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SING SING Starring: Colman Domingo, Clarence Maclin, Paul Raci, and Sean San José Director: Greg Kwedar NICK Colman Domingo's transition from television to the big screen is happening at a rapid pace, and it feels like he’s only going to get bigger thanks to his dynamic lead performance in Sing Sing (as well as Rustin ). This is a heartwarming story that truly surprised me. I’m notably stingy on non-actors getting feature roles, but that doesn’t apply here because these real-life graduates from the RTA program ARE actors, as their real-world performances show. Though it’s set in a prison, Sing Sing doesn’t need to rely on violence to work. Instead, it’s a beautiful story of brotherhood and camaraderie amongst common men. ADRIANO The surprise of the festival has got to be Sing Sing . What could've been sappy Oscar-bait turns into something truly beautiful as it examines the humanity that can be found somewhere so deeply dehumanizing. Colman Domingo shines alongside an incredible ensemble (mostly comprised of real-life former inmates), all of whom come together with director Greg Kwedar and his co-writer Clint Bentley to make something devastating yet hopeful about the healing power of art. Quietly powerful in its approach to the subjects at hand, Sing Sing might present answers that could be seen as easy, but it’s effective nonetheless. SHADAN Sing Sing is one of the most profoundly affecting, inspiring, and joyful movies I’ve seen in quite some time. It's also the first movie of 2024 that I would wholeheartedly recommend to absolutely everyone. Colman Domingo is astounding, commanding, and quietly devastating, while Clarence Maclin is a stand-out in a phenomenal cast of actors. This is a movie packed with depth, empathy, and humanity. I simply cannot stop thinking about Sing Sing. AMARÚ Sing Sing is gritty, unpolished, makeshift, human, flawed, and perfect. Encapsulating the compassion of the Rehabilitation Through the Arts (RTA) prison program the film is based on, it resonates a hopeful light through the people who actually lived it. With RTA alumni playing versions of themselves, you palpably feel the impact of their powerfully emotional performances, and while their authenticity carries Colman Domingo to what’s surely to be another Oscar nomination, it’s Sean San José and Clarence Maclin whose names should be called right alongside Domingo’s on nomination morning. Sing Sing heals the soul, enriches the spirit, and is 2024’s first true must-see movie. QUENTIN Broadly speaking, Sing Sing is a serviceably good movie full of optimism and hope. Is it memorable or awards-worthy? Ehh, not to me, but I won’t argue too hard if others say differently. Personally, I found it to be a little too meandering, with no real story or much character development since it’s more about the Rehabilitation Through the Arts program rather than the inmates in it. Colman Domingo is terrific, sure, but he’s always terrific. Clarence Maclin is good too, but he’s also playing himself, so… I don’t know. I would have rather watched a documentary instead of this narrative true fiction, I think. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

EXPEND4BLES Starring: Jason Statham, Megan Fox, Curtis '50 Cent' Jackson, Randy Couture, Dolph Lundgren, Tony Jaa, Iko Uwais, Jacob Scipio, Levy Tran, Andy Garcia, and Sylvester Stallone Director: Scott Waugh NICK Let’s get this out of the way… Expend4bles is the weakest entry in the franchise. It’s lacking the star power of the previous films, as well as the humour. The only thing it has going for it is the R-rated violence, but that’s always been the story with this series: only getting one piece of the puzzle right with each movie. Now, I’m not saying I need Expendable5 but… If you take the cast of the earlier films, the humour of The Expendables 2 , and the R-rated carnage of this entry… MAYBE you get something that lives up to what this franchise is supposed to be. QUENTIN The Expendables 4 (I refuse to use the marketing’s stylization) isn’t what I would call a “good” movie. It features atrocious green-screening, even worse editing, and maybe the most predictable story I’ve ever seen. That said, Sly Stallone hands the reins over to Jason Statham, and I’ll never not have a good time watching Statham’s five o’clock-shadowed mug engage in fisticuffs and knife fights. Sadly, though, every time Statham isn’t on screen, it’s very straight-to-VOD quality, relying on the acting chops of non-actors Curtis ‘50 Cent’ Jackson and Randy Couture, as well as Megan Fox’s hotness. Overall, it’s watchable, but probably only for old action heads. ADRIANO Long story short, Expend4bles is terrible. The return of the R-rating would have been fun, had the action not been supremely uninspired, even if it is the best part of the movie. Expend4bles turns the franchise’s model of having some meathead fun with a bunch of old action heroes on a joint mission into another bland and obvious Jason Statham movie with Sharknado -level CGI. Sylvester Stallone is as fun as always, but he’s been downgraded to a borderline cameo. Aside from some blood and guts thrown in there, this is another poorly executed and forgettable action flick. PRESTON OK, let’s start on a positive note…Expend4ables does manage to narrowly escape my involuntary and hyperbolic thrashing at its mere mention by wrapping up nicely and giving an intangible feeling that Jason Statham can now safely be added to the Hall of Fame of Lovable and Forgivable One-Liner Action Stars alongside Sylvester Stallone and Arnold Schwarzenegger. Without the action-savior-buffer, my rant would include green-screening overkill, lackluster sets and props, maddening military tactics, and a dialogue that seems to flow from a rehearsing cast’s second table read. On second thought, let’s just talk about something else. PHILL Expend4bles is one of the worst film title stylizations ever committed to the visual medium, which is appropriate for this appalling and abysmal fourth outing. Whilst it is always fun seeing Barney Ross (Sylvester Stallone) and Lee Christmas (Jason Statham) together again, everything else that made The Expendables and its sequel so enjoyable is completely lost. The R-rated violence is back, but there is nothing remotely fun or interesting with what they do with it. Plus, it is sorely missing the one-liner, pun-spewing ensemble cast that made this love letter to 80s and 90s action films so interesting in the first place.

REDUX REDUX Starring: Michaela McManus, Stella Marcus, Jim Cummings, and Jeremy Holm Directors: Kevin McManus and Matthew McManus This film has been reviewed by Nick, Bode, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Although not at all the exhilarating thriller it's promoted as, I enjoyed Redux Redux for what it actually was. Michaela McManus (Irene) channels Rebecca Ferguson as she leads this multiverse-trotting tale of revenge that, despite a lack of high-octane action, is still entertaining. Directors Kevin and Matthew McManus do a great job of showing how someone can lose themselves when blinded by vengeance and what it takes to get them out of that cycle. Could it have been more thrilling? Yes, but the pairing of McManus and Stella Marcus (Mia) give their characters enough life to keep the story engaging. QUENTIN Given Redux Redux ’s status as one of my most anticipated Fantasia offerings, I’m saddened to call it a disappointment. Admittedly, this could be an expectations management issue, but the promised storyline of violent vengeance and “deliverance by any kind of weapon…every kind of weapon” doesn’t deliver. Instead, it’s more about working through trauma and the developing bond between a tortured adult and a defiant teenager. Think You Were Never Really Here mixed with Logan , but only in plotting and themes, not actual quality. That said, the performances are great, so it might have been better had my mind not been clouded by the marketing. BODE When I came across the premise for Redux Redux , I was quite intrigued. A time loop story can comment on so much, and using it to comment on the cycle of revenge could be pretty thrilling. And it is…for the first half, at least. The film struggles to maintain that uniqueness or energy afterwards, relying on surface-level observations of its subject matter, and dragging more than I would’ve liked. But solid performances (especially from lead star Michaela McManus), a cool soundtrack, moody filmic cinematography, and some genuinely memorable blood squibs keep directors Kevin and Matthew McManus’ lo-fi sci-fi watchable.

WE HAVE A GHOST Starring: Jahi Di'Allo Winston, Niles Fitch, Anthony Mackie, Erica Ash, David Harbour, Isabella Russo, and Tig Notaro Director: Christopher Landon AMARÚ There is a much better movie hiding somewhere in We Have a Ghost, but it never settles itself enough to find it. Whether it’s the intriguing family drama that isn’t fully explored, the tense mystery thriller that is sidelined for an oh-so-cliché government conspiracy, or the kooky supernatural family comedy with a cringeworthy social media side story, each section has merits amongst its flaws. The charming cast could’ve carried those flaws well if there was a consistent tone, but haphazardly stitching tonal shifts together every 30 minutes halts any momentum the cast generates, accentuating the messy script to the film’s detriment. JOSEPH Borrowing elements from other bizarre family films such as E.T. , Casper , and Beetlejuice , director Christopher Landon’s latest film, We Have a Ghost , treads no new water. While the cast is great, there are far too many ideas at play, never allowing this relatively straightforward tale to set a proper tone. Along with that, the film is far too safe, rarely leaning into its campier elements, nor does it feel like a true mystery. It’s a shame too because there are funny and surprising moments, but they’re just not consistent enough. Ultimately, it has some charm, but it's mostly forgettable. PAIGE Director Christopher Landon has stepped away from his horror comedy norm for a more lighthearted and family friendly ghost story with Netflix’s new original film We Have a Ghost . The flick is mostly a mix of Casper and The Haunted Mansion , with a dash of a modern twist, and while the film tries to conjure up some supernatural jokes and scares, they unfortunately fail miserably. The overall story just feels too weak, all the way down to its bones. I expected more of the witty writing Landon delivered with Happy Death Day and Freaky , but this is nothing more than a run-of-the-mill family haunting tale. NICK With two Happy Death Day movies and Freaky , director Christopher Landon has shown a knack for horror comedy. We Have a Ghost , however, isn't really either of those genres. It has hints of both, but the vibe is more akin to a family film with horror elements, like The Haunted Mansion or Monster House . It certainly takes a while to get going, and the tone changes with rapid succession, but it hits its stride in the latter hour to become a surprisingly moving film. Yes, there’s some modern cringe and things can be a tad ridiculous, but it is a ghost story after all. QUENTIN For what it is, We Have a Ghost isn’t terrible, but I’ve just outgrown this type of movie. At almost 42-years old, sanitized horror comedies with coming-of-age storylines just aren’t for me anymore. That said, I probably would have really dug this movie as a middle schooler, as it would sit comfortably on the shelf next to similar movies from my youth like Casper and Little Monsters . Everything about it – the humor, the scares, the action – is played too safely, which could make this a solid addition to Halloween movie night with the little ones, but it’s probably skippable for most adults.

CORNER OFFICE Starring: Jon Hamm, Danny Pudi, Sarah Gadon, Christopher Heyerdahl, Allison Riley, Bill Marchant, Kimberley Shoniker, Shawn Macdonald, Conor Stinson O'Gorman, Veena Sood, and June B. Wilde Director: Joachim Back PRESTON As if after nine rounds with Mike Tyson, I collapsed onto the couch and congratulated myself when the film’s credits signaled Corner Office was over. Without straining to find the artistic hidden gems, this movie simply fails in its intention. Working in a corporate environment can be maddening, but Orson’s (Jon Hamm) self-centered type of crazy puts everyone on the side of the corporation from the jump. The narration is tortuously constant, with observations of the obvious as the modus operandi for attempted humor. It fails as a “comedy,” and I mostly just felt sorry for Jon Hamm because he really deserves better. KATIE I feel like Corner Office had so much potential, but I was left disappointed. It seemed to be within arms’ reach of an interesting mystery or revelation, but the satire isn't compelling enough. Plus, it leans too much on its Kafka-esque, absurdist style and surreal imagery without having much to say or a point to make. It should have gone further and been stranger, but the film quickly lays all its cards on the table and reveals the enigma, or lack thereof, of the office room, leaving little worth sticking around for throughout its tedious duration. CALEB Director Joachim Back’s newest effort isn’t nearly as clever as I had hoped it might be. Unfortunately, Corner Office is a pretty toothless affair. For a satire meant to critique corporate culture and masculinity, the film offers shockingly little insight into either subject. The over-reliance on narration strips the script of its intrigue while simultaneously robbing Jon Hamm’s performance of any potential nuance. While I admire some of the set design and artistry, I feel like the film's stylistic decisions could’ve been much bolder. Despite a promising premise, Corner Office ends up falling flatter than a stack of paperwork.

SHELL Starring: Elisabeth Moss, Kate Hudson, Kaia Gerber, Arian Moayed, Este Haim, and Elizabeth Berkley Director: Max Minghella NICK Truth be told, I've never been a fan of Elisabeth Moss. I just don't usually connect with her roles. With Shell , that's not the case. Moss gives a performance that is both vulnerable and empowering while also balancing the film’s humour. That balance is needed because the humour permeates the entire film and is the main reason Shell is as enjoyable as it is. Things get progressively more ridiculous as the plot builds, and it finds itself on shaky footing for a bit, but because the entire cast buys in, you will as well. Based on my audience, this is sure to be a crowd pleaser. KATIE Shell sometimes feels like an inferior version of The Substance , which is a shame since Shell was actually released beforehand. Yet and still, it is very fun and entertaining overall. I often find that Elisabeth Moss resorts to very similar ways of emoting, which can lessen the impact of her performance. However, she is great in this role, even though she is overshadowed by Kate Hudson’s perfectly campy character, which better suits the tone of the film. I loved its retro-futuristic aesthetic, the sci-fi elements, and the squeamish body horror, but I just wish it didn’t spell out its point so literally. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival .

GHOSTBUSTERS: AFTERLIFE Starring: Mckenna Grace, Finn Wolfhard, Logan Kim, Celeste O’Connor, Carrie Coon, and Paul Rudd Director: Jason Reitman ADRIANO Despite the odds, Ghostbusters: Afterlife works. Director/co-writer Jason Reitman revives the franchise in a way that pays homage to the original while also making it feel fresh. It somehow maintains the magic of the 1984 version, feeling both fun and genuinely scary at times, and serves as a lovely tribute to Harold Ramis. The whole cast is amazing, but Mckenna Grace nails it as the lead. I had a few issues with the script and a couple nostalgia-driven moments made me roll my eyes, but that aside, this is a revival that sticks the landing. NICK With original director Ivan Reitman's son, Jason Reitman, stepping into the director’s chair, Ghostbusters: Afterlife is a love letter to the original films. The cast breathes new life into the series with Mckenna Grace having a breakout moment, while some key cameos will appease longtime fans of the series. There are laughs, scares, and even some tears. Reitman nailed it with this one. He has managed to make a film that fits firmly into the Ghostbusters universe that still works as a standalone film with the potential to relaunch the franchise. Well done. QUENTIN Ghostbusters: Afterlife doesn’t do anything “wrong” necessarily, but the only thing it does exceptionally “right” is the nostalgia porn. From the not-so-secret cameos to the general atmosphere, it genuinely feels like it could be an 80s movie as opposed to a movie trying to recapture 80s magic. However, it skews much younger, feeling more like Goosebumps than a Ghostbusters sequel. That’s not necessarily a bad thing, but it does come off a tad neutered. The jokes are vanilla, the emotional bits are wavetop, and it doesn’t expect much from its audience. Older fans should adjust expectations. JACOB Although Ghostbusters: Afterlife presents itself as a singular adventure, it eventually reveals itself to be two stories in one. However, neither story is completely fleshed out, as you only get the end of one and the beginning of another. That’s not to say it’s bad. It’s generally polished, but it spends more time trudging up nostalgic memories than it does telling its own tale. While the attempts at humor are admirable, they mostly fall flat. A lot of this movie seems to work on the surface, but unlike the film’s setting, there’s hardly anything lurking beneath.

DEATH OF A UNICORN Starring: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, and Anthony Carrigan Director: Alex Scharfman NICK Death of a Unicorn should be a lot more fun than it is. Aside from the entertaining cast (Paul Rudd, Jenna Ortega, Richard E. Grant, Will Poulter), the writing isn't particularly clever nor does the story feel unique. At its core, this is another "eat the rich" movie, yet it never explores that message beyond surface level. Neither the violence or mayhem really hit because they're often utilized in visually dark scenes that take away the impact of the revenge. There was plenty of opportunity within this story, but the only impressive thing it truly accomplishes is making Paul Rudd unlikable. ADRIANO Yet another eat-the-rich satire, at least Death of a Unicorn has a funny concept. It's too bad it does nothing with it, though. The movie is almost entirely devoid of laughs, with the only exception coming from Will Poulter's delivery. Not even Paul Rudd's reliably lovable doofus schtick lands here. Admittedly, there's something there with the father-daughter storyline, but they don't develop it enough. Writer/director Alex Scharfman puts too much attention on the bare-bones commentary and less on the film's comedy and monster movie elements, making the film not nearly as fun as it should be. AMARÚ Death Of A Unicorn has all the makings of a quirky time spent with a perfect ensemble to pull off the weird, and Richard E. Grant and Will Poulter, in particular, do a fabulous job filling their archetypal characters. However, the film never truly commits to any one idea, moving on to the next thing before giving the current horror or comedic set piece time to breathe. Every individual scene has plenty of fun elements, especially everything involving Anthony Carrigan, but the shallow pacing stunts any cohesiveness the story or characters try to develop, resulting in a lot of lost potential. PAIGE Death of a Unicorn is merely another typical eat-the-rich movie, despite being a quirky and amusing, blood-soaked mythical tale. Although the film has some fun and compelling moments, its formulaic plot dilutes much of its ideas. Nevertheless, the ensemble seemed to be having a blast with what they were given, particularly Will Poulter, who ate up every scene he’s in. Sadly, however, Jenna Ortega and Paul Rudd were unable to establish a strong father-daughter dynamic. All in all, while slightly lackluster, Unicorn is still quite enjoyable and bloody entertaining. BRYAN Oh, look at that! We have another eat-the-rich satire in Alex Scharfman’s directorial debut Death of a Unicorn . While the fantastical element is a fascinating approach to the subgenre, the promise fades away early on when you realize what you're getting yourself into. It would've been refreshing had the film focused on one singular tone, instead of jarringly swifting from comedy to horror. Had it embraced the corniness, maybe this would have been a winner for me. Thankfully, the ensemble helped keep the film somewhat afloat, with Will Poulter hamming it up from start-to-finish. Serviceable, yet disappointing, A24.

GOOD BOY Starring: Indy, Shane Jensen, Arielle Friedman, and Larry Fessenden Director: Ben Leonberg QUENTIN Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy… AMARÚ While Indy the Dog is one of my favorite performances to watch this year, his work also happens alongside overly dramatic voice-overs from his human counterparts. Although the cute hook is enough for me to turn on this uniquely delivered horror film, it isn’t enough to make Good Boy a good movie. Watching a sick human slowly break down from Indy’s perspective is as mundane as it sounds, and typical horror tropes like sharp music cues, dark shadows, and distorted figures in the background only solidify that this is nothing more than a slowly paced, uninspired scary story with a fur-filled, glossy sugarcoat. NICK All the hype you’ve heard about Indy the Dog is justified, as he is absolutely the reason to watch Good Boy . Now, you could make the argument that strategic editing plays just as big a part, but let’s not take credit away from this good boy. Beyond Indy - and some great video game-style third-person camera shots - I wish there was more here. The human performances don’t match the canine, and despite feeling all of Indy’s emotions, Good Boy doesn’t exactly give you reason to feel your own. I love the creative swing (much like In A Violent Nature ), but it could’ve been better. KATIE Good Boy is an entertaining, emotionally engaging horror film with a refreshingly unique premise. The genuinely moving performance from Indy the Dog, who is incredibly expressive and compelling all impressively without the aid of CGI, is the heart and soul of the film. It excels at maintaining tension and building suspense with minimal dialogue, thanks to its simple premise, Indy’s performance, as well as effective editing and a tight 73-minute runtime. Director Ben Leonberg finds creative ways to solidify focus with Indy, and I really enjoyed this strangely sweet, but very spooky, tribute to man’s best friend. ROBERT When the premise of Good Boy was described to me, I immediately thought of Courage the Cowardly Dog . While the gesturing and talking are toned down, the terror and the need for protection bleed through in Indy the Dog’s inspiring performance. The thematic elements of the haunting, which coincide with the illness of Todd, Indy’s owner, are effective and chilling, and the technical wonder of using the cameras to see from Indy’s perspective keeps you invested. I wish, despite the job they do to make us understand Todd’s plight, that they had made him and his sister more sympathetic; however, overall, the whole is greater than the sum. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

WONKA Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Natasha Rothwell, Tom Davis, Olivia Colman, and Hugh Grant Director: Paul King ADRIANO I can't help but to like a movie that puts a smile on my face throughout. Wonka is not without its wasted characters and narrative squabbles, but director Paul King fills the film with so much heart and (pun fully intended) eye-candy for any viewer to enjoy, even if the original's darker undertones are mostly abandoned. And despite my initial reservations, Timothée Chalamet is funny and endearing, as is his young co-star, Calah Lane. The movie's intentions feel sincere enough to make the joyfulness feel real, and I was pleasantly surprised by this return to a world of pure imagination. CALEB Honestly, it took me a good 20 minutes to get past the fact that Timothée Chalamet was singing, but once I did, Wonka really won me over. There’s just so much to love about this movie. Chalamet is much better than I thought he might be, the songs are catchy, and the script is genuinely moving. While the film might be a little too sweet for some people, there’s no denying that director Paul King poured his heart into this project, and more children’s films deserve to be crafted with this level of passion and care. Wonka is a delightful surprise. PAIGE While Wonka is a whimsical and charming treat, the musical aspect of the film falls flat. It’s a full-blown musical that lacks powerful vocals from our lead, Timothée Chalamet, and has no memorable songs to go along with its journey of Willy Wonka trying to accomplish his dream of opening a chocolate factory. Plus, the film also plays it a little too safe, needing to be a wee bit more unhinged to satisfy my need for this prequel to Roald Dahl’s beloved character. All in all, this flick is a perfectly fine family-friendly film. PRESTON Wonka is director Paul King’s reimagined look at the life of Willy Wonka (Timothée Chalamet). The fantastical visuals are on full display with a competent cast, but despite its polished finish, I left the theater feeling unsatisfied. The overly saccharine nature of this somewhat forced musical had me feeling slightly queasy, and without any of the mystery or darkness of its predecessors, there was little incentive to emotionally invest in any of the characters, which caused many of Wonka’s antics to fall flat. The result is a decent, but excessively safe children’s story that leaves little for us older kids. KATIE Willy Wonka & the Chocolate Factory is one of my favourite films, and Gene Wilder's incarnation of the character is very close to my heart. So, I went into Wonka believing that I wouldn't be impressed; however, it won me over almost immediately. The musical set pieces are spectacular, the songs are catchy, Timothée Chalamet is charming and frankly adorable as Wonka, and the tone is perfect throughout. I also am pleased that it employs nostalgia effectively, yet sparingly. It's unapologetically wacky and extravagant, and whilst it may border on sickly sweet for some, it's everything I’d expect from a Wonka musical.

BETTER MAN Starring: Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman, Kate Mulvany, Frazer Hadfield, Raechelle Banno, and Damon Herriman Director: Michael Gracey NICK I’ve long been a fan of Robbie Williams, so perhaps I enjoyed Better Man as much as I did because of my familiarity with everything. But, honestly, I just think it’s a great film. Whether it’s the stylistic decisions that realistically shouldn’t work but do, or the spectacle of all the musical numbers, everything succeeds because of Robbie. A supremely creative (and narcissistic) showman, the man shies away from nothing to tell his story, demons and all. It makes for a refreshing and relatable examination. I was thrilled, I was moved, and as Robbie would have wanted, I was entertained. Give this one a shot. ADRIANO My expectations for Better Man were really low, given that director/co-writer Michael Gracey's last film, The Greatest Showman , is one of my least favourite movies ever. So in that regard, I suppose Better Man surpassed my expectations. The CGI monkey looks amazing, and I do admire how unsanitized the approach to Robbie Williams’ life is. That said, while the movie tries throwing some flashing lights and gimmicks at us, it doesn't change the fact that it follows an uninteresting and basic biopic format. It certainly wasn't as bad as I feared, but I'll never see it again. AMARÚ Music biopics with unique deliveries are now two for two in 2024. Better Man is an unadulterated window into Robbie Williams’ soul, full of heart and heartbreaking emotional resonance. Williams and Jonno Davies’ joint mo-cap performance harnesses every inch of Robbie’s hardships and triumphs, with CGI matching Matt Reeves’ Planet of the Apes -level detail. Combined with Michael Gracey’s direction, which is as visually evocative as Williams is a cheeky bastard, you have a full-blown emotional knock out. It’s a bit long, but when you get to see that deep into someone’s heart, you’ll take the extra minutes of laughs, smiles, and tears. PAIGE Better Man is a traditional and ostentatious musical biopic, but despite its unique take on the genre, once you peel back the layers, it’s just another generic rags-to-riches story. Without the CGI monkey (which looks fantastic), the film doesn’t really make a compelling case for Robbie Williams to have his story told. Don’t get me wrong, the movie is certainly amusing, and director Michael Gracey directs some of the best musical sequences of the year, but the overall narrative feels drawn out at times. Maybe if I were a bigger fan of Williams, I’d value this outlandish story more. KATIE Better Man, a musical biopic about Robbie Williams, who is portrayed as a CGI ape amongst an otherwise human cast, is a creative gamble that pays off spectacularly. I didn’t expect to enjoy this as much as I did, and the addition of the CGI ape is wonderfully strange without distracting from the narrative, instead making it all the more captivating. Although it doesn’t stray from the usual rise-to-stardom biopic formula, the bold stylistic choices set it apart and enable a surprisingly emotionally engaging story that boasts immersive visuals and riotously entertaining musical setpieces. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

SHOTGUN WEDDING Starring: Jennifer Lopez, Josh Duhamel, Sônia Braga, Jennifer Coolidge, Lenny Kravitz, and Cheech Marin Director: Jason Moore AMARÚ Shotgun Wedding is supposed to be a fun watch. I mean, just look at Jennifer Coolidge, who knows exactly how to hack up its cheesiness. She commits. And that’s the main issue with the rest of the film: It never commits to the movie it wants to be. Is it a Rom-Com? Action Comedy? A mixture of both? The few scenes where Jennifer Lopez and Josh Duhamel’s chemistry flourishes is when there is a commitment to being an outlandish action rom-com, but most of the time, it feels like two separate run-of-the-mill movies clashing with each other for runtime minutes. It gave me whiplash. JOSEPH I hope action-driven romantic comedies are coming back because I had a blast with Shotgun Wedding . It’s no The Lost City , but I couldn't help but laugh at the ridiculousness of the film’s premise. The cast is vivacious, and the film is just so lighthearted and entertaining. The action scenes are exciting with great stunt work, but they still manage to infuse comedic elements amongst the adrenaline. Special shoutouts to Jennifer Coolidge, who is just a beacon of light in this film, and Josh Duhamel, who should have been the first choice for this role from the get-go (Ryan Reynolds and Armie Hammer were previously attached). PAIGE Fans of Jennifer Lopez may want to reconsider RSVPing to this rom-com because, unfortunately, Shotgun Wedding lacks both romance and comedy. Our two leads, Josh Duhamel and Lopez, don’t have an ounce of chemistry, and even with a supporting cast that includes Jennifer Coolidge (who, admittedly, delivers some zingers that will make you chuckle), that still isn't enough to save this disaster of a film. Shotgun Wedding could have easily been a fun ride, but it falls into the basic tropes of the genre and isn’t a memorable watch at all.