EMILY THE CRIMINAL Starring: Aubrey Plaza, Theo Rossi, Megalyn Echikunwoke, Jonathan Avigdori, and Gina Gershon Director: John Patton Ford PAIGE Emily the Criminal is a tight little 90-minute noir crime film that turns Aubrey Plaza into a badass. She shines by taking an offer she can’t refuse (making easy money through credit card fraud), but even with this side of her we haven’t seen before, it’s just a mediocre flick. It’s a shame too because the concept is there for a good story, but with the film lacking character development and feeling dry due to not enough depth or tension, it falls shy of being a decent thriller. JACOB Aubrey Plaza is an unwieldy talent and one of the most remarkable actresses working today, so it’s a shame that Emily the Criminal doesn’t quite match her natural energy. That’s not to say the film is bad by any means, only that it looks and sounds like every other small indie film of its kind. There’s not a whole lot to hold onto here, and the film doesn’t put forth a lot of effort in ensuring the story is as gripping as Plaza can often be. That said, it’s worth watching for her performance alone, just not for much else. QUENTIN Emily the Criminal features several of the more superficial aspects I look for in indie crime flicks, to include being shot in a grimy patina befitting the scumbag element at the story’s core. That said, be it the muddled stakes or the dispassionate social commentary, I just didn’t connect with it. Admittedly, Aubrey Plaza is like Kristin Wiig, in that it’s hard for me to take her seriously, which I’m sure didn’t help me to buy in completely since I kept expecting her to deadpan towards the camera like The Office . Whatever the reason, it simply didn’t work for me.

WINDFALL Starring: Jesse Plemons, Jason Segel, and Lily Collins Director: Charlie McDowell QUENTIN Given its minimalist approach and confined setting, Windfall feels very much like a “made during COVID” movie. That vibe actually works really well for the film, which plays out like a Hitchcockian stage play (the excellent score does some heavy lifting towards that end too). The three leads are varying levels of good, but it’s Jesse Plemons who shines the most, finally getting away from the sad sack characters he most often portrays. Although the story could have gone deeper in a few places and it drags ever-so-slightly in the middle, Windfall kept me engaged throughout (mostly) on the back of Plemons’ performance. NICK When you’re releasing original films as often as Netflix does, you’re bound to get some misses. That’s exactly what Windfall is, a miss. This under-the-radar release has some good things going for it: an intriguing premise, a notable cast… but, instead, it flounders. The comedy isn’t funny, the thrills aren’t thrilling, and the whole thing just kind of happens. It’s nice seeing Jesse Plemons have fun in his role, but Jason Segel and Lily Collins especially feel miscast. Windfall had a chance to tell a story that built tension and intrigue throughout, but all it did was make me look at my watch. JOSEPH Everything about Windfall is bizarrely captivating. The jazzy score is perfect for the offbeat humor that is tied to the story, while the clever script and dialogue maintain your interest. It’s nice to see Jason Segel play a slightly more serious role, although Jesse Plemons and Lily Collins stand out a bit more. In lesser hands, I think this film could have totally failed, but at the same time, I feel that it could have been better too. Even so, Windfall keeps your interest because of the talented performances, and it will have you chuckling in disbelief.

GUARDIANS OF THE GALAXY VOL. 3 Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel, Bradley Cooper, Sean Gunn, Chukwudi Iwuji, Will Poulter, Elizabeth Debicki, Maria Bakalova, and Sylvester Stallone Director: James Gunn NICK Guardians of the Galaxy Vol. 3 made me laugh, cry, then laugh again, and it features an exhilarating opening action sequence. This film had my heart. My mind, however, is a little less forgiving. The film relies heavily on Rocket (Sean Gunn/Bradley Cooper) flashbacks, which would have worked better as a prologue than being interspersed throughout, and as much as I enjoyed the opening scene, Adam Warlock (Will Poulter) isn’t needed, nor does he leave a lasting impression. Still, the trademarks are here, and it’s a fitting end to the trilogy, but not without some bumps along the way. That said, bring tissues. ADRIANO Guardians Of The Galaxy Vol. 3 had a lot of heavy lifting to do, not just as a send off for the title misfits, but as a lifeline for a post-Endgame MCU; I’m delighted to say that it succeeds. Writer/director James Gunn proves he’s the perfect comic book director, not afraid to get silly while never losing sight of the characters, and he gives the team a fun adventure to go with their proper and beautiful finale. It’s a visual spectacle that, while not always structurally sound, features the MCU’s heaviest and most heartfelt moments. I’ll really miss these characters. QUENTIN Though not flawless, Guardians of the Galaxy Vol. 3 works well enough to rank amongst the best post-Endgame MCU offerings. Everything you love about the Guardians franchise is here, but it’s overlong to the point that I felt the dreaded “superhero fatigue” mid-movie, Adam Warlock (Will Poulter) is completely wasted (he’s on screen for maybe 15 minutes), and the music feels shoehorned in at times even if the song themselves are fantastic. Still, it’s better than Vol. 2 , but not as good as Vol. 1 ; however, the gap between Vol. 3 and Vol. 2 is closer than the gap between Vol. 3 and Vol. 1 . DARRYL The concluding volume of what has been a mostly solid trilogy ends the only way it could: with plenty of heart and humor. Writer/director James Gunn manages to expertly close multiple narrative arcs while still delivering plenty of laughs along the way. Eschewing a sappy Hollywood ending for the series, the story instead provides a more realistic approach that feels true for each character, showing once again that Gunn is intimately familiar with them. A mix between great action and an incredibly dour plot (not to mention the MCU's best villain in years), Vol. 3 is emotionally taxing but ultimately satisfying. PAIGE O-O-H Child, Guardians of the Galaxy Vol. 3 is filled to the brim with James Gunn trademarks. This series has to be the wackiest and most heartfelt MCU franchise ever…it’s certainly my favorite…but like its characters, this flick is a little bit of a mess. Don’t get me wrong, it’s certainly a fun and lovable mess, but a mess nonetheless. Honestly, its strongest attributes are the emotional beats throughout the film, and while overall I’m a big GOTG fan, I walked away with some mixed feelings. While you’ll surely laugh and smile, you’ll most likely ball your eyes out too, like I did. So, fair warning: bring tissues. AMARÚ From the first scene, director James Gunn goes for straight gut-punches in Volume 3 . Emotion is the heart of this finale, and while Volume 1 necessitated set-up and Volume 2 leaned too heavily on comedy, this trilogy capper excellently balances everything that makes Guardians great. The action, humor, music, and ensemble are all pitch perfect, but its biggest strength is the realization of each team member’s best version, with Rocket (Sean Gunn/Bradley Cooper) leading Drax (Dave Bautista), Mantis (Pom Klementieff), and Nebula (Karen Gillan) as standouts. Everything you’ve ever wanted this franchise to be is beautifully fulfilled in this kinda perfect finale. JACOB While the final film in James Gunn’s charmingly off-beat Guardians of the Galaxy trilogy certainly succeeds in what it sets out to do, calling it anything more than “very good” would feel hyperbolic. Many things about it work, such as the emotional core of the film, the high-tone villain performance from Chukwudi Iwuji, and – expectedly – the killer soundtrack. That said, the structure of the film does occasionally work against the flow of the story, and there are a few moments where the humor doesn’t land quite right. Still, it’s a fun time, and a fitting end to Gunn’s MCU days.

HIGHEST 2 LOWEST Starring: Denzel Washington, Jeffrey Wright, Ilfenesh Hadera, Aubrey Joseph, Elijah Wright, Michael Potts, Frederick Weller, Dean Winters, LaChanze, John Douglas Thompson, and A$AP Rocky aka Rakim Mayers Director: Spike Lee NICK It’s been a while since I’ve enjoyed a Spike Lee film as much as Highest 2 Lowest ; that’s not a knock on the director’s filmography, but more of a testament to just how good this is. Lee is firing on all cylinders, infusing the film with music, culture, and a strong commentary on power and persona. The performances match as well, with Denzel Washington giving a dynamic lead performance, Jeffrey Wright being as steady as always, and even A$AP Rocky surprising. Lee even made the unconventional orchestral score somehow work. Apple needs to improve its marketing because this is one of the best films of the year so far. AMARÚ Highest 2 Lowest is an operatic New York City love letter headlined by two of our best living actors, Denzel Washington and Jeffrey Wright, who do what they do best. Where my uncertainty takes hold all comes down to director Spike Lee’s style. It’s big, powerful, musical, and Black as hell. But it also plays like a play, with outward performances keeping you at arms length, barring the audience from truly living inside the story. I like the film, and I’m there opening weekend for the next Spike Lee Joint, but I also know I often have to learn to like Spike’s swings. ADRIANO It may come as a shock to you, but there is a new Spike Lee Joint out right now… and in its first hour, Highest 2 Lowest worried me. The score was atrocious, the staging was terrible, and the editing was awkward. But once the plot’s set in motion, it’s very entertaining. Denzel Washington's magnetism (a shoutout is owed to A$AP Rocky), an engaging examination of the exploitation of wealth in the music industry, and Lee's direction, which kept me on my toes, all worked. This needed more time in the editing room, but it’s satisfying nevertheless. Want to hear even more of our thoughts? Nick and Shak join Amarú to take A Bigger Bite out of Highest 2 Lowest HERE .

MEN Starring: Jessie Buckley, Rory Kinnear, Gayle Rankin, and Paapa Essiedu Director: Alex Garland NICK Three films into Alex Garland's directorial career, female empowerment has been a recurring theme in each of his features. In Men , it’s the strongest theme. Jessie Buckley gives a great performance in the lead role, but this is as slow a burn as you can get, which definitely causes some pacing issues. That said, when the film leans more into body horror in its latter half, I found myself wishing we’d stayed the course, as the slow burn tale felt incomplete. Garland takes big swings here, and I can see Men being divisive for it. Personally, I think it’s his weakest offering. JACOB Whether Men succeeds or not depends on whatever the viewer thinks its goal is. On the one hand, the horror – driven more by ideas than by narrative – is arresting whilst watching it. Jessie Buckley once again wows as the lead, while Rory Kinnear’s chameleonic performance is a near masterclass. On the other hand, it is one of the least commonly accessible films Alex Garland has made, and its unforgettable ending does a lot to boost that distance from the mainstream. For better or worse, this will likely be one of A24 and Garland’s most divisive works. ADRIANO Men is odd, that’s for sure. For the first two thirds of the film, I was completely enthralled by it. Writer/director Alex Garland masterfully crafted a film that makes you feel uneasy the entire time. Even small, innocent moments can feel unsettling because, deep down, you know something is boiling under the surface. Also, Jessie Buckley is absolutely phenomenal. The last third goes off the rails, though. I do feel there are some things that Garland is trying to convey that I wasn’t able to catch on the first viewing, so a rewatch could help out. It has some issues, but overall, a worthwhile experience.

NIMRODS Starring: Mason Thames, Kylr Coffman, Ryan Foust, Keen Ruffalo, Jenna Fischer, McKenna Grace, Sean Gunn, Billy Joe Armstrong, Tré Cool, Mike Dirnt, Bobby Lee, and Fred Armisen Director: Lee Kirk AMARÚ Nimrods has all the essentials of a rock-and-roll road trip film, and it’s a pretty damn good time. Mason Thames, Kylr Coffman, and Ryan Foust are hilariously relatable even if you’re not an avid punk rock patron, and their high school angst, peer-pressure-fueled-but-still-authentic friendship, and idiotic decisions take me back to my own teenage years. I would never do any of the things they do, but watching them meet new (and more famous) people while getting into shenanigans on the way to Los Angeles for their musical dreams was full of all the hope and determination of underground bands everywhere. PAIGE Nimrods is a punk rock-fueled coming-of-age movie that does a great job of utilizing Green Day’s music catalog. Although it’s a bit messy at times and not every joke lands, there’s a sweet story underneath it all about friendship, taking chances, and being young and dumb. It may not reinvent the genre’s formula, but it knows exactly what kind of movie it is. It’s packed with fun shenanigans and its cast has killer chemistry. Overall, it’s an entertaining, rocking good time for fans and non-fans of Green Day. QUENTIN Had I seen Nimrods in the early 2000s, I suspect it would have entered my regular rotation of rewatchable scrappy comedies like Slackers and Grandma’s Boy ; however, at this point, it’s nothing more than a collection of ideas, scenes, and characters that all feel like things I’ve seen before. That doesn’t make the movie inherently bad, of course, but why not watch the much better and very similar Road Trip or Superbad instead? Either way, everything in Nimrods is forgettably fine, from the mildly amusing jokes to its sweet-natured sentimentality; it’s just nothing special unless you are a major fan of Green Day. KATIE Nimrods is a very sweet and likeable teen road comedy about friendship, following your dreams, and being true to yourself. The plot is quite generic and the script is straightforward, but the endearing young cast is great, with the dynamic between Mason Thames, Kylr Coffman, and Ryan Foust’s characters coming across as heartwarming and authentic. Plus, it features a lovely performance by Jenna Fischer as Tommy’s (Thames) mother, and a couple of the more tender scenes brought a tear to my eye. Obviously, it naturally has a fantastic soundtrack too. NICK If you’re checking out Nimrods for a showcase of throwback Green Day music, you’ll be satisfied. If you’re expecting anything more than a cookie cutter teen road trip film, you’ll be left wanting. All the hallmarks are here: running out of gas, angry parents, a love interest who pops up along the way, and odd cameos. Beyond those clichés, there’s no rooting interest as the focal group of friends are rather unlikable. I didn’t want to see them succeed and that’s kind of a key component missing here. Unless you’re a massive Green Day fan, you probably don’t need to see this.

MEGALOPOLIS Starring: Adam Driver, Nathalie Emmanuel, Giancarlo Esposito, Jon Voight, Aubrey Plaza, Laurence Fishburne, and Shia LaBeouf Director: Francis Ford Coppola QUENTIN Although a modern world in which ancient Rome never fell is an incredibly fascinating premise, Francis Ford Coppola’s Megalopolis is an unmitigated disaster that vacillates from (presumably unintentional) campiness to overbearing self-seriousness at the drop of a hat. In addition to that, the story is so overstuffed and poorly developed, it’s like Coppola simply gave his stacked cast a hand-wave gesture and basic gist, leaving them to figure everything out on their own, which results in a collection of A-list actors who clearly aren’t working on the same wavelength. It’s not lacking in ambition, but the execution isn’t there. The visuals look sorta nice sometimes, though. ADRIANO After what has probably been one of the most cursed pre-releases maybe ever, I've finally witnessed Megalopolis . And, yeah, it's awful, but almost in an endearing way. Writer/director Francis Ford Coppola has stated that he's been mulling over this since the 70s, and while his passion shines through, it's staggeringly clear that he threw every single idea he had at this. The result is incoherent, empty, poorly-acted, and sadly incompetent. That said, I did enjoy watching a madman's unflinching ambition take shape, even if it's ultimately a mess. I'm giving this a low rating, but it's worth watching at least once. PAIGE It gives me no pleasure to report this, but Megalopolis is an absolute disaster. Honestly, when Francis Ford Coppola wrote this fable, what in the world was he smoking? Though I understand his intentions when it comes to the film’s concepts of time, technology, and politics, this thing, overall, is so incoherent and incompetent that it truly made me want to gouge my eyes out. The screenplay is a hot mess, the runtime is tedious, and it seems as though each actor is acting in a completely different movie. Personally, I think Coppola was better off keeping his vineyard than making this dumpster fire. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

IT LIVES INSIDE Starring: Megan Suri, Neeru Bajwa, Mohana Krishnan, Vik Sahay, Gage Marsh, Beatrice Kitsos, and Betty Gabriel Director: Bishal Dutta This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN While the story of It Lives Inside is a fairly typical possession tale, using the demon to touch on ideas of teen depression and divided cultural identity, it remains a solid addition to the subgenre. The way director Bishal Dutta uses minimalist techniques, toying with light and shadows to create tension, not to mention the Indian folklore aspect, is very reminiscent of The Vigil (a terrific horror movie based on Jewish demonology), and the final creature design is impressive, especially considering the film couldn’t have had a sizeable budget. It’s not groundbreaking, but it succeeds, nonetheless (particularly if you watch in the darkest room possible). NICK It Lives Inside is a tale of two plotlines: First, there's a coming-of-age story about individuality and maintaining your cultural connection throughout your formative years; second, there's a demonic tale based in Hindu folklore. Both feature aspects that work, and both are bogged down by tropes from their respective genres. It’s their intersection, however, that is unable to elevate things. This leaves a relatively new story devolving into something that feels familiar. Having said that, it’s not a lost cause. There are some genuine scares and the creature design is certainly unsettling. It Lives Inside isn’t revolutionary, but it’s still serviceable mid-tier horror.

REAGAN Starring: Dennis Quaid, Penelope Ann Miller, Jon Voight, Alex Sparrow, Mena Suvari, Justin Chatwin, David Henrie, and Trevor Donovan Director: Sean McNamara QUENTIN Regardless of your thoughts on Ronald Reagan (Dennis Quaid), his politics, or the degree to which Reagan genuinely is hagiographical, the former president deserved a better biopic than this. Parts of it feel like a religion-tinged movie based on an SNL skit (“Mastermind,” anyone?), with acting that is, at best, a cheap impression (Quaid) and, at worst, built on Lifetime-levels of campiness (Penelope Ann Miller). I mean, Creed frontman Scott Stapp cameos as Frank Sinatra, for Chrissake! On top of that, the score, cinematography, and story structure are borderline garbage, and the level of hand-waving away certain events is offensive to American history. It’s laughably bad. PRESTON Reagan is an outrageously rose-colored tale of the late U.S. President, played by Dennis Quaid. Most oddly, the film is told through narration by a (fictional) former Russian KGB agent, Viktor Petrovich (Jon Voight), who has been following Reagan with awe and trepidation since his start in Hollywood. He just knew that this random actor would be the end of the Soviet Union and, to his dismay, he was ultimately proven right! Laughable. The hagiographic elements go so far as to even spin the Iran-Contra affair in a positive light!! Overall, this toothless script could have been so much more.

WITH LOVE AND A MAJOR ORGAN Starring: Anna Maguire, Hamza Haq, Veena Sood, Donna Benedicto, and Arghavan Jenati Director: Kim Albright PRESTON With Love and a Major Organ is a mostly original, dark comedy sci-fi film whose social commentary is something we can all relate to in some way. I will admit, while liking the story overall and agreeing on the dangerous direction our society is heading, I felt a depressive annoyance with the subtle finger-wagging message of embracing artsy carpe diem mindsets and villainizing practicality (but that may just speak to my own traumas). Despite my overly personal digression, this film smartly demonstrates a quirky romanticism that doesn’t stray too far from an ideal whose espousal is one that I really appreciate. NICK There are some parallels between this film and last year's Fingernails , as both are tales of a futuristic way to live, with an eye on finding love and happiness. The main difference is this Anna Maguire-led feature does a much better job telling that story. Although the film doesn’t shy away from difficult questions, it poses them while maintaining a pure sense of optimism that brings a welcome sense of hope with it. This is a well-acted film that should make you chuckle, smile, and restore faith in your ability to overcome obstacles. Depending on your mood, this may be just what the doctor ordered. PAIGE With Love and a Major Organ is a visually striking and distinctive film, but ultimately, it's a boring and uninteresting watch. I had to fight to finish the entire movie because I was losing interest in it so quickly. The characters are clearly unlikable, and the script lacks any sense of urgency or motive to make the audience care about them. Plus, it’s all too obvious and without any depth. All in all, it's a tale that might work fine on paper, but struggles to translate to the big screen. This film was reviewed by Nick, Paige, and Preston as part of Bitesize Breakdown's coverage of the 2024 Canadian Film Fest.

MODERN WHORE Starring: Andrea Werhun Director: Nicole Bazuin NICK I’ve been waiting for a feature length version of Modern Whore since seeing the original short film back in 2020. Luckily, director Nicole Bazuin and star Andrea Werhun bring the same charm, comedy, importance, and magic to this feature film. Werhun's magnetic presence instantly pulls you into her story, as she never shies away from the judgement bound to come, nor the intricacies of being a sex worker. Bazuin, for her part, incorporates the animation, cut-scenes, and graphics that made the short films work so well, while adding interviews with those closest to Andrea, which gives the film an added personal element. Worth the wait. ADRIANO I don't quite know how I felt about Modern Whore's mix of documentary and scripted skits. Not that it's a bad idea, it's more how it was executed. The best parts of the movie are when the subject, Andrea Werhun, opens up about her experiences and speaks to other sex workers and her loved ones. Those were the moments where the film's themes were the most effective, but the momentum halts whenever these scripted moments come up, as they just felt amateur, making me wish more effort had been put into making sure it was all done right. BODE Sex work is one of the oldest professions in existence, but to this day, there’s a significant stigma towards it. Modern Whore takes the opportunity to blow that up. Director Nicole Bazuin brings Andrea Werhun’s memoir to life as a hybrid documentary, utilizing scripted re-enactments, animation, and interviews (especially with other sex workers, a major highlight) to illustrate her lived experience in the industry. Its short runtime means skimping a bit on details that might’ve provided an even bigger picture, but the film is nevertheless charming and insightful as is - thanks to Werhun’s magnetic storytelling, and Bazuin’s imaginative filmmaking. KATIE Modern Whore is a hybrid documentary that tells the account of subject Andrea Werhun’s experience as a sex worker, utilising imaginative and creative storytelling to explore her experience. It uses dramatisations, animation, interviews, and surprising humour, challenging assumptions about the industry and exploring the experience of sex workers with empathy, curiosity, and understanding. However, I found some of the scripted scenes between the interviews distracting, and they somewhat detracted from the first-person accounts. Overall, Modern Whore is a thoughtful, informative, and entertaining film with a unique approach to its subject. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

CUCKOO Starring: Hunter Schafer, Jan Bluthardt, Márton Csókás, Jessica Henwick, and Dan Stevens Director: Tilman Singer PAIGE With its piercing sound design and deranged approach to storytelling, Cuckoo has the style of an 1980s Italian horror film. The director, Tilman Singer, does a fantastic job behind the camera by gradually escalating the suspense and tension throughout the movie. However, despite the ambitious and eerie tone, this slow-moving horror film suffers from an overly complex and unclear narrative. Once the second act begins, the plot just kind of goes off the deep end, leaving the story disjointed. That said, even if it didn't completely land for me, Cuckoo is a strange and unique experience that some people might enjoy. QUENTIN I give Hunter Schafer and Dan Stevens credit for making this garbled movie somewhat watchable because, despite their performances and a decent atmosphere of mysterious what-the-fuckery, Cuckoo doesn’t haven’t much going for it. The tone is an absolute mess, flip-flopping between self-serious horror and campy comedy — being generally unsuccessful at both — while the story has no desire to truly let viewers in on what is happening until some lazy throwaway exposition towards the end. Then there is the sound design. I’ve often criticized comedians (*cough* Leslie Jones *cough*) for relying on the “it’s funny because I’m loud” schtick. Apparently, “it’s scary because it’s loud” is erroneously a thing too. ADRIANO Cuckoo , if nothing else, shows that Hunter Schafer has the same star power and leading lady charm that her Euphoria co-stars have demonstrated over the past couple of years. Sadly, the movie's writing and pacing are utter rubbish. The tone of the film is all over the place; sometimes it's silly, sometimes it's dead serious, and sometimes the film abandons any tension it sets up for a more action-y vibe. In addition to that, the concept is total nonsense, barely doing anything to explain what's going on. Come to Cuckoo for Schafer, but not much else. PRESTON Hunter Schafer does a fantastic job in her acting task, demonstrating a capable range of emotions and nearly carrying Cuckoo single-handedly. However, although there are some interesting elements within the story, I am unsure what the mysterious “monsters” really are, which leaves me feeling unfulfilled. There also are some funny elements without a commitment to being a full-on campy horror film mixed with some serious moments between characters that make you wonder why they are even connecting. Overall, it presents an interesting concept that goes a little scatter-brained. Also, why is Márton Csókás even in the film? SHADAN I’m recommending Cuckoo solely on the strength of Hunter Schafer’s performance because I’m very impressed with what she has delivered in her first leading film role, and I hope she gets more opportunities to shine as a lead performer. I am also forever impressed by Dan Stevens’ drive to run away from his dashing good looks and commit to playing weird little freaks. Again, I hope for more in the future. Not much else about Cuckoo makes sense, though. There are surprises, but they are not pleasant. Still, I admire Cuckoo for its audaciousness, however poorly executed it may be. KATIE Cuckoo was one of the films I was most looking forward to this year due to the merits of its stars, Hunter Schafer and Dan Stevens, and horror-thriller premise. Fortunately, Schafer is incredible as Gretchen, and her performance has me anticipating her next leading role, while Stevens is clearly having a great time as an eccentric villain, doing the best he can with the material. However, the story becomes unnecessarily convoluted, and the tone jumps between silly and serious, which lessens the impact of the scares and hinders its momentum. Despite its flaws, Cuckoo offers enough intrigue to be worth a watch. This film was reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival.