage of? The pacing, editing, and lack of character development rounded out an experience that had me feeling less than enthused upon theater exit. PAIGE Although Priscilla thrives on the brilliant direction from Sofia Coppola, it’s the captivating lead performances that will rope you into this story. That especially applies to Cailee Spaeny, whose portrayal of Priscilla captures the icon’s pure essence and emotions simply through facial expressions, something not many performers can pull off successfully. Overall, this film feels like a dark fairytale, giving viewers a glimpse inside a couple's young love, where one partner has the power while the other is being robbed of innocence. Granted, though, while it’s a nicely paced story that builds towards its climax gracefully, the ending moment isn’t as impactful as I had hoped. CALEB With Priscilla , director Sofia Coppola weaves a devastating tale that explores innocence and the people who prey upon it. On a technical level, the film is practically flawless. The editing, cinematography, and score are all amazing; however, the true magic of the experience comes from its two leads and their powerhouse performances. Cailee Spaeny shines, effortlessly capturing Priscilla’s gentle naïveté, while Jacob Elordi dominates the screen, instilling his Presley performance with a crushing, profound sense of emptiness. With performances this amazing and direction this impeccable, it would be dishonest for me to call Priscilla anything less than a triumph. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.