HIPPO Starring: Kimball Farley, Lilla Kizlinger, Eliza Roberts, Jesse Pimentel, and Eric Roberts Director: Mark H. Rapaport This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. NICK Hippo is a great example of why sex education still needs to be taught in schools. This absurd film about the naivety of sex - and, really, adult life - for adolescents Hippo (Kimball Farley) and Buttercup (Lilla Kizlinger) is... something. Although the pace moves well enough thanks to narration provided by Eric Roberts, the characters are quite unlikable, and the narcissistic and disillusioned Hippo is the worst offender. I will say, the notion of step-sibling infatuation is handled respectfully by director Mark H. Rapaport, and without getting into spoilers, it’s that story thread that is the most interesting. I just wish things came to a different conclusion. QUENTIN Hippo is a weird one, and while I’m not entirely sure I liked it, there are certainly parts I didn’t hate. A scene here would make me laugh, a one-liner there was immediately entered into my memory bank… but, given the subject matter, it’s so odd and potentially off-putting that recommending it is a tricky endeavor. Plus, Hippo (Kimball Farley) is extremely unlikable as a character, playing the role like Napoleon Dynamite with Kenny Powers attitude, which makes sense once you realize Danny McBride and Jody Hill, who created Eastbound and Down , are executive producers on the film. Overall, Hippo is unsettling and extreme acquired taste.

KUNG FU PANDA 4 Starring: Jack Black, Awkwafina, Viola Davis, Dustin Hoffman, James Hong, Ian McShane, Ke Huy Quan, and Bryan Cranston Director: Mike Mitchell AMARÚ There is clearly more missing from Kung Fu Panda 4 than just the five prominent characters from the original trilogy. This needless fourth entry is what a non-animation fan would assume the entire franchise is like based solely on the title: a run-of-the-mill, kid-skewed adventure moving from gag joke to MacGuffin to plot trope to stock location. I can’t believe the same writers who filled the first three films with so much heart, soul, and genuine storytelling penned something with only a fraction of that brilliance. Maybe it’s due to only having half the budget? Either way…man, this was disappointing. CALEB Although not without its strengths, Kung Fu Panda 4 is tragically average. The voice acting, character design, and animation are as solid as ever, so it’s unfortunate that they’re in service of such a low-effort script. The twists are predictable, the villain is inactive for the majority of the story, there’s too much pointless filler, and the nostalgia baiting is so half-assed that it’d almost be funny if it weren’t so sad. It’s probably entertaining enough for the kids, but if you’re a big fan of the original trilogy, then it might be wise to temper your expectations. ADRIANO I quite like the first three Kung Fu Panda movies; hell, I'd even go so far as to say I loved the second one. So it brings me no joy to say that I found Kung Fu Panda 4 severely lacking. It’s clear that it wasn't made by a group of passionate filmmakers as it feels like a studio-ordered slog. Jack Black is as energetic as ever, but Awkwafina is evidently getting bored of the voice booth. Kung Fu Panda 4 simply lacks the heart and soul of the others, so much so that even the fun parts are forgettable.

SASQUATCH SUNSET Starring: Riley Keough, Jesse Eisenberg, Christophe Zajac-Denek, and Nathan Zellner Director: Nathan Zellner and David Zellner ADRIANO Sasquatch Sunset is depraved, gross, and borderline nonsensical. I loved it. With not a single word, directors Nathan and David Zellner create a bizarrely funny year-in-the-life-of-sasquatches film that, once you get past all the fluids and insanity, has something interestingly profound to say about our connections with nature and each other. The film has many moments of genuine heartbreak and humanity, and being able to do that only with grunting creatures is quite fascinating. I imagine it won't be for everyone, but I fell pretty hard for Sasquatch Sunset . KATIE Sasquatch Sunset is a truly unique film. Following a year in the life of a family of sasquatches, the film ranges from melancholic sadness to truly disgusting gross-out humour, all whilst meditating on the nature of family and our impact on the natural world. The prosthetics are incredible and not a word is spoken, with the unrecognizable cast’s dedicated physical performances doing all the talking. It's eccentric, absurd, and strangely heartfelt, and although the excess of bodily fluids did slightly test my patience and limits, this ambitious film has a more serious message at its heart. QUENTIN Sasquatch Sunset is an odd duck of a movie, like the R-rated, artsy follow-up to Harry and the Hendersons you never knew you needed. Hell, for most of you, you likely won’t want it either, especially if you are grossed out by bodily fluids, shit-flinging, and sasquatch penises. That said, Sunset also features genuine moments of laugh-out-loud surreal humor and somber poignancy, not to mention quiet reflections on who we are as a society. Sure, it probably could have been shorter, and even though I’d only recommend it to a very specific audience, it gets a high rating because of its originality, go-for-brokeness, and audacity. PAIGE Sasquatch Sunset may be one of the most poignant movies of the year despite its peculiarities. Having said that, many people may genuinely wonder, "what the fuck did I just watch?" much like I did. Even though I have mixed feelings about the movie overall, I have to acknowledge that this dialogue-free film is going to majorly polarize audiences. With its stunning cinematography, this documentary-style film transports you into the world of a sasquatch family. It may not be for everyone, but if you're a Bigfoot enthusiast, you should definitely check out this bizarre yet tranquil gem.

HIS THREE DAUGHTERS Starring: Natasha Lyonne, Elizabeth Olsen, Carrie Coon, Jovan Adepo, Jay O. Sanders, Rudy Galvan, Jose Febus, Randy Ramos Jr, and Jasmine Bracey Director: Azazel Jacobs ADRIANO His Three Daughters is a mature, heartbreaking, and bittersweet analysis of family and grief that had me blubbering. Azazel Jacobs' writing and direction ground the film to a point of uncomfortable familiarity as it examines its subjects and the past and current trauma they’ve experienced, all of which is anchored by three magnificent performances from Carrie Coon, Elizabeth Olsen, and especially Natasha Lyonne. The dynamic between the three gives way to something that devastates beyond the central premise in a way that'll make it hard not to hurt your heart at least a little bit. PAIGE His Three Daughters is a heartfelt and exquisite film that perfectly conveys the genuine, unadulterated nature of grief and sisterhood. Although the story may seem simple on the surface, it’s writer/director Azazel Jacobs’ razor-sharp, monologue-heavy script and the three riveting performances from Carrie Coon, Elizabeth Olsen, and Natasha Lyonne that leave such a powerful stamp on this film. By the end, I was moved to tears by this touching story of anticipating grief, and I believe many others will be moved by it as well. If I didn't say it's one of the year's best dramedies, I'd be lying! This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE UNBEARABLE WEIGHT OF MASSIVE TALENT Starring: Nicolas Cage, Pedro Pascal, Tiffany Haddish, Sharon Horgan, Lily Mo Sheen, Ike Barinholtz, Alessandra Mastronardi, Paco León, and Neil Patrick Harris Director: Tom Gormican QUENTIN The Unbearable Weight of Massive Talent is surprisingly successful as a commentary on ego v. family, a buddy comedy, a pseudo-spy actioner, and most importantly, a celebration of Hollywood icon Nic Cage. The This is the End meets Tropic Thunder meta take on “The Legend of Cage” works so well because Cage allows himself to be the butt of the joke, which brings some humanity to a man mostly referenced for his eccentricities. That said, I’m slightly disappointed that it didn’t go deeper with the Cage homages, but that has more to do with my own expectations than anything else. It’s still a fun ride. NICK Don’t let The Unbearable Weight of Massive Talent fool you. What seems to be a film made solely for Nic Cage fans is actually a hilarious meta take on a narcissistic actor, which Cage plays perfectly thanks to his ability to poke fun at himself. He’s joined by Pedro Pascal (with yet another great comedic performance), and the chemistry between the two is undeniable. This film is a ton of fun. Even if you aren’t a Cage fan, you’ll still be able to enjoy this. And if you are one? You know exactly what you’re going to get: NIC FUCKINNNNNNNNN’ CAGE. PAIGE The Unbearable Weight Of Massive Talent is a heartfelt and hilarious love letter to the man, the meme, the legend himself, Nicolas Cage. Who would have guessed Cage playing himself would become my favorite of his roles? He and Pedro Pascal are a brilliant comedic duo that will have you chuckling nonstop throughout the film because their chemistry is through the roof. Yes, the film is very meta, outrageous, and absurd, but this bromance comedy is destined to become a cult classic! ADRIANO The Unbearable Weight Of Massive Talent is a love letter not just to the man, the myth, the legend Nicolas Cage, but also a love letter to film fans. The movie didn’t elicit as many laughs as I would’ve hoped for, but there are still enough to make it a complete blast. Cage goes full parody mode in glorious Cage fashion, playing into the mythology around him perfectly. He and Pedro Pascal have pretty awesome chemistry together too, making the buddy aspect of this film both funny and really sweet. It’s an undeniably fun time at the movies. JACOB A proper class in meta-comic filmmaking, The Unbearable Weight of Massive Talent is one of the year’s greatest joys in moviegoing, especially for fans of Nicolas Cage. Cage owns every second of screen time in this pseudo-buddy comedy about family, career, movie-loving, and fandom. The script is chock full of references to Cage films, but other beloved works of Hollywood as well (a Paddington 2 joke stands out as one of its great moments). Cage’s career renaissance is well underway, and if this reverent film is any indication, one of Hollywood’s greatest actors is truly back – not that he went anywhere. AMARÚ The legend of Nic Cage is mythical, and The Unbearable Weight of Massive Talent understands that legend. It’s as particular and unique as the actor himself, with its self-awareness being the deciding factor in whether you enjoy the Cageness of it all. Pedro Pascal and Cage’s chemistry is palpable, and their sweet buddy-cop storyline helps to acclimate you into the self-referential ridiculousness. Massive Talent won’t be for everyone, but this meta take on the undeniable singularity of one Nic Cage is a fun time if you just ride the wave.

THE RIP Starring: Matt Damon, Ben Affleck, Sasha Calle, Steven Yeun, Kyle Chandler, Teyana Taylor, Catalina Sandino Moreno, Lina Esco, and Scott Adkins Director: Joe Carnahan PAIGE While Joe Carnahan’s The Rip is a somewhat generic crime thriller, its twisty cop mystery keeps you on your toes throughout. Matt Damon and Ben Affleck’s stellar chemistry is what keeps the film grounded, though the rest of the supporting cast isn’t given much to do. That said, it’s still a tight-knit movie with limited locations, well shot shootouts, and a third act that rips. It honestly felt like a throwback to 90s and early 2000s cop movies with its shady characters and lingering suspicions. Overall, this enthralling thriller is a solid Netflix original. ROBERT Miami, cop conspiracy, too much cash…you don’t need much more for an entertaining action thriller. Director Joe Carnahan knows how to ratchet up the intensity with bullets and bravado, and The Rip is no exception. The mystery at the heart of the story isn’t as compelling on its own, but how it is sold through deception and the strain on the relationships, particularly with Matt Damon’s Dane and Ben Affleck’s J.D., is where the movie is on its most solid footing. The ensemble cast around our two friends is mostly additive, some third act letdowns notwithstanding. Netflix continues a solid run of B-movie shoot-em-ups. AMARÚ The Rip drops you right into the chaotic pre-storm calm, so be prepared to not know what the hell is going on for most of the film. That had me fully engaged, thrilled, and puckered during this surprisingly not-so-action-packed action thrill ride. Writer/director Joe Carnahan, Matt Affleck & Ben Damon (since they are truly one entity), and the plethora of “oh shit, they’re in this too?” cast members make the character dynamics and unraveling mysteries the priority amongst the cop-killing, back-stabbing, chess-playing corruption, right up until the not-as-intriguing, but still entertaining, actually action-packed finale. A solid January watch by my standards. BODE If anything could’ve gotten me to watch a new Joe Carnahan movie sent straight to Netflix, it’s Boston royalty Ben Affleck and Matt Damon. And with the aid of an almost overqualified supporting cast (future Oscar-nominee Teyana Taylor! Oscar-nominee Steven Yeun! Emmy-winner Kyle Chandler! Vulture Stunt Award-winner Scott Adkins!), they manage to bring some verve to The Rip ’s macho stylings. Though it doesn’t reach the heights of similar dirtbag cinema favourites like Den of Thieves or Sabotage , it has enough solid shootouts and twisty tension to pass the time decently. A perfectly okay January watch. KATIE The Rip is a middling crime-thriller. The performances are solid, with Steven Yeun as a stand-out, but the rest of the cast, particularly the heavily underutilised female characters, may as well have not existed. Ultimately, this is the Matt Damon and Ben Affleck show, and their chemistry is the only unique thing about it. The reveals aren't surprising, and the plot is never clever; but oh, don’t worry, because its convolution overexplains every contrivance, double-crossing, and bluff with helpful flashbacks. It’s only nearly two hours because of how long it spends explaining itself to the viewer. NICK It's always good to see Matt Damon and Ben Affleck on screen together, but The Rip doesn't live up to some of their other films. It's fine, but never really surpasses that. Director Joe Carnahan presents a more muted crime-thriller than you'd expect, as much of the runtime is spent learning the different characters’ motivations while investigating each other. Once the finale hits, you get the shoot 'em up action you expect, but it takes too long to get there. If there was anyone else in the lead roles I’d rate this lower, but Matt & Ben do enough to elevate this above average.

THE WHALE Starring: Brendan Fraser, Sadie Sink, Hong Chau, Samantha Morton, and Ty Simpkins Director: Darren Aronofsky NICK “And the Oscar goes to…” After watching The Whale , there is little doubt that sentence will end with the name Brendan Fraser. It's not just about how good his performance is, it's the fact that it feels like no one else would have been able to do it better. Credit to director Darren Aronofsky, who once again shows he is one of the best directors to resurrect a career. What he and Fraser have made (along with the terrific supporting cast) is a film deserving of the hype it has garnered, and one that confirms Brendan Fraser is back and potentially better than ever. QUENTIN For multiple reasons, I was extremely skeptical about The Whale . The hype-machine for Brendan Fraser, a good-but-never-great actor, has been deafening, and director Darren Aronofsky can be very hit (The Wrestler ) and very miss (The Fountain ). So, imagine my surprise when it turned out to be one of the best movies I saw at TIFF. Under the prosthetics, Fraser’s soulful eyes and humanistic performance sell an emotional tale that I’m unashamed to say made me misty-eyed. Admittedly, one subplot seems extraneous, and Sadie Sink goes a little too hard as the cold-hearted daughter, but, overall, this movie (and Fraser) deserves all the love it’s getting. ADRIANO The Whale is an absolute slam dunk. Director Darren Aronofsky is at his most human here, trading the flat-out insanity of his last film, Mother! , for a more calm and heartbreaking story. But the real headline here is, of course, Brendan Fraser. What he brings to the screen is genuinely breathtaking, especially in the final 20 minutes, which I consider all-timer levels of fantastic. It’s a true comeback performance if there ever was one, and while The Whale is worth watching for Fraser alone, the overall film is an electric gut-punch in its own right. JTE Director Darren Aronofsky returns to familiar ground with his latest film The Whale , once again touching on grief, addiction, and the struggle within oneself. Most of the attention directed towards the film has been, rightfully so, on its star Brendan Fraser. While Aronofsky sets the table in this one-location film, it's Fraser who elevates the material in almost every way. That said, the story didn't completely work for me, and Sadie Sink seemed overmatched by Fraser in almost every scene. It’s a perfect example of a movie you see for the performances rather than the story. AMARÚ The Whale is a gripping look at the honesty of the uncomfortable, be it anger, shame, sarcasm, or humor. The gamut of emotions that we as humans push down for fear of embarrassment is pushed to the forefront through the captivating chemistry of a brilliant ensemble. All four leads (Brendan Fraser, Sadie Sink, Hong Chau, Ty Simpkins) give rousing performances, but it’s the sincere dialogue amidst clashing personalities that brings affecting humanity to a very difficult script. Fraser’s performance, in particular, is career-defining in this harrowing, hopeful, and human demonstration of how life can be beautiful in its devastation. JACOB Perhaps the director’s true intentions simply didn’t translate to screen, but it’s hard to watch Darren Aronofsky’s The Whale and not come away feeling anything but cynical about the whole exercise. Brendan Fraser turns in a comeback performance worthy of admiration, and Hong Chau nearly steals yet another film, but the movie itself doesn’t seem to have empathy for its protagonist, only pity. Still, despite the film’s refusal to allow Fraser any actual agency for most of the runtime, those final minutes do strike an emotional chord, and the ending – while abrupt – does feel appropriate for the overall tone. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

BROTHER Starring: Lamar Johnson, Aaron Pierre, Marsha Stephanie Blake, Kiana Madeira, Lovell Adams-Gray Director: Clement Virgo NICK Brother , a story about the importance of family and community, is not without its flaws. As someone who grew up near Scarborough, the essence of the city isn’t quite captured, and director Clement Virgo's reliance on timeline-jumping and ambiguity causes the film to drag. Although Lamar Johnson and Aaron Pierre give solid performances, it’s Kiana Madeira who brings the humanity this film needed more of. The main thing this feature has going for it is the cinematography, though. The outdoor shots especially are among the nicest I saw at TIFF. Brother isn’t a lost cause, but it’s bound to be forgotten by year's end. JOSEPH When director Martin Scorcese talks about “cinema,” I imagine Brother is the type of film he is talking about. Though the narrative can be a bit wonky at times, it’s a slice of life story that feels earnest in its depiction of the dangers of some urban neighborhoods. The film is paced in such a way that you get to spend a lot of time with the characters in order to truly know them, sitting in a pensive silence with them often. Again, the film is not without its flaws, but I can strongly say it’s a masterfully crafted piece of cinema AMARÚ With Brother , director Clement Virgo demonstrates a masterful hold on editing and visual narration. He makes non-linear storytelling feel linear, and it’s a really intriguing way to showcase a beautifully sorrowful story. A story that, while engrossing, never feels like it really digs as deep as it should. The circuitous screenplay ends up being simultaneously its biggest strength and its biggest hindrance, creating staccato dialogue that makes scenes feel cut short. Though many of its aspects are exceptional, Brother ’s powerful themes and delivery still made me feel there was more left to explore. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

LURKER Starring: Théodore Pellerin, Archie Madekwe, Zack Fox, Havana Rose Liu, Wale Onayemi, Daniel Zolghadri, and Sunny Suljic Director: Alex Russell This film has been reviewed by Bode and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. QUENTIN Lurker is a hell of a film, thrillingly exploring the dynamics of celebrity (in both influencer culture and the music world), fandom, obsession, and the fame-driven, whatever-it-takes mentality of Gen Z in the internet age. Everything from Alex Russell’s direction to the performances of both Théodore Pellerin and Archie Madekwe are steeped in a genuine rawness that feels lived in. However, with that comes an incredible amount of palpable cringe that can make the viewing experience very uncomfortable, which is exacerbated by the incredibly unlikeable characters. You’re either Team Creep (Pellerin) or Team Douche (Madekwe), which provides a harsh barrier for entry while stifling “enjoyment.” BODE In our Fantasia preview HERE , I brought up Lurker as one of my most anticipated selections, especially given its early buzz out of Sundance. I’m happy to say that it lived up to the hype. Writer-director Alex Russell examines one’s proximity to fame and the obsession that can result from it with a sure hand, confidently balancing cringe-inducing hilarity, escalating tension, and unsettling nuance. It’s further boosted by a rich ensemble (Théodore Pellerin and Archie Madekwe certainly have engaging chemistry), Pat Scola’s 16mm cinematography, and a moody score from first-time composer Kenny Beats. Definitely seek this one out.

FLIGHT RISK Starring: Mark Wahlberg, Michelle Dockery, and Topher Grace Director: Mel Gibson NICK As polarizing as Mel Gibson is, his ability as a director is rarely in question. That’s why it's hard to believe he directed Flight Risk . Although Mark Wahlberg tries his best with what he's given, the film is severely challenged in both its writing and the aforementioned direction. Had Gibson decided to make a tension-riddled thriller with Wahlberg playing a maniacal villain, this could have worked. Hell, even if he went the other way, building up the ridiculousness to go for some wacky dark comedy, things may have worked. Instead, he did neither, which results in a film that decidedly does not work. ADRIANO Yeah, it's January alright because I'm almost at a loss for words at how bad Flight Risk is. You can fall back on the excuse that it's a B-level thriller made to feel like a silly straight-to-DVD movie all you want, but I'm not exaggerating when I say nothing happens in this movie. Mark Wahlberg going nuts is a little entertaining, but he's just unconscious in the background for the most part. Otherwise, this movie is tensionless, the humour is really cringe, and it features possibly the most forced romance in cinema history. This has basically no redeeming qualities.

VINCENT MUST DIE Starring: Karim Leklou and Vimala Pons Director: Stéphan Castang This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. NICK The premise of Vincent Must Die had my attention because of the different directions it could go. Would it be horror? Comedy? Drama? Romance? The answer is a little bit of everything. Following Vincent (Karim Leklou), an unsuspecting man navigating his way through a world trying to kill him, makes for a fun time (especially when children are involved). Unfortunately, it feels like director Stéphan Castang didn’t know how to end the film as it lands a little flat. I enjoyed it, but I’d love to see an English remake with a little more money behind it and a revamped ending. QUENTIN As simple as Vincent Must Die ’s premise is, it could have been a great action horror movie like Mayhem . However, it plays things too slowly to be truly engaging (think a far less creepy and less good It Follows ). It certainly starts strong enough, but it eventually turns into a potentially doomed romance tale, which kills the momentum. Also, and maybe I’m being nitpicky, but it never explains its own rules, so the viewers are often as confused as Vincent (Karim Leklou). Maybe that’s the point? Either way, there is a good movie here somewhere, but this version of it lost me about midway through.

AFTER YANG Starring: Colin Farrell, Jodie Turner-Smith, Malea Emma Tjandrawidjaja, Justin H. Min Director: Kogonada JAMES I can find no aspect of this movie to be lacking. After Yang is that rarest of sci-fi films that manages to be technically masterful, beautiful to look at, creatively edited, haunting in its performances, and profound in its themes. It's also approachable to anyone outside of sci-fi. If you've known the pain of unexpectedly losing a loved one, you will find this movie deeply relatable and uplifting. Fans of Blade Runner and Ex Machina will be right at home in this heartfelt new take on the classic theme of artificial intelligence. Director Kogonada is, quite simply, a genius. JACOB The most impressive thing about director Kogonada’s After Yang is its world-building, which is seamlessly blended into the background without ever pushing unbelievability. The story itself is, unfortunately, a little too simple to have the impact it seems to desire, though. There is definitely an intimate emotionality running through the film’s undercurrent, but it may be too subtle for those not already enamored with minimalist sci-fi. The final 30 minutes of the film are a whopper though, so it does have that going for it. The performances are uniformly excellent too. This seems destined to be one of 2022’s most underrated efforts. ADRIANO There are definitely things in After Yang to admire, but sadly, a lot of it doesn’t work. The cast and cinematography are both really good, but the latter has some odd shifts in its aspect ratio that I found odd even if it's still beautiful to look at. The film is a very calm meditation on the soul, but it moves too slowly and has a little too much ambition to completely achieve what it’s trying to do. That said, it definitely hit me in the feels by the end, even if the journey to get there wasn’t satisfying.