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SELF RELIANCE Starring: Jake Johnson, Anna Kendrick, Andy Samberg, Bill Wiff, Emily Hampshire, Natalie Morales, Mary Holland, Daryl J. Johnson, and Nancy Lenehan Director: Jake Johnson PRESTON Self Reliance is a comedy “thriller” (kind of) that can be almost exclusively attributed to Jake Johnson as writer, director, producer, and lead actor. When he isn’t carrying the film as the hilariously hapless protagonist, the chemistry between him and the perfectly cast Anna Kendrick is quite heart-warming. It’s what you might expect from the likes of a Lonely Island production, with its absurdist humor that will either endear or disenchant its audience (myself being the former). Ultimately, its message is quite lovely, with our need for human connection and the seeming difficulty inherent in achieving it. KATIE Self Reliance is entertaining, but far tamer than I expected. Jake Johnson’s directorial debut puts forward an intriguing concept that promises more thrills than it can deliver, never going far enough with its premise or pushing it to the level of absurdity that would have made it more engaging. Anna Kendrick and Johnson have great chemistry, and I found their relationship to be the most interesting part of the story, so since the film shies away from anything too excessive, I would have preferred it if it leaned into the quirky rom-com vibe. QUENTIN Aside from an ending that I wish had more…uh…something, Self Reliance delivers everything I could want from a Hulu comedy-thriller unceremoniously released in January. The infinitely watchable Jake Johnson being as affable as ever? Check. The incredibly charming Anna Kendrick being as adorable as ever? Double check. A steady stream of randomly absurd side characters and non sequiturs? Triple check. Hell, even the score is great, carrying a surprising amount of tension amongst all the levity. Plus, the message advocating for living life to the fullest should be relatable to all. It’s early, but this likely will be one of my Top Hidden Gems for 2024. CALEB A comedy about a down-on-his-luck loser being hunted for sport sounds like a solid pitch, but Self Reliance doesn’t go far enough with its own wacky premise. I was hoping for an unhinged action-comedy, but what I got was a mildly amusing, faux-psychological character-study with some annoyingly vague takes on mental health. I was excited to see how Jake Johnson would handle himself as a writer/director, but he played it disappointingly safe. The jokes aren't very funny, and the ending is absolutely spineless. Thankfully, Johnson's still a pretty likable lead, so at least Self Reliance has that going for it. PAIGE Unfortunately, the fascinating premise of Self Reliance is never fully realized or thrilling. Sure, it features endearing performances, an admirable directorial debut from Jake Johnson, and some humor, but I was hoping for more of a payoff from this concept. The film is most effective when it focuses on Jake Johnson and Anna Kendrick’s chemistry, and it is least effective when it attempts to convey its overarching themes of living life to the fullest. That said, even though the film ends abruptly and leaves a feeling of unfulfilled expectations, it's still an enjoyable ride.

BUFFET INFINITY Starring: Kevin Singh, Claire Theobold, and Donovan Workun Director: Simon Glassman This film has been reviewed by Quentin, Bode, and Nick as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Harkening back to the days before streaming services, Buffet Infinity does the channel surfing for you. The parade of low budget television ads are entertaining at first but eventually become quite repetitive - outside of the battle for ad space between Buffet Infinity and Jenny’s Sandwich Shop. While I respect the craftsmanship and the difficulty in putting this all together, it just didn’t need to have a feature runtime. The original idea came from a YouTube skit and turning this into a 20-or-so minute short would have been the ideal way to expand it. QUENTIN I respect artists who have an experimental vision and the dedication to see it through. That is where my praise for director Simon Glassman’s Buffet Infinity ends. FYI, this isn’t a movie in the traditional sense. Sure, it’s 99 minutes long, but it’s composed entirely of cheap local commercials that mostly run under a minute. Given that approach, it quickly becomes incredibly tedious and repetitive because there aren’t any characters or story to invest in. Glassman created Infinity Buffet as a 30-second YouTube clip at the beginning of COVID, and it definitely feels like the out-of-control creation of someone trying to hold it together during lockdown. BODE I believe that a movie should be however long as the filmmaker wants it to be. But there’s just no denying whenever you feel a film is overlong, and Simon Glassman’s directorial debut Buffet Infinity is a prime example of this. While the concept of an alien invasion tale told exclusively through low-budget commercials is certainly admirable, it’s clearly better suited for a 30-minute short (ideally watched on Adult Swim) and not a 100-minute feature. The longer it went on, the more its absurdist charm dissipated, leaving this experiment fizzling as a result. Protect Ahmed at all costs though.

WHAT COMES AROUND Starring: Grace Van Dien, Summer Phoenix, Kyle Gallner, Jesse Garcia, and Reina Hardesty Director: Amy Redford QUENTIN What Comes Around ’s marketing does the film a disservice by calling it “an immersive thriller.” There is certainly a mystery at play, with things not always being what they seem, but there are few “thrills.” That said, the movie is excellent. Kyle Gallner, in another great indie movie people likely won’t see (Dinner in America , anyone?), is especially good as a 28-year-old man, potentially with ulterior motives, wooing a 17-year-old girl. It’s a slow, minimalist burn, but it culminates in one of the most layered endings I’ve seen in a while. I honestly haven’t stopped thinking about it since I saw it at TIFF 2022. NICK Promoted as a thriller, What Comes Around is actually more of a layered drama about family and relationships. This small-scale story is filled with genuine performances, particularly from Grace Van Dien as the naïve teenager and Kyle Gallner as her older love interest. The story eventually takes an unexpected turn that changes the trajectory of the film, and without spoiling things, I’ll say that turn is what truly elevates this to something special. What Comes Around is a pleasant yet simplistic surprise that is carried by its authentic dialogue and cast; it's just low in thrills, so temper your expectations. PAIGE What Comes Around is more than what the trailers and plot synopsis present it to be, which means I was quite surprised by this film. It’s filled with twists and turns that I did not see coming. Once the second half hits, this psychological drama will have you on the edge of your seat. That said, for it to be considered a thriller, it needed A LOT more tension. Still though, the performances are great and will keep you engaged throughout, especially by Kyle Gallner, who always seems to deliver the goods. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

DUNE Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, David Dastmalchian, Charlotte Rampling, Jason Momoa, and Javier Bardem Director: Denis Villeneuve JAMES Author Harlan Ellison once called Frank Herbert's Dune the book that couldn't be shot. If he'd lived to see director Denis Villenueve's adaptation, he might've changed his mind. This movie is an absolute feast for the senses. Villeneuve serves up nothing less than a living, breathing world, and uses every single shot to convey just how that world works. Not since Stanley Kubrick's 2001: A Space Odyssey has there been visual sci-fi storytelling like this. Fans of the book will undoubtedly get the most out of this film, and as one such fan, I wholeheartedly give it two thumbs up. NICK There is absolutely no question that Dune is one of the most visually impressive films you'll see this year. Every trademark of director Denis Villeneuve is used to create a gorgeous piece of cinema. Unfortunately, that's where the greatness ends. That's not to say Dune is a bad film... it isn't... but it should have been great. With a cast this stellar, no one really stands out, and though the storyline isn’t overly complicated, it's told in a way that makes it so. Worst of all, it's periodically boring. Not the best way to start off a franchise. JACOB While it may not emotionally move audiences as well as some of his other works, Denis Villeneuve's Dune is nonetheless an expertly directed, breathtaking sci-fi epic both worthy of and best-viewed on an enormous theatrical screen. Each performance serves its purpose well (Rebecca Ferguson and Jason Momoa especially shine), but the true stars of this film's phenomenally massive scope are the technical elements - the visual effects, sound design, and score are particular standouts all worthy of Oscars. If part two is as good or better, the two-hander may well be viewed as the defining sci-fi epic of the decade. QUENTIN You know the cliché of the hot guy/girl that everyone lusts after given how hot he/she is despite having zero personality? That's Dune . It's absolutely stunning to look at, from the too few action scenes to every time the sandworms make an appearance, but the story struggles to stay compelling. It's mostly world-building to set up the sequel, and several things are frustratingly under-explained. The A-list cast is generally wasted, with the majority playing underdeveloped exposition delivery pawns. In the end. It's probably better to judge this and the sequel as one movie because, as a standalone, it feels incomplete. ADRIANO Dune feels like the start of a once in a generation trilogy in the vein of Star Wars and Lord of the Rings . Director Denis Villeneuve’s visual eye is striking, especially on the big screen, and every single tech he pulls off is an achievement, from the visual effects to the set design. Greig Fraser's stunning cinematography and Hans Zimmer's spectacular score only complement what Villeneuve has accomplished. Beyond that, it features an engaging, albeit dense, story that pulls off its ending in a way that's satisfying while also perfectly setting up a sequel that I cannot wait to see. AMARÚ Dune is epic and beautiful in its unfocused vastness. The heart-pounding score is the constant amongst the uneven intertwining of political drama, sci-fi action thriller, and world-building space opera. Exposition smothers the first act, but an intriguing story and committed cast shine through just enough to keep your interest throughout the runtime. Timothee Chalamet's intensity is captivating, but he lacks a balancing warmth that co-stars Oscar Isaac and Rebecca Ferguson carry with more ease. In all, Dune: Part One feels like a cram session necessary to better understand the potential of a mind-blowing finale.

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 SCHOOL DUEL Starring: Kue Lawrence, Christina Brucato, Jamad Mays, Michael Sean Tighe, Eugene Bondurant, and Oscar Nuñez Director: Todd Wiseman Jr. This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. QUENTIN Although it could not be any more different in tone, The School Duel plays like a prophetic tale for America à la Idiocracy . To be clear, this is not “entertainment;” it’s director Todd Wiseman Jr. having something important to say. To be perfectly honest, I respect it far more than I enjoyed it; however, I can’t deny the messaging about school shootings, adolescence, privilege, inequality, competition, and bullying resonates in all-too-real, grim, and heartbreaking ways. I completely understand that most people probably won’t want to spend 90 minutes with this film, but I’m glad I did (even if I never want to do it again). NICK The School Duel is the rare film where the subdued build-up is actually more interesting than the final climactic battle scene. Shot in beautiful black and white, I was into this for the first hour or so as Samuel (Kue Lawrence) was broken down continuously by his teachers and school bullies. Then once we got to The School Duel, my interest began to wane a little. It's the message of this film that is strongest though, as director Todd Wiseman Jr. shines a spotlight on the pathway to school shootings and a worrisome future for the youth of America.

WARFARE Starring: D’Pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Kit Connor, Finn Bennett, Taylor John Smith, Michael Gandolfini, Adain Bradley, Noah Centineo, Evan Holtzman, Henrique Zaga, Joseph Quinn, and Charles Melton Directors: Alex Garland and Ray Mendoza NICK If we’re just grading on accuracy and realism, then Warfare would be an easy five out of five. This is an immersive, unforgettable sensory experience. That’s the thing, though. It’s more of an experience than a film. There’s no real character development or backstory; no beginning, middle, or end. It’s like an elevated, true-to-life Call of Duty mission, and I mean that with no offense because it is remarkable. Every cast member brings authenticity and poise to their roles (Joseph Quinn's screams will stay with me for some time), but it's the direction from Alex Garland and Ray Mendoza that really makes this thing stand out. ADRIANO At what point do we watch something like Warfare and ask, "is this even a movie?" It admittedly does an excellent job of immersing audiences in the gruelling reality of combat, but still… Truthfully, the sound work, makeup, Alex Garland and Ray Mendoza's direction, and the performances are all effective in really making this an experience. However, that is all this is. An experience. Warfare is nothing more than immersion without real substance, point, or, character development. Very late in the movie, I couldn't help but think, “is this it?" And low and behold, it was. PAIGE Directors Ray Mendoza and Alex Garland may deliver an immersive and polarizing film with stellar sound design that will leave your ears ringing, but overall, Warfare just ends up feeling like a 90-minute Call of Duty mission. With no real plot or arc, its story becomes soulless. The ensemble’s performances are extremely authentic, but there isn’t any characterization with these characters. Frankly, there isn't much at all to take away from this suffocating and harrowing film, so even though it kept me on the edge of my seat throughout the platoon's mission, I couldn't help but feel empty by the time it was over. BODE The best way to describe Warfare is if directors Ray Mendoza and Alex Garland took the D-Day sequence that opens Saving Private Ryan and stretched it out to 95 minutes. It’s as immersive as a film conveying “war is hell” can be, as its visceral brutality is accentuated by its refusal to rely on much in the way of typical cinematic devices like traditional storytelling rules, intimate character details, or a digestible narrative (an almost-deafening sound design, notwithstanding). It’s an unsatisfying experience by design, but I have much respect for it. QUENTIN Warfare is the type of movie that treats the scenario at hand, as opposed to the people on screen, as the main character, providing a wholly immersive battlefield experience through gritty realism and tremendous sound design. As a veteran, I’ve been close enough to similar real-life situations to know Warfare is as close as one can get to confronting the fog of war without actually enlisting. The palpable tension, distressing uncertainty, and jarring what-the-fuck-do-we-do?! chaos — it’s all there for 95 edge-of-your-seat minutes. Fair warning, though… Warfare will be much better on the big screen than at home, and it could be triggering for some combat veterans.

FERRARI Starring: Adam Driver, Penélope Cruz, Shailene Woodley, Gabriel Leone, and Patrick Dempsey Director: Michael Mann QUENTIN While not a bad movie by any means, Ferrari never makes a case to justify its existence. Yes, from a craft perspective, it’s obviously very well done, from Michael Mann’s direction to the performances of Adam Driver and Penélope Cruz; however, the main story is about a man that isn’t particularly interesting. Enzo Ferrari (Driver) is never shown to be a ruthless tyrant, a savvy businessman, or a brilliant car designer. He’s just a dude who has marital problems. Ferrari is only truly compelling during the too few race sequences, which are beautiful and picturesque (two scenes in particular elicited audible gasps from the audience). AMARÚ Ferrari looks and sounds epic much like an opera looks and sounds epic. It’s loud, boisterous, and passionate. Yet, since I inherently don’t understand the words, the emotional impact doesn’t hit as hard as it should. I’m not saying I couldn’t understand the dialogue (though some of the accents are a bit off-putting, honestly), but many of the conversations feel like grand opuses with empty importance. I could feel Penélope Cruz’s bubbling rage. I could feel Adam Driver’s cold determination. I could feel the race car engines’ roar in my bones. But will I remember the point of that fervor tomorrow? Probably not. ADRIANO Director Michael Mann is back with Ferrari , and the result is an exciting thrill ride through a mixed bag. Adam Driver and especially Penélope Cruz shine bright; however, from an emotional angle, though the film tries its best, it mostly lacks any real connection. Overall, I found that the narrative struggled in the beginning (and it's worth pointing out that Shailene Woodley is terrible), but thankfully, I was invested enough in the story in the second half to be engaged. The pacing is well constructed and entertaining too, which is enough for this ride to be a worthwhile one. PRESTON I was so excited for Ferrari , but alas…*sigh*. While it isn’t anywhere near the bottom of 2023 releases, it certainly isn’t at the top either. With Penélope Cruz’ performance as the highlight (Adam Driver is a close second), there is little else to praise. Issues included…*deep breath*…bad and inconsistent accents, unexciting racing scenes, a completely unfocused script, I had no idea who half of the characters were, and the pacing is so wonky that it made the film feel twice as long as it really is…*exhale*. Basically, this one drives right up the middle of the road. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

SCOOP Starring: Gillian Anderson, Rufus Sewell, Billie Piper, Connor Swindells, Keeley Hawes, Romola Garai, Charity Wakefield, Lia Williams, and Richard Goulding Director: Philip Martin QUENTIN For fans of journalism movies, Scoop boasts enough of the typical hallmarks to keep genre fans mildly entertained, even if they ultimately walk away unimpressed and having not learned much. It’s almost too light and breezy, failing to truly capture the tense importance of the moment in the way that films like Frost/Nixon and Spotlight did. There is very little character development, nor are there any bombshell revelations about how it all went down. Newsnight asked for an interview, it was granted…and that’s pretty much it. Maybe it would have resonated more if I was a Brit, but for Americans, there just isn’t much here. KATIE Days before Scoop dropped on Netflix, Prince Andrew led the Royal Family into Easter Sunday service, his most recent appearance in a string of high-profile events. Although it feels too soon for a dramatisation of events from 2019, the film is a reminder that the Prince still holds a prominent position in public life. Scoop treats cameras like guns and the interview like a Western stand-off, adding tension to the familiar story. Although it struggles to engage with the seriousness of the crimes, Billie Piper’s performance as Sam McAlister brings some much needed emotional depth to what is a quite matter-of-fact account.

RUMOURS Starring: Cate Blanchett, Charles Dance, Denis Ménochet, Alicia Vikander, Roy Dupuis, Takehiro Hira, Rolando Ravello, and Zlatko Buric Directors: Guy Maddin, Evan Johnson, and Galen Johnson NICK As far as political satires go, Rumours is among my favourite, conceptually speaking. The directing team of Guy Maddin, Evan Johnson, and Galen Johnson fill the opening hour with clever jokes and visual gags, all of which is brought to life via a very solid ensemble, highlighted by Roy Dupuis (pure coincidence he plays the Canadian Prime Minister). However, after that first hour, things run out of steam as the clever intricacies are replaced by a more ridiculous tone. Although this worked for a film like Triangle of Sadness (which, coincidentally, also features Zlatko Buric), it works against things here. ADRIANO I'll always respect a swing for the fences, but you gotta have something to back those swings up. Rumours doesn't have that. I liked the ensemble, and it got some laughs out of me, but it pretty quickly falls off its central concept. Then, the laughter begins to trickle out, and the movie becomes utter nonsense. Its commentary on world leaders' incompetency is lazy, and for a movie with three directors, one of which is the seasoned Guy Maddin, it feels a lot like a student film. Rumours is just a really bad movie, plain and simple. QUENTIN As a political satire, Rumours is certainly clever, but probably a little too smart for its own good. It requires a certain level of winking, “if you know, you know” awareness, and I’m not sure audiences lacking a general knowledge about geopolitical reputations will get a lot of the jokes present in this surreal sci-fi comedy. That awareness is the difference between a movie worth your time and a movie that is merely a mildly amusing diversion. No complaints about the cast, though, all of whom are game for the B-movie weirdness happening on screen. PAIGE Rumours is an over-the-top satire on global politics that becomes less effective and less funny as it goes along. While it does have some fun with its campy camera work, ominous music, and bombastic performances, the script is a mess, and its stereotypical depictions of these political leaders are very one note. Having three directors helming the project kept the movie from being cohesive, as it veers off course while failing to make any kind of point. This absurd film runs out of steam fairly quickly and is pretty forgettable. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

OPERATION MINCEMEAT Starring: Colin Firth, Matthew Macfadyen, and Kelly Macdonald Director: John Madden JOSEPH Operation Mincemeat is the epitome of the phrase “truth is stranger than fiction.” The film focuses on English government agents crafting an oddly convoluted lie to deceive the Nazis during WWII. It has something of a ticking time bomb effect, which creates a constant sense of growing urgency, and while no performance shines especially bright (Colin Firth being a mild exception), the ensemble works together quite well because everyone is fully committed to their character. At times, it can feel like Oscar bait, but in all fairness, it has all the qualities of an Oscar-nominated film. QUENTIN Broadly speaking, Operation Mincemeat is a pretty decent movie. Not mind-blowing, but enjoyable enough with its mix of workmanlike acting and a wild true story. My only complaint is that with an espionage tale this crazy, it could have used a bit more panache. I get that it’s a British movie, but it has absolutely zero flair. It has the same kind of bland dryness as The Courier and Bridge of Spies , which makes it the type of movie that your Dad will enjoy watching while dozing off in the recliner, but not one that you’ll remember a year from now.

Previous Next November 23, 2025 The conclusion to last year's critical and commercial darling, Wicked , has arrived with Wicked: For Good . Focusing on the second act of the long-running musical, can director Jon M. Chu conjure his magic to bring the oft-considered weaker act to screen? Join Amarú, Adriano, and frequent collaborator Amanda as they give their thoughts on how Chu brought the second act to life and debate whether this does in fact leave fans feeling like they've been changed for good or if they'll instead leave the theatre feeling more wicked than before they entered. Click HERE to subscribe to our YouTube channel for all of our latest video content including our Early Reactions, and be sure to give us a thumbs up and comment your thoughts!