SPEAK NO EVIL Starring: James McAvoy, Mackenzie Davis, Scoot McNairy, Aisling Franciosi, Alix West Lefler, and Dan Hough Director: James Watkins KATIE Had I not seen the trailer for Speak No Evil countless times, the slow deterioration of the increasingly sinister situation would have been more impactful. That said, it's still brimming with awkward tension, sometimes unbearably so. My patience eventually wore thin with the characters’ stupid decisions, but this effectively highlighted the extent to which they would go to preserve social etiquette and expose the weaknesses in the couple’s relationship. Above all else, James McAvoy is incredible, and it's worth seeing for his powerful performance alone, which veers from endearing and warm to sinister and malicious with a subtle flash of a sickeningly menacing grin. PAIGE The Speak No Evil remake never pushes its own boundaries, which is odd for a movie all about pushing boundaries. Though it is a solid thriller with a strong ensemble, especially James McAvoy's amazingly unhinged performance, it lacks suspense and doesn't really offer anything new. It’s essentially a shot-for-shot recreation of the Danish version, which has more to say about its subjects. The original also leaves a longer lasting impression on its audience than what we are left with here. It's by no means a terrible movie, and my criticism probably would be less if I hadn't just watched the original film so recently. AMARÚ You may not think it, but Speak No Evil is a banger of a crowd pleaser that is simultaneously hilarious and terrifying. Spurred by a “how the fuck do we keep forgetting how amazing this man is” performance from James McAvoy, I haven’t had this much fun in the theater all year. Combined with its sparing use of music, it’s a steadily increasing ball of unnerving squirms and nervous laughter that had me continuously guffawing and exclaiming with my fellow moviegoers. The climax isn’t as tense as its creepy build up, but sometimes it’s about the journey isn’t it? This journey had me dying! PRESTON This is not entirely the fault of the writer-director James Watkins, but I hated the protagonists. The incapable, sniveling husband and over-righteous, hypocritical wife made me glad for their comeuppance. Plus, given the spoiler of a trailer, the film is just too damn predictable. James McAvoy is as creepy as you might expect, but any tension that is built is quickly deflated by the tame violence and pure stupidity of the victims’ actions. Overall, an entertaining film that doesn’t live up to its own hype or potential. QUENTIN Had I gone into Speak No Evil completely blind, it likely would have ended up with a higher rating. The movie is built on a delightfully unhinged, “keep ‘em guessing” performance from James McAvoy, except if you’ve seen any of the trailers, which (in Germany, at least) were shown nonstop, there isn’t much to guess. The marketing pretty much lays out the entire movie for you. So, the first hour, which should be a slow-burn of simmering tension blandly exists before lazily heading into a finale filled with generic and standard home invasion tropes. McAvoy is great, but the trailers shot this movie in the foot.

NANNY Starring: Anna Diop, Michelle Monaghan, Sinqua Walls, Morgan Spector, Rose Decker, and Leslie Uggams Director: Nikyatu Jusu NICK As good as Anna Diop is in Nanny (and she is fantastic), the film feels like a missed opportunity. Ultimately, it is its own worst enemy because it presents the viewer with multiple interesting directions the story could go, yet never commits to any of them. Visually, the film is beautiful from the opening credits, but its final act really deflates a story that already requires a lot of patience from the viewer. It's just disappointing. Having said that, I’ll take a rom-com starring Ms. Diop and Sinqua Walls tomorrow. Their chemistry is off the charts. QUENTIN Despite being completely mismarketed as a horror movie, I understand and respect what Nanny is trying to do. I can’t get into specifics without entering spoiler territory, but the bones of the story have the potential to be interesting and effectively scary while also delivering a commentary on motherhood. However, this movie is the slowest of slow burns, piling unnecessary subplots onto the central tale to the point that it’s mostly a bore. There are several interesting directions it could have gone, but it never goes that way. Not even a couple of great performances and some good-looking cinematography could really hold my interest. AMARÚ For a quick 90-odd minute movie, Nanny takes its time to figure out what it’s doing. It’s supposed to be a psychological horror (I think), and while Anna Diop does a tremendous job bringing tense emotion to her role, the story crawls at such a lethargic pace that I’m not sure what is causing her anxiety. When the answer finally arrives, there is emotional weight to it, but the journey to get there feels confusing and uninteresting. The movie’s end tries to justify its means, but really, when does that saying ever actually come to fruition? PAIGE Nanny is an admirable, character-driven film held together by Anna Diop's strong lead performance. The film is sprinkled with quiet, atmospheric tones throughout to give it a horror vibe, but underneath its surface, it tries too hard to be a slow psychological film (and one that doesn’t quite stick the landing). I was honestly wondering what the hell was going on for half the time because things aren’t fully explored or paid off enough in the end to give a satisfying conclusion to the story. Still, it's a beautifully shot film and a promising debut for writer/director Nikyatu Jusu. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE EYES OF TAMMY FAYE Starring: Jessica Chastain, Andrew Garfield, Vincent D’Onofrio, Cherry Jones, Mark Wystrach, Sam Jaeger, and Louis Cancelmi Director: Michael Showalter ADRIANO The Eyes of Tammy Faye was a very welcome surprise for me. Having not known too much about Tammy Faye and Jim Bakker, it provides not just a fascinating look at the rise and fall of their empire, but a humanizing portrayal of Tammy herself. Jessica Chastain has never been better, as she gives an unrecognizable and extremely emotional performance through some truly remarkable makeup and prosthetics. The story is told in an appropriately entertaining way that's both funny and moving, teetering the line of satire, and it's a fascinating film that I truly recommend. JACOB While not one of Michael Showalter's more balanced efforts, The Eyes of Tammy Faye remains yet another show of unspoken skill for the director. Apart from Jessica Chastain’s remarkable performance in the titular role, the quiet strength of the film is that it never becomes outright cynical despite remaining factual to the nature of its subject. The film invites one to know who Tammy Bakker was, regardless of how involved she may have been in the Bakkers' crimes. It's a bit long and feels slightly unfocused, but the heart is there, which Chastain carries to the end. QUENTIN While I can appreciate the effort that went into making The Eyes of Tammy Faye , especially Jessica Chastain’s transformative and award-worthy performance, I had a really tough time connecting with this movie. Maybe I have preconceived (and incorrect?) notions about who the Bakkers (Andrew Garfield and Chastain) were that are impossible to overcome, but this movie wants the viewer to feel undeserved sympathy for these religious fraudsters. Frankly, that’s a hard sell for me. It’s not easy to get invested in a movie when you don’t believe its message.

ETERNITY Starring: Miles Teller, Elizabeth Olsen, Callum Turner, John Early, Olga Merediz, and Da’Vine Joy Randolph Director: David Freyne NICK If you’re in love with two people at different points in your life, how is that handled in the afterlife? That’s something I’ve wondered, and something Eternity sets out to answer. It’s an interesting premise that works, thanks to the charm of Miles Teller and Elizabeth Olsen as they embody their younger selves. However, Eternity fails to reach the depth its thesis deserves. Although it creates suspense by exploring every avenue for Joan (Olsen), when the time comes for a decision, you can't help but wonder if the outcome was the right one. It’s fine, but it feels like it could’ve been something more. ADRIANO The question of how and who to spend post-life with is a tough one, and yet, Eternity confronted that idea pretty safely. At least it was sincere, giving real weight to some of the more powerful moments. The world-building is interesting, and Elizabeth Olsen, Miles Teller, and Callum Turner all deliver great performances. My issue is that the movie clearly was winding up for a bittersweet tearjerker, but it spent too much of the third act creating diversions to hide the inevitable finale. That's not to say Eternity is not emotional; it's just nothing special. AMARÚ Eternity is a crowd pleaser that balances not falling too far into its serious themes nor leaning too much into tragic dark humor. Joan's (Elizabeth Olsen) difficult choice on which husband to spend eternity with hit me in the heart, primarily due to Olsen’s endearing performance. The amusing dynamic between her, Miles Teller, Callum Turner, and Da’Vine Joy Randolph brings an old-school comedic timing that, at times, hits the right tone, and, at others, is a little hollow. Ultimately, though, director David Freyne brings a complicated realism to how we think about love, life, death, and soulmates. It’s real, it’s messy, and it’s entertainingly sweet. PAIGE A24 continues to prove they have a handle on all genres. Eternity may not be the most romantic or surprising movie, as the writing is pretty much on the wall with where you think the story is going, but that doesn’t take away from the fact that this flick is a total delight. Its clever concept focused on love and the afterlife is both charming and unexpectedly quite funny. Our leads, Elizabeth Olsen, Miles Teller, and Callum Turner, bring so much charm, while the supporting cast, Da’Vine Joy Randolph and John Early, add the humor.

FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE Starring: Jude Law, Eddie Redmayne, Mads Mikkelsen, Ezra Miller, Dan Fogler, Callum Turner, Alison Sudol, Jessica Williams, William Nadylam, and Victoria Yeates Director: David Yates AMARÚ It takes two-thirds of Fantastic Beasts: The Secrets of Dumbledore to completely wipe away the bad taste left by its predecessor. The early acts don’t quite nail the Harry Potter magic, but they do satisfyingly answer unresolved questions and lean on a strong ensemble. Dan Fogler and Jude Law continue to shine, but it’s the wonderful additions of Mads Mikkelson and Jessica Williams that carry the film through to a turning point in the third act that seemingly clicks the magic back into place. When the film started, I was worried about this franchise; Now, I’m genuinely excited to see where it goes next. JACOB Though better than the previous film in a series I now dread, the third entry in the Fantastic Beasts franchise is as overlong and dry as it could ever be. Mads Mikkelsen makes for a better Grindelwald on the whole, and Jude Law remains excellent as Dumbledore; However, the story is so scattershot that it’s a wonder the film even has time for Newt (Eddie Redmayne), the supposed series protagonist. The movie continually insists on its own importance in the wizarding world story, but never earns the audience’s attention or care. Despite its improved tonal consistency, the magic has run out.

THE LIFE OF CHUCK Starring: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mark Hamill, Mia Sara, Benjamin Pajak, Carl Lumbly, Matthew Lillard, Annalise Basso, Samantha Sloyan, Jacob Tremblay, and Nick Offerman Director: Mike Flanagan NICK When you hear the names Mike Flanagan and Stephen King, you’re likely expecting a horror film, but you’d be mistaken with The Life of Chuck . Among Flanagan’s best works, I’m not sure I’ve seen a film look at death and mortality through as beautiful a lens as this film does. I could break down the technical specs (no complaints) and the performances (once again, no complaints), but it’s really about the purity of the film. There are multiple dance numbers, dark comedy, and apocalyptic dread, but Flanagan never loses sight of the hopeful message he wants to send. I wish all films were this sincere. ADRIANO The Life of Chuck will make you want to dance and fall in love with life. Writer/director Mike Flanagan ditches his horror comfort zone in favour of a movie that boasts a great ensemble, a fascinating structure that allows one to piece the film together as it goes, and not an ounce of cynicism in sight. Just a movie about allowing your love to guide the things you do, and enjoying the rewards that come with it. If I had to criticize, the movie looks a bit too polished, but I nonetheless loved The Life of Chuck . BODE Mike Flanagan has built a reputation as a humanist of horror, prioritizing empathy and emotionality over cheap thrills, which only make the scarier moments hit harder. It’s what makes him the perfect filmmaker to tackle Stephen King; and while I wouldn’t say his latest adaptation, The Life of Chuck , is his best (it’s a little less than the sum of its parts), I still enjoyed seeing his trademarks (non-chronological editing, monologues, etc) applied to one of King’s non-horror works, where even the most sentimental moments of this meditation of memory and mortality feel haunted in a sense. Solid! AMARÚ The Life Of Chuck is the most interesting movie about nothing in particular that I’ve seen in some time. That’s because making it about nothing specifically made it about absolutely everything. Director Mike Flanagan utilizes his amazing horror sensibilities to highlight the tragic beauty of life, which sets up the movie’s unique storytelling style and singular universe in ways that prove that even the smallest of details contain multitudes of meaning. Tom Hiddleston and company are brilliant in this extraordinary look at one solitary life, and demonstrate how exquisite it is to live yours to the fullest. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

ATLAS Starring: Jennifer Lopez, Simu Liu, Sterling K. Brown, Mark Strong, and Abraham Popoola Director: Brad Peyton CALEB Atlas is as generic as sci-fi movies come, and its bland, underdeveloped world is brought to life with some of the ugliest CGI I’ve ever witnessed. The action sequences look like weightless video game cutscenes, and the green screen utilisation is comedically terrible. For what it’s worth, Jennifer Lopez does a decent job, even if far too much of the movie revolves around her screaming from the inside of a mech’s cockpit. I know Atlas is a film about embracing A.I., but something tells me the screenwriters may have embraced it a little too much. QUENTIN Even with the lowest of expectations, Atlas is a complete failure. You’re essentially watching Jennifer Lopez Facetime with an A.I. system amongst a collection of terribly rendered CGI visuals. And when I say “terribly rendered” — man, are they bad. They are the kind of super glossy and plastic-y looking cutscenes you would find in the cheapest of early 2000s video games. That aside, the story (such as it is), is a hodge-podge of other, better sci-fi movies, including The Terminator , Aliens , and Pacific Rim . Hopefully, this puts the nail in the “apocalyptic A.I.” genre’s coffin for a while.

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.

HELL OF A SUMMER Cast: Fred Hechinger, Finn Wolfhard, D’Pharaoh Woon-A-Tai, Billy Bryk, Abby Quinn, Pardis Saremi, Adam Pally, Julia Doyle, Matthew Finlan, Krista Nazaire, Daniel Gravelle, and Rosebud Baker Directors: Billy Bryk and Finn Wolfhard ADRIANO I'm glad I watched Hell of a Summer with a Midnight Madness crowd because it certainly helped my perception of the movie, especially because time has not treated this movie well. My initial viewing experience was a lot of fun. I laughed a lot, and I thought the slasher aspects were interesting at times. However, the film’s flaws…namely, the weak structure, the shallow Gen-Z commentary, and the way the movie reveals its mystery out of thin air…makes the rest of the movie tensionless, which, in hindsight, has overshadowed the fun I had. ROBERT Reimagining 80s camp slashers for today can be an exercise in nostalgia coasting, or it can be labeled as lame for “trying too hard,” but Hell of a Summer does an admirable job to toe a line that doesn’t feel like it is being tugged in either direction. Instead, it works to convey how kids today would consider the summer camp experience, and then hyperbolically upends it with gruesome murdering. The horror aspect is decent, but it shines in its comedy, especially the interplay of the counselors and the melding of smaller relationships into the larger group dynamic. This one? Not a cruel summer at all. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

ENOLA HOLMES 2 Starring: Millie Bobby Brown, Henry Cavill, David Thewlis, Louis Partridge, Susan Wokoma, Adeel Akhtar, Sharon Duncan-Brewster, Hannah Dodd, and Helena Bonham Carter Director: Harry Bradbeer AMARÚ One cannot deny the charm of Millie Bobby Brown (Enola Holmes), nor can one deny that Henry Cavill (Sherlock Holmes) should be in all things. Their engaging chemistry epitomizes the captivating appeal of Enola Holmes 2 . Truthfully, the entire cast is chewing their scenes, milking every ounce of fun they can from the Holmes’ adventure. The sequel’s family-friendly motif slightly overshadows its mystery, so director Harry Bradbeer’s reliance on Guy Ritchie-style freneticism can feel out of place at times, but all-in-all, Enola Holmes 2 is a charming sequel that makes the prospect of a third movie a likable one. JACOB Enola Holmes 2 espouses much of the same fun as its predecessor, but it is less structurally sound. The central mystery is interesting until the viewer solves it about halfway through, and even though the journey is entertaining, arriving at its conclusion can sometimes feel tedious (especially as a separate mystery contains far more intrigue). Subplots appear and disappear at will, certain characters seem more like placeholders than people, and the ending drags on for far too long. I’d like to say this was an improvement, but truthfully, it’s just the same package as before but in a less impressive box.

FREAKIER FRIDAY Starring: Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons, Manny Jacinto, Mark Harmon, Maitreyi Ramakrishnan, and Chad Michael Murray Director: Nisha Ganatra NICK One could make a strong case that 2003's Freaky Friday reigns supreme when it comes to body-swap comedies. With that in mind, the highest praise I can give Freakier Friday is that it does right by its characters. It was the right choice to have Jamie Lee Curtis and Lindsay Lohan anchor this story because they're both great (especially Curtis), which takes the pressure off their younger counterparts (Julia Butters and Sophia Hammons). The thing that really makes this work, however, is the heart threaded through it. I laughed, I teared up, and I continuously found myself with a smile on my face. ADRIANO The thing that made Freaky Friday work was the genuine heart intertwined with the body-swap comedy. Sadly, Freakier Friday leans too far into the body-swap humour, which would be fine if it made me laugh, but it rarely did, even if Lindsay Lohan and Jamie Lee Curtis make some of the cringier moments watchable. The final 20 minutes finally brought the film to a heartfelt place, which is a little late but not entirely ineffective. Admittedly, Freakier Friday could've been way worse, but it still reeked of desperation. Also, Julia Butters, get back to Steven Spielberg and Quentin Tarantino as soon as possible. Want to hear even more of our thoughts? Nick and Shak join Matt to take A Bigger Bite out of Freakier Friday HERE .

DEATHSTALKER Starring: Daniel Bernhardt, Christina Orjalo, Paul Lazenby, Nina Bergman, Nicholas Rice, and Patton Oswalt Director: Steven Kostanski This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. QUENTIN As a big fan of Steven Kostanski’s 80s tributes Psycho Goreman and Frankie Freako , not to mention having an affinity for old-school sword-and-sorcery movies, I was super excited for Deathstalker . On the surface, it has everything I’d want in a modern homage to movies like Krull : terrific practical effects, lovingly shoddy visual effects, fantastic creature design, and self-aware weirdness. So, I’m puzzled as to why I found it so flat and (mostly) lacking in fun. It’s almost like Kostanski is showing too much reverence for the genre, so it veers into being too self-serious. Perhaps this is an expectations problem, and a second viewing is needed. NICK It's clear that director Steven Kostanski put the same level of care into Deathstalker as he did with his previous efforts Psycho Goreman and Frankie Freako , but unfortunately he forgot to add the fun of those two films. Kostanski's trademark creature design and practical effects are here - and honestly better than ever - but it just feels like something is missing. It's great to see that some of his other skills keep improving, but when the protagonist in an adventure film goes on a quest, you should sit back and enjoy the ride. Deathstalker has its merits, but enjoyment isn’t really its strong suit.