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SUITABLE FLESH Starring: Heather Graham, Judah Lewis, Barbara Crampton, Johnathon Schaech, Chris McKenna, and Bruce Davison Director: Joe Lynch QUENTIN As a movie, Suitable Flesh isn’t something that viewers need to rush to see. However, as an homage to certain movies of the 80s and 90s, I can’t deny that I appreciated the approach and intent. Now, by “certain movies,” I mean the sex-driven, almost soft-core pornography that aired on Cinemax back when it was lovingly referred to as Skinemax, movies like Embrace of the Vampire and Shannon Tweed’s entire filmography. Suitable Flesh nails that aesthetic perfectly, complete with (purposely) wooden acting, a cheesy saxophone-driven score, shoddy special effects, and the oddly era-specific framing. Overall, it’s a nice tribute wrapped in a somewhat meh movie. KATIE Suitable Flesh is a wild ride. The film enthusiastically blends slapstick levels of violence, black comedy, kitchen-sink drama, and psychosexual thrills with cosmic horror. If this sounds insane, it's because it is, in the very best way possible. Although it may appear to have some questionable visual effects and cheesy dialogue, this only serves to enhance its B-movie-inspired appeal. Heather Graham and Barbara Crampton’s performances are delightfully excessive and entertaining, and you can feel how much fun they’re having with the roles. This would be the perfect film to enjoy with horror fans who appreciate nasty-esque video fun.

THE SPIRIT OF HALLOWEENTOWN Directors: Bradford Thomason and Brett Whitcomb This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantastic Film Festival. PAIGE The Spirit of Halloweentown is a somewhat intriguing documentary that captures the essence of a town forever tied to Disney's Halloweentown . While certain anecdotes are definitely more interesting than others, directors Bradford Thomason and Brett Whitcomb do a decent job of capturing the atmosphere of the town by delving into the lives of the locals and how they have or have not embraced the legacy of the spooky season. However, my main issue with this documentary is that it's dull and a bit uneven in its approach. NICK Although The Spirit of Halloweentown is a documentary, it’s filled with a collection of characters, some quite unlikable. In terms of following the case of two camps - those who are in favour of the Spirit of Halloweentown and those fighting against its existence - the film does a good job. What it doesn’t do a good job of is putting everything together. Its uneven approach and tendency to jump from story to story doesn’t work (the paranormal focus takes up far too much time), and I didn’t feel like I really learned that much, which is kind of the point of a documentary, no?

LEAVE THE WORLD BEHIND Starring: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la, Kevin Bacon, Farrah Mackenzie, and Charlie Evans Director: Sam Esmail KATIE Leave the World Behind is an immensely enjoyable semi-apocalyptic psychological thriller featuring magnificent performances from a stellar cast. The film gradually reveals intriguing details about the nature of the disaster, inciting a relentless sense of tension that slowly builds, emphasised by the striking, off-kilter score. The answers to the many questions that the film poses don’t really matter; it's the collision of the different characters, the awkward tension, and emotional drama that drives the plot. Though undoubtedly a slow burn, the pacing is great, and the intriguing premise held my attention. QUENTIN Driven by terrific performances and dynamic direction that fuels the unsettling tension that only grows over the course of the movie’s runtime, I can honestly say there were no moments in which I wasn’t fully engaged with Leave the World Behind …until the relatively unsatisfying ending, that is. Plus, while I was captivated while watching the film, as the credits rolled, several questions entered my mind that made me think, “wait, but why did…? That doesn’t make sense.” All that is to say, when you’re in it, this movie is a winner – just don’t think too hard about it once it’s over. CALEB Usually, I'm a fan of director Sam Esmail, but Leave the World Behind did nothing for me. The premise was too ill-defined to hook me, and the characters were far too unlikable to root for. The film is essentially one long build-up for a very, very weak payoff. This made it feel like something M. Night Shyamalan might direct, but unlike Old (2021) or The Happening (2008), Leave the World Behind is too pretentious to have any fun with. The empty critiques on consumerism are almost as annoying as the disorienting camerawork. I can appreciate what Esmail was going for, but unfortunately, this one is a miss. PAIGE Leave the World Behind may not be your typical apocalyptic thriller, but it is an ominously slow burn that keeps tensions high throughout (not to mention the stylish camerawork and all-star cast that enhances the 2.5-hour runtime). This somewhat unsettling film is extremely thought-provoking, which some will find fascinating, but it ultimately leaves you with more questions than answers. That said, while the end result may not be completely satisfying, the film’s commentary on human dynamics is powerful enough to stick with you. ADRIANO I admire certain ambitions of Leave the World Behind , but beyond that, I found the movie lacking. There is no real thematic depth to draw me in beyond its mystery and cast, nor did I think the satire had any real weight or even much to say. There are moments when the weirdness sucked me in, but it felt like writer/director Sam Esmail was simply trying to get reactions at times, even if that wasn't his intent. Lastly, I simply did not like the ending. I can't say it didn't entertain me at all, but I don’t think this movie is worth much either. NICK Leave the World Behind provides more interesting questions than answers, but thanks to its great performances (highlighted by Julia Roberts) and some excellent visuals from director Sam Esmail, it makes for an interesting watch. Unfortunately, there's something missing in the proceedings as the film is just never as gripping as it should be. It works great as an in-the-moment watch, but if you think about it too much after the fact, you’ll see that there’s definitely an aspect of style over substance littered throughout. This is what stops the film from being great, forcing it to settle on being merely good instead.

STRAYS Starring: Will Ferrell, Jamie Foxx, Will Forte, Isla Fisher, Randall Park, Josh Gad, and Rob Riggle Director: Josh Greenbaum NICK Growing up, talking animal films (mainly for kids) were a dime a dozen. Although they're less common now, they still feel overdone. Strays tries to combat this by going the adult route – think what Sausage Party did for animated films - and it does its job in providing the laughs. However, like many comedy films, the trailers really do the movie a disservice by undermining many of the jokes. The voice performances are good, and the speaking visuals aren't off-putting, yet there’s just a familiarity with the content that made Strays feel like I’d seen it before. Something is missing here, I just can’t pinpoint what. ADRIANO Strays does nothing to reinvent the comedy genre. In fact, Strays is pretty stale in terms of story and writing. But I get the sense the goal was “let’s make a funny, R-rated comedy about dogs,” and you know what? They succeeded. This film may not be for the squeamish, but it made me laugh a lot, thanks in part to some great voice work from the cast. To top it all off, it’s got a decent amount of heart as well. So, while it’s nothing to write home about, it’s dependable if you want a good laugh. QUENTIN I imagine that Strays , which is known by the much better name Doggy Style in Germany, is probably pretty hilarious to someone who hasn’t seen many comedies, be it because they were sheltered or they are just young. I admit there was a time when I would have found it laugh-out-loud funny. But now? It’s merely breathe-a-bit-harder-through-your-nose amusing. This is mostly because the jokes are obvious (did you know dogs don’t like mailmen?), or worse, they are ripped directly from Family Guy . As if it pooped on the rug, this Homeward Bound with Sausage Party sensibilities should have its nose rubbed in it. JACOB Strays is hardly the disaster Letterboxd would have you believe, but the juvenility of its overly repetitive humor is what keeps it from being anything more than surface-level. The voice cast doesn’t exactly stand out, but the script also doesn’t offer them any opportunities to really shine. The characters are one-note at best, only one or two jokes made me chuckle, and it all plays out exactly as one thinks it will. That said, if you enjoyed Good Boys on any level, this is more or less the same thing, just with dogs. Truthfully, I didn’t hate it. AMARÚ Dogs are the cutest and bestest things in this world, and 95% of the reason why Strays is getting this rating. As the movie progresses, it moves away from the try-hard raunch that has stifled Will Ferrell’s worst outings to focus more on the dog-related humor. The lewd gags get a few good laughs, but they work best when having a clever connection to our four-legged friends. Once the incessant cursing stopped being there just to be there and started adding to the surprisingly heartfelt story of worth and friendship, Strays moved from almost unbearable to unexpectedly alright. PHILL Strays is one of the worst films to be released in 2023. This review may seem cynical, but for a film that is supposed to be a comedy, it’s just plain sad, both for the characters’ journeys AND the state of comedy as a whole if this is considered funny enough to be given a worldwide release. It’s grotesque and nauseating white noise, with almost every joke involving dog’s genitalia or dogs going to the toilet. All of that is thrown in with some cheap cameo choices that only work if you’ve seen the films they’re very lightly referencing, making Strays heinously terrible.

THE CAINE MUTINY COURT-MARTIAL Starring: Jason Clarke, Kiefer Sutherland, Jake Lacy, Monica Raymund, Lewis Pullman, Tom Riley, Jay Duplass, Elizabeth Anweis, Gabe Kessler, and Lance Reddick Director: William Friedkin QUENTIN Though not flashy, The Caine Mutiny Court-Martial is a thoroughly engaging courtroom drama. Presented like a single-room stage play, it’s content to simply let its actors do what they do best: act. It asks interesting questions about military rank structure, the uniform code of military justice, and the ramifications of decisions made by those in command only through the various testimonies, which allows viewers to draw their own conclusions about the case at hand. Given that it was directed by the late William Friedkin, it’s no surprise that this stripped-down version of A Few Good Men is old school movie-making at its finest. CALEB The Caine Mutiny Court-Martial is an exceptionally written courtroom drama that deftly explores the unspoken vulnerabilities of men serving in the line of duty. The film’s compelling script is enriched by captivating performances from Kiefer Sutherland, Jason Clarke, and Lance Reddick. Visually, the film employs a calculated, restrained style, dedicating its cinematic language solely to highlighting the multitude of impressive performances on screen. This unpretentious approach is a shining testament to director William Friedkin’s confidence as a storyteller. Court-Martial is a powerful meditation on honour and responsibility that makes for a memorable send-off for both Reddick and Friedkin. PRESTON The Caine Mutiny Court-Martial is the latest adaptation of the Pulitzer Prize-winning novel, The Caine Mutiny (1952). Despite its abrupt start (and confusing libel with slander at one point), this latest rendition proves that a massive budget filled with expensive visual effects and eccentric camerawork isn’t necessary to make an altogether satisfying and quality production. The script is dialogue rich, featuring a functional style that is 12 Angry Men meets A Few Good Men and a refreshingly accurate and believable portrayal of everyday military shenanigans. Trust me, you won’t regret sitting down to watch this little hidden gem. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

I USED TO BE FUNNY Starring: Rachel Sennott, Olga Petsa, Sabrina Jalees, Caleb Hearon, Ennis Esmer, and Jason Jones Director: Ally Pankiw PAIGE I Used to Be Funny is a devastatingly funny movie that deftly finds the right mix between comedy and melancholy. It manages to capture the highs and lows of overcoming a terrible experience with its use of flashbacks and flashforwards to offer its audience more insight into the lives of these characters. This movie isn’t afraid to utilize humor in grim situations, and all of this is possible because writer/director Ally Pankiw gave her actors, Rachel Sennott and Olga Petsa in particular, the freedom to feel real and empathetic. KATIE I Used to Be Funny is one of the most honest and authentic depictions of the impact of sexual trauma that I’ve ever seen. Considering the dark subject matter, the tone is sharply funny and satirical in a very timely way, yet does not undercut the protagonist's struggle and is deeply empathetic and compassionate. The way the narrative explores the past and present highlights how the aftermath of these experiences can fundamentally change a person, and Rachel Sennott masterfully balances comedy and the sharp wit she is known for with pained smiles and a deep vulnerability.

WINNIE THE POOH: BLOOD AND HONEY Starring: Maria Taylor, Craig David Dowsett, Chris Cordell, Natasha Tosini, Natasha Rose Mills, Amber Doig-Thorne, Danielle Ronald, Danielle Scott, and Nikolai Leon Director: Rhys Frake-Waterfield DARRYL Winnie the Pooh: Blood and Honey is not a good film by any stretch of the imagination. While there's some merit to the idea of creating a story in the same vein of a 1970s slasher film, the execution of said idea fails on nearly every level. Rhys Frake-Waterfield's direction is suspect, the sound mix is horrible, and the acting is atrocious from all parties involved. The only possible saving grace is Vince Knight's cinematography, which, while as spotty as the rest of the film, manages to show a few moments of brilliance. This is a film to be avoided at all costs. JACOB To no one’s surprise, Winnie the Pooh: Blood and Honey is a very bad movie with no actual characters, exquisitely bad performances, terribly designed sets, nonsensical cinematography, and a story and script that clearly didn’t make it past the outline stage. There’s not one choice made in this movie that’s not obscenely stupid, no moment that’s not way longer than it needs to be. This would all be kind of fun if that made it so the film treaded on “so bad it’s good” territory, but an overlong and repetitive third act squashes any notion of that being the case.

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY Starring: Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, Clarke Peters, Daniel Washington, Bailee Lopes, Bria Danielle Singleton, JaQuan Malik Jones, Kris Sidberry, and Dave Heard Director: Kasi Lemmons JACOB I Wanna Dance with Somebody does not have an identity. It goes through the motions of biopic tropes in chronicling the rise and fall of pop superstar Whitney Houston (Naomi Ackie), but it doesn’t actually have anything important to say about her or a viewpoint from which to approach her story. Ackie works in the part, but it’s not exactly transformative material. Thankfully, the film does touch on Houston’s love life as being not entirely straight, so that’s not hidden from the audience; however, what is hidden is a sense of purpose as to why the film was made beyond “we haven’t done Whitney yet.” ADRIANO I Wanna Dance With Somebody is yet another chapter in the “bland musical biopic” series of films. It lacks any semblance of nuance or dedication while being a great Naomi Ackie performance away from being the non-parody version of Walk Hard . I learned nothing new about Whitney Houston (Ackie), and whereas previous by-the-numbers musical biopics like Elvis or Bohemian Rhapsody had flashy stylistic choices, this film is stale, dull, and lifeless throughout. Whitney Houston deserves much better than this trash.

THE BUBBLE Starring: Karen Gillan, Iris Apatow, Fred Armisen, Maria Bakalova, David Duchovny, Keegan-Michael Key, Leslie Mann, Kate McKinnon, Pedro Pascal, Peter Serafinowicz, and Guz Khan Director: Judd Apatow ADRIANO As an avid admirer of writer/director Judd Apatow, I was disappointed by The Bubble . This film is just such a departure from Apatow's other works. While he excels in relatable and accurate relationship dramedies, this is a failed attempt at meta absurdism comedy with outdated themes and an unfocused plot. It’s not all terrible though, as the cast is fully committed (particularly a hilarious Pedro Pascal) and there are some jokes that had me howling; However, the jokes missed more than they hit. The only thing that truly made this feel like an Apatow film is the overlong runtime. JOSEPH It’s hard to imagine how a Judd Apatow film could be so bad. Maybe it's too timely or maybe it thinks it's more clever than it is, but all in all, The Bubble is just a snooze fest. It’s forgettable, it’s dumb, and while certain parts will make you laugh, it doesn’t make up for the movie as a whole. This feels like a student improv workshop that somehow got turned into a script. I am saddened that I ever wasted time on it. QUENTIN I think director/co-writer Judd Apatow had a decent idea with The Bubble , which is akin to Tropic Thunder: Pandemic ; However, in 2022, I can’t tell if it’s too soon or too late. Either way, it’s a complete misfire. Social distancing, quarantine, and testing jokes feel both too dated and still too much of a sore subject to be funny. On top of that, it feels very inside baseball, like it was made only for people who shot a movie during the pandemic. Admittedly, there are a couple funny one-liners because a cast this talented can’t be held down forever, but, otherwise, oof.

VICIOUS Starring: Dakota Fanning, Kathryn Hunter, and Devyn Nekoda Director: Bryan Bertino KATIE Vicious reminded me of a lot of other contemporary horror films, like Drag Me to Hell and Smile . Whilst director Bryan Bertino has struggled to replicate the unique success of The Strangers , I was pleasantly surprised by his latest horror outing. It successfully builds tension and intrigue from the outset, driven by a straightforward but effectively creepy premise. Despite her cut-and-dry character, Dakota Fanning is great in the leading role, especially considering we spend most of the film with her alone. It struggles to stick the landing, and the ending is muddled, but overall, I had a lot of fun with Vicious . ROBERT When random people show up at your door at night, do not let them inside your house. That was the only point I could glean from Vicious because, not only is there no resolution, but there isn’t any sort of understanding as to what is happening and how it can be tamed. The scariest pieces of the film are the spirits’ creepy voices from the mystery box pretending to be Polly’s (Dakota Fanning) family, so kudos to her for pulling off being scared. Overall, if The Box and It Follows had an untalented baby, it would be Vicious .

GRAN TURISMO Starring: Archie Madekwe, David Harbour, Orlando Bloom, Djimon Hounsou, Geri Halliwell Horner, and Daniel Puig Director: Neill Blomkamp JACOB As video game movies go, Gran Turismo isn’t terrible, but as a racing movie, it lacks the ferocity that it needs to stand out. The first act might actually move too fast for the film’s own good. Although we follow Jann Mardenborough’s (Archie Madekwe) journey into professional racing, we don’t really get to know him as a person, apart from vocationally, and we have almost no tangible relationship to any other characters besides Jack Salter (David Harbour). The climactic race of the film works well, and there are some emotional moments, but overall, this one could have used a tune-up. PRESTON I must qualify my remarks so you know that I am a sucker for underdog stories, especially if they are based on true events. That said, sure, Gran Turismo may be formulaic and take generous liberties in its storytelling, but my heart was still racing from start to finish. David Harbour’s performance is singular, while Archie Madekwe and Djimon Hounsou assist beautifully. I think Gran Turismo will be the underdog film that will most defy expectations this year with surprising universal appeal. I was even pumped for a soundtrack that included the likes of Kenny G! I highly recommend racing to see Gran Turismo today! AMARÚ With its so-unique-it-could-only-be-true premise and Neill Blomkamp’s frenetic direction, Gran Turismo has a surprising amount of heart to make up for the otherwise standard underdog fare. For a racing film, it suffers from having some unceremonious finishes to very intense driving sequences. But with David Harbour charmingly carrying the rest of the cast through cliché dialogue, and one breathtakingly shocking scene that cuts through the mostly by-the-numbers sports movie plot points, there is just enough here to stick with this film to its somewhat satisfying ending. KATIE I enjoyed Gran Turismo far more than I expected to. I have no interest in the video game, yet I was charmed by the feel-good underdog story and captivated by the thrilling racing sequences. Despite the against-the-odds victories being completely predictable, I found myself invested in the drama, sitting on the edge of my seat as Jann Mardenborough (Archie Madekwe) fought to prove himself on the race track. The reconciliation of Jann’s relationship with his father even brought a tear to my eye. Amplified by a pounding soundtrack, this cut-and-dry sports drama hits all the right beats. QUENTIN As a person who digs racing movies, I can overlook most flaws if the racing sequences are exciting enough. Sadly, Gran Turismo is so rough across the board that it’s hard to be forgiving. Aside from the dull race sequences and cliché story, the acting is wooden (David Harbour, notwithstanding), the rival racer angle is half-baked, the love interest subplot is forced, the dronework is somewhat nauseating, and, frankly, nothing about underdog Jann (Archie Madekwe) makes me want to root for him. That doesn’t even get into the PlayStation and Nissan commercial of it all. Again, I'm left wondering: what happened to director Neill Blomkamp? ADRIANO I’m genuinely confused by Gran Turismo . On one hand, the story is Walk Hard -levels of obvious. Every biopic beat in the book, you name it, it’s in Gran Turismo , and with the exception of David Harbour, the performances are pretty stale, which unfortunately extends to the film's lead, Archie Madekwe. On the other hand, the racing sequences are so exhilarating that I found myself excited when the lead succeeded and at the edge of my seat when he failed, even though I correctly guessed the outcome of each race. It’s by no means a great movie, but it’s a worthwhile ride. PHILL Gran Turismo as a movie is better than it has any right to be. Yes, it’s the classic underdog story seen hundreds of times, about a man who finds himself thrust into an environment his peers don’t think he belongs in. However, the performances and characters are entertaining enough to drive this film forward despite suffering a very one-dimensional villain and an overt amount of cliché, corny dialogue that pump the brakes on this being any kind of masterpiece. The race scenes are ramped up with terrific sound design and genuine suspense, though, and while Gran Turismo doesn’t break the mould, it’s certainly enjoyable. PAIGE Director Neill Blomkamp seems to be coming back into form with his craftsmanship, as he manages to do something truly exhilarating with this adaptation. From a technical aspect, this film will get your blood pumping. On the other hand, the script is very subpar. The story off the track feels like the most generic underdog story of all time, but once it gets in the racecar, the film manages to pick up speed. By no means is Gran Turismo the best racing movie out there, but it’s still a fun ride for all to enjoy, especially those that played the game growing up.

MASS Starring: Jason Isaacs, Ann Dowd, Reed Birney, and Martha Plimpton Director: Fran Kranz NICK Every once in a while, you come across a film that doesn't need any bells or whistles, just actors giving raw, heartfelt performances. That's exactly what Mass is. A perfect marriage of actors and director, Fran Kranz lays this film out perfectly and gets exceptional performances from his cast. All four leads bring something different to the table, but Jason Isaacs and Ann Dowd are sublime. They should definitely be remembered come awards season. This film will stick with you for a long time, as it's heart-wrenching and uncomfortable, but it's also one of the year's best. ADRIANO Though it's not the easiest movie to get through, Mass is an emotional gut-punch that makes watching it worthwhile. Thanks in large part to writer-director Fran Kranz's incredible script, the film's singular setting allows its exploration of grief amongst a sensitive subject to hit hard and never feel drawn out. Helping drive that exploration home are the four central actors (key among them, Ann Dowd) giving raw and devastating performances that are among the very best I've seen in a while. Mass hit me to my core and will stick with me for the foreseeable future. Bring tissues. JACOB Apart from one slightly jarring change of aspect ratio towards the middle, the authenticity of Mass is so absolute that one may forget its fictional nature. So nuanced is Fran Kranz's writing and so sensitive are the performances that the film holds one's attention more tightly than most recent thrillers. To write either side of the conversation at the film's center is difficult; to write both without slipping into melodrama or hyperbole is, frankly, a herculean accomplishment worthy of acclaim. All 110 minutes of Kranz's film arrive with weight and remain with meaning. This is certainly not one to miss. QUENTIN As an acting showcase, it doesn’t get much better than Mass . It’s a simple film that plays like a small stage play, featuring four actors in a tiny room having a conversation, but the conversation being had is anything but simple. It’s a hard and uncomfortable exploration of the heavy grief that gets buried under “thoughts and prayers” sentiments. It also provides an interesting perspective by giving equal time to the parents on both sides of a mass shooting. It’s not at all an easy watch, but it is a powerful one that is driven by stripped-down, yet award-worthy, performances.