BLACKBERRY Starring: Jay Baruchel, Glenn Howerton, Matt Johnson, Cary Elwes, and Saul Rubinek Director: Matt Johnson NICK The downfall of BlackBerry is a story I knew a fair bit about, but the rise was a little less on my radar. While this film luckily encompasses the entire thing, it works against the story a bit as interesting details are set aside in favour of dramatic time jumps, which can cause some whiplash. Where this film shines, however, is the performance of Glenn Howerton as Jim Balsillie. He is a powerhouse on screen, and at his best when coming completely unhinged, making the perfect counter to Jay Baruchel's subdued Mike Lazaridis. The two of them carry this to being quite the entertaining film. QUENTIN I love a good rise-and-fall corporate story, something BlackBerry certainly delivers. Tone-wise, it nimbly bounces between Silicon Valley and The Social Network , though the "rise" arc is much stronger than that of the "fall," which is a tad rushed. However, I can’t say enough about the casting. Glenn Howerton is perfect as a hot-headed corporate shark, bringing the same deep-seated rage he has demonstrated on It’s Always Sunny in Philadelphia for 15 seasons, and Jay Baruchel’s natural awkwardness serves his nerdy, “tech guy” character well. It’s not Oscar-worthy, but I wouldn’t be surprised if BlackBerry eventually wins some smaller awards down the line. ADRIANO BlackBerry is a rise-and-fall true story that fascinated and entertained me, yet its lasting impact likely is minimal. The mix of The Social Network , The Big Short , and Silicon Valley vibes work in creating an electric tone that made me laugh, and the ensemble is great, especially a towering performance from Glenn Howerton that is truly unforgettable. However, while the pieces are there, it feels like it’s missing something. Perhaps if we were given a better look at our characters and what drives them, it would have elevated BlackBerry to the level of biopic it aspires to be, but it remains a fun time nonetheless. PAIGE BlackBerry is one of those "based on a true story" films that you watch and quickly forget about. Though it is an interesting rise-and-fall story that benefits from director’s Matt Johnson's honest indie approach, the film begins to lose its charm in the second half. It goes down a predictably conventional route that feels as dated as the actual BlackBerry phone. That said, it features some really enjoyable stuff too, especially Jay Baruchel and Glenn Howerton giving performances that feel different and unhinged, respectively. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Berlinale International Film Festival.

DEEP SEA Starring: Tingwen Wang, Su Xin, Yang Ting, Kuixing Teng, and Jing Ji Director: Xiaopeng Tian This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Look, I get it… I’m old. But for the past several years, most animated movies, even Pixar, haven’t done it for me. However, when one actually does hit, it hits hard. That’s where Deep Sea comes in. This film is flat-out remarkable. From the maybe-best-I’ve-ever-seen animation that combines incredibly realistic CG with Chinese ink-wash-painting-in-motion to the deeply poignant themes of childhood depression and parental neglect, I was blown away. Not to sound culturally obtuse, but it’s reminiscent of Spirited Away (Japanese), but that doesn’t diminish Deep Sea (Chinese) at all. The only thing precluding a perfect score is the subtitle factor. Still… Blown. Away. NICK Deep Sea is one of the most beautifully animated films I've seen in quite some time. The watercolour-style of animation brings forth a vibrancy not often seen, and it matches perfectly with its imaginative visuals. Were I rating the film purely on appearance, it would get five reels, without a doubt. Unfortunately, the story doesn't match up to the artistry. There are strong themes touched on, including depression, abandonment, and abuse, but it’s not done in a succinct way, which often leads to an unfulfilling resolution. Deep Sea is still a good film, but a better script could have made it an all-timer.

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.

BUTCHER'S CROSSING Starring: Nicolas Cage, Fred Hechinger, Jeremy Bobb, Xander Berkeley, Rachel Keller, and Paul Raci Director: Gabe Polsky QUENTIN Butcher’s Crossing doesn’t always work, but it offers enough to satisfy fans of the western genre. The biggest problem is that the story beats come too quickly. The audience isn’t given enough time to settle in with the characters before they evolve into their next form, which undermines the intended effect of their arcs. Plus, the lengthy text coda at the end is important information, but it feels very forced and not particularly in line with the themes of the movie. That said, Nic Cage does great work as a buffalo hunter on the verge of madness, and the cinematography is breathtakingly beautiful. KATIE I love John Edward Williams’ novel Butcher’s Crossing , so I was keen to see how the story would be adapted to the screen. Although the book is told through the eyes of the young William Andrews (played by Fred Hechinger), the film instead focuses more on Nic Cage’s character, Miller, while neglecting to explore his motivations outside of psychotic tendencies. The audience isn't given a chance to know the characters, and the film instead uses a lot of delirious montage sequences to convey their emotional states. Overall, this is an unfortunately shallow adaptation of a truly great piece of American Literature. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

READY OR NOT 2: HERE I COME Starring: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, Elijah Wood, and David Cronenberg Directors: Matt Bettinelli-Olpin and Tyler Gillett NICK I can't say that 2019's Ready or Not necessarily called for a sequel, but Here I Come presents a worthy idea for a follow-up. Where it struggles is in its character development. Despite some solid performances from Sarah Michelle Gellar and Elijah Wood, there's an absence of depth to the latest "players.” For the most part, they either feel rushed, or like afterthoughts, except for Faith (Kathryn Newton) who gives Samara Weaving's Grace a new layer to work with. Despite these flaws, you still get the mix of violence, laughs, and entertainment from the first film, just in a diminished capacity. AMARÚ Is the streaming trend of continuously reiterating the plot bleeding into theatrical releases? Because that’s not a trend I want to see. Ready or Not 2: Here I Come expands its bloody lore in an entertaining fashion, but it doesn’t understand that what is understood doesn’t need to be said. The cast, new and old, were all-in for the games, especially Elijah Wood who continues to prove he’s the perfect unexpected conduit for evil, but spelling out each plot point and emotion kills the film’s savage bright spots every five-to-ten minutes. This sequel is a fun watch, but it’s also narratively and tonally inconsistent. PAIGE While Ready or Not 2: Here I Come ups the blood, gore, and violence, it retreads many of the same beats as its predecessor. That isn’t necessarily a bad thing considering I adore the first film, but the new rules feel a bit forced and convoluted just for the sake of having a sequel. That said, Samara Weaving once again kills it in this role and proves she should be a household name, and the addition of Kathryn Newton is great, as she and Weaving bounce off each other effortlessly. Here I Come is another bloody fun ride that works for the most part. ADRIANO Admittedly, I’m not as big a fan of the first film as others, but Ready or Not 2: Here I Come is a downgrade in nearly every way. It’s still entertaining, don’t get me wrong. But it falls under the traps of most modern lazy horror films: feeling tonally more like an action film and trading tension for overbearing music and set pieces. This may lead to more fun gore, but with all the enemies being disposable morons, it’s flat even as an action film. Maybe fans of the first will enjoy this, but this is the wrong direction. ROBERT For me, I would prefer if a sequel served a greater purpose than money, but if it is entertaining, I can look past its inherent flaws. Ready or Not 2: Here I Come kept me engaged per scene, but the world-building and storytelling choices didn’t thrust forward the narrative of Grace’s (Samara Weaving) arc coherently. Once I learned the rules of this new game, I realized the trailer spoiled quite a bit on who would survive, which was a shame. Weaving and Elijah Wood were dynamic, and Nestor Carbonell was hilarious, but everyone else were textbook caricatures. Seek out this movie but don’t expect a grand prize. BODE I haven’t been especially impressed with the films that directors Matt Bettinelli-Olpin and Tyler Gillett (also known as Radio Silence) have made over the years, and honestly, I include their 2019 breakout hit Ready or Not in this. So, consider me surprised with how much fun I had with its sequel Here I Come . It definitely has its flaws, most notably some rather clunky expositional dialogue. But taking the John Wick approach in expanding its satanic world mostly pays off with bloodier carnage, funnier quips, and similar to the original, a sensational turn from generational scream queen Samara Weaving. It’s truly ridiculous, but enjoyably so!

HEART EYES Starring: Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, Devon Sawa, and Jordana Brewster Director: Josh Ruben ADRIANO Somehow, Heart Eyes just works. Director Josh Ruben (of CollegeHumor fame, I might add) embraces the tropes of both slasher films and rom-coms and blends them well. You've got the fun thrills and gore (while never too excessive) of the slasher genre and the corny rom-com love story at the centre of a film that had me genuinely rooting for Olivia Holt and Mason Gooding's characters to get together. It's not perfect, as there are some unengaging storylines and the ending goes a little too deep into Scream territory, but I can't help it…I really had a blast. PAIGE Get ready to eat your heart out because Heart Eyes is a surprisingly fun holiday-themed slasher. It can certainly be difficult to mesh any two genres together, but director Josh Ruben does a great job here juggling the romance, the comedy, and the horror elements throughout. With its cheeky dialogue and gnarly kills, not to mention the amazing chemistry between Olivia Holt and Mason Gooding, the movie just has a lot going for it. Overall, this thing is a bloody good time, even though some of the side plots are pointless. BRYAN Heart Eyes has the heart, yet my eyes couldn’t fully stay invested. While a fairly enjoyable blend of slasher and romantic comedy, the storyline lacked much cohesion and suspense to leave me feeling on edge by the twists and turns. The ultimate saving grace is the chemistry between Olivia Holt and Mason Gooding. If their performances weren’t likable, the entire film would’ve fallen flat. Thankfully, there were plenty of well-staged kills, yet I wish the film had found a way of standing on its own. It felt like I was watching a Scream entry without the cleverness.

BACK IN ACTION Starring: Jamie Foxx, Cameron Diaz, McKenna Roberts, Rylan Jackson, Kyle Chandler, Glenn Close, Jamie Demetriou, Andrew Scott, and Fola Evans-Akingbola Director: Seth Gordon PRESTON Sometimes, a movie can make you re-evaluate what you’re doing with your life. Now, it’s not that Back in Action is particularly exceptional in any way that might evoke such a feeling; in fact, it is its un-exceptionalism that makes me think spending two hours learning to play piano would be exponentially more productive. Unfortunately, this is just a fast-food film that helps to close the gap between our society and the one in Idiocracy . No judgement if you need something like that at the end of a long day, but even a trashy novel is better exercise for your brain. NICK We are often harsh on theatrical releases that should have gone to streaming, but rarely do we praise the decision to head there. Back in Action is a great example of a film that belongs on streaming. Not good enough to pay money for, but not bad enough to turn off. This Spy Kids /Mr. & Mrs. Smith mash-up doesn’t bring anything new to the table (aside from the welcome return of Cameron Diaz), but also doesn’t try to be more than the sum of its parts. It’s mid, it knows it’s mid, and somehow that gives it a touch of charm.

BLUE BEETLE Starring: Xolo Maridueña, Bruna Marquezine, Adriana Barraza, Damián Alcázar, Raoul Max Trujillo, Susan Sarandon, and George Lopez Director: Ángel Manuel Soto AMARÚ Blue Beetle has a mustache-twirling, corporate evildoer problem, but not so much so that it sabotages the heart that director Ángel Manuel Soto infuses into the rest of the film. Combining dynamic action with vibrant humor, Soto keeps Latino culture and strong familial values at the story’s core to make Jamie Reyes (Xolo Maridueña) and his family indispensable components of the DCU’s future. Maridueña is a star, but it’s his endearing relationship with La Familia Reyes (VAMOS NANA!!!) that holds the movie’s appeal. That, plus a seamless integration of the superhero’s comic history, allows Blue Beetle to overcome the failings of the villain aspect. ADRIANO My expectations for Blue Beetle were low because the trailers didn’t excite me and I haven’t been impressed with DC recently. So, I suppose it’s a win that I found this movie to be, at worst, watchable. As a superhero movie, I’ve seen it before. It’s predictable to the point that it feels like there was no effort given to make it otherwise. However, the family aspect is where the film’s strengths lie. Between its genuine heart and a great lead performance from Xolo Maridueña, you have the best DC movie to come out this year… but only by default. JACOB While Blue Beetle isn’t likely to revive the superhero genre or DC’s bottom line, it’s still one of their more successful projects from a character perspective. Xolo Maridueña shines as the titular protagonist, and when the film is focusing on him, his family dynamic, and their Latino heritage, it’s really singing (Belissa Escobedo also is a standout). Where the film falls short is with its villain. Simply put, Victoria Kord (Susan Sarandon) is essentially a racist caricature with a mostly cartoon henchman. That said, these problems are largely overcome by surprising emotion and solid action. PRESTON I had high hopes for Blue Beetle to be a champion for the Latinx community in the superhero arena, but DC dropped the ball again. The acting feels stiff and unpracticed, with Xolo Maridueña as the exception, and everything from the set design to the editing feels careless, haphazard, and often unrealistic. But I am mostly disappointed by the missed opportunity to shine as something unique in an otherwise overdone genre. The loving family dynamic is heartfelt, but it suffers in the backdrop of the film’s overarching missteps. I hope the sequel can take advantage of a recipe that is primed for something special. PAIGE While Blue Beetle isn’t perfect by any means, it shimmers by having lots of heart. There also is plenty of fun to be had throughout this popcorn flick, especially with the Reyes family. With that said, those are the only aspects of the film that truly excel. Susan Sarandon’s mustache-twirling villainess takes you out of the film completely, and just does not work at all. Overall, this latest DC entry is your run-of-the-mill origin story, with no new attributes to make it stand out from the other superhero movies we have gotten over the years. PHILL Blue Beetle is another entry in the increasingly tiresome genre of superhero cinema. Though the stakes are refreshingly smaller than many recent superhero films, it unfortunately suffers mundane action sequences featuring atypical CGI characters crashing into each other. However, it’s the family dynamic that is the heart of this latest DC entry led by Xolo Maridueña, who is genuinely excellent and clearly having an absolute blast. Whilst the question of which DC cinematic universe this takes place in might be a little hazy, Blue Beetle is self-contained and grounded enough that it doesn’t overly matter at this point. NICK Yes, Blue Beetle feels like other 90s superhero movies as it's formulaic and familiar. Having said that, the charisma of Xolo Maridueña as Jaime Reyes is undeniable, which elevates the material. It's evident how much fun he is having with the character. Beyond him, the presence of his family adds a nice touch, though George Lopez as Rudy Reyes can be a little overbearing. The importance of the Latinx representation cannot be overstated, but I wish it came with a more unique formula. I didn't love Blue Beetle (nor hate it), but thanks to Xolo Maridueña, I'm looking forward to seeing the character again.

ONYX THE FORTUITOUS AND THE TALISMAN OF SOULS Starring: Andrew Bowser, Jeffrey Combs, Barbara Crampton, Arden Myrin, Terrence 'T.C.' Carson, Melanie Chandra, Olivia Taylor Dudley, Ralph Ineson, and Rivkah Reyes Director: Andrew Bowser This film has been reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Onyx the Fortuitous and the Talisman of Souls is an easy contender for Best of Fantasia. Admittedly, it took a minute to adjust to its particular wavelength, but once I did, I was fully on board, cracking up laughing on multiple occasions. And that was before the musical montage featuring Meat Loaf’s “I’d Do Anything for Love (But I Won’t Do That).” This 80s comedy-horror throwback pays homage to everything from Labyrinth to They Live to Beetlejuice , and it’s sure to be a hit on the Midnight Movie circuit. It's this year's Psycho Goreman , and I hope writer-director Andrew Bowser gets to make the teased sequel. PAIGE Onyx the Fortuitous and the Talisman of Souls is the definition of campy. This whimsically satanic, haunted house movie certainly captures the feel of an 80s cult classic with its absurdity, but I have to say, even though the film got a few chuckles out of me, it has some painfully awkward performances that will make you cringe at times. While it won’t be everyone’s jam, it’s filled with personality, so I think this weird little flick will find its audience.

THE UNFORGIVABLE Starring: Sandra Bullock, Vincent D’Onofrio, Viola Davis, Jon Bernthal, Aisling Franciosi, and Rob Morgan Director: Nora Fingscheidt NICK Although it’s nice to see Sandra Bullock in another serious role, The Unforgivable doesn’t cut it. It’s not the actors’ faults, but this film wastes the likes of Bullock, Jon Bernthal, Vincent D’Onofrio, and Viola Davis by moving at a snail’s pace until the final act. When it finally picks up, I was already pretty tuned out, sadly. This is a film that needed exceptional dialogue to work, and it just doesn’t have it. It’s dreary, unimaginative, and it violates the cardinal sin of all - it’s boring. Considering the star power, this is one of Netflix’s bigger disappointments. JOSEPH The story The Unforgivable tells is a bit slow and brooding; a constant reflection of how society will not allow for second chances nor are they willing to hear people out. It’s because of this that the film does suffer a bit. It’s not sad enough to elicit much emotion nor does it have a comedic relief, it’s just a persistent downer, and if it weren’t for a specific subplot, it would probably be boring too. Most of the tension is due to this subplot involving random side characters. At least Sandra Bullock is able to truly shine in this.

THE HAND THAT ROCKS THE CRADLE Starring: Maika Monroe, Mary Elizabeth Winstead, Raúl Castillo, Martin Starr, and Milejah Vega Director: Michelle Garza Cervera PAIGE Let it be known that this remake is completely different from the original 1992 flick. I give it credit for trying to do its own thing, but 2025's The Hand That Rocks the Cradle is a very underwhelming film. It doesn’t come nearly as close to being as cringeworthy and thrilling as the OG version. This movie lacks depth and suspense, and its pacing is extremely sluggish. Maika Monroe and Mary Elizabeth Winstead are easily the best things in this streaming movie, as they are the only thing that keeps this movie somewhat afloat. Without them and their performances, there isn’t much to grasp onto here. KATIE I haven't seen the original The Hand That Rocks the Cradle , so I had nothing to really compare this remake to. It initially has some momentum and a good sense of tension, but it's too long and predictable. As is often the case in these types of films, the husband character is unfathomably imperceptive and unsupportive of his partner, which is necessary for the plot, but frustratingly so. Mary Elizabeth Winstead's and Maika Monroe’s performances are great, particularly Monroe, who is very unnerving and intense as the sinister nanny. However, aside from that, I found it unfortunately tedious. ROBERT I had a preconceived notion about The Hand That Rocks the Cradle and the ensuing conflict: I assumed Maika Monroe’s Polly was just a crazy stalker. Praise should be heaped upon director Michelle Garza Cervera and the writers for recognizing how to build out three acts to sow real discontent between Polly and Mary Elizabeth Winstead’s Caitlin that is surprising. Despite that strong base, everything else around it is a rickety house of cards, with mood and tonal shifts per scene that could cause whiplash, wooden supporting characters, and nothing but idiotic decisions to drive us to the conclusion. In the end, it all falls down. NICK I’ve never seen the original The Hand That Rocks the Cradle , so I don’t know if it's as slow a burn as this one, but this film really takes its time to get going. Maika Monroe and Mary Elizabeth Winstead (often underused actors) give solid showings, but the story they're working with feels half-baked, and honestly, lacks teeth. Had this embraced the apparent campiness of the original more, it could have been fun, but it all just feels unnecessarily dour. In the end, this remake is a fairly forgettable film that is bound to be lost in a sea of better offerings.

HONK FOR JESUS. SAVE YOUR SOUL Starring: Regina Hall and Sterling K. Brown Director: Adamma Ebo AMARÚ Honk For Jesus. Save Your Soul. ’s subject matter is one that epitomizes “if you know, you know.” Directing/producing duo Adamma & Adanne Ebo address the sometimes swept-up transgressions of the Black church in a way that still feels empathetic and loving, but it’s the knockout performances from Sterling K. Brown and Regina Hall that carry the authenticity with a powerful balance of satire, subtlety, and intensity. The movie as a whole leaves you wanting more closure in the storytelling and more levity in it’s dark comedy leanings, but watching two enthralling performances for 100 minutes will keep you entertained. QUENTIN I’m sure some people will find Honk for Jesus. Save Your Soul. to be a hilarious takedown of religion and megachurches, but for me, someone who watches The Righteous Gemstones and has seen other similar satires, its jabs are more than just a little tired and never quite as sharp as the writers think they are. On the plus side, Sterling K. Brown is magnetic as disgraced pastor Lee-Curtis Childs, but if the only things I’ll truly remember are that Childs’ suit game is on point and that Brown is surprisingly shredded like a superhero, that doesn’t say much for the movie as a whole. JACOB Satires are difficult to nail down, which is why Honk for Jesus. Save Your Soul. probably deserves a little more credit than I’m likely to give it as one of 2022’s hidden gems. While the sendup of megachurch culture does boast dynamic performances from Sterling K. Brown and Regina Hall, it fumbles when reaching for something more sincere underneath the comedic tone. Balancing satire between blistering and tragic often leaves a film struggling to commit to either, this being no exception. It still mostly works, but feels somewhat emotionally hollow, rendering its more pensive second half difficult to fully embrace.