THE BOOK OF CLARENCE Starring: LaKeith Stanfield, Omar Sy, RJ Cyler, Anna Diop, Nicholas Pinnock, Teyana Taylor, Caleb McLaughlin, Eric Kofi-Abrefa, Marianne Jean-Baptiste, Alfre Woodard, Michael Ward, David Oyelowo, James McAvoy, and Benedict Cumberbatch Director: Jeymes Samuel AMARÚ With his second feature-length film, The Book of Clarence , writer-director Jeymes Samuel continues to be the star of his own movie. His direction is one-of-one, and the ability to pair the score perfectly with each scene (he’s also the composer) is absolutely dynamic. While the film is entertainingly crafted, it does take some time for the story to fluidly establish the star-studded ensemble’s characters. The first act plays like a disjointed television series stumbling to find its footing. But when it finally comes together, Clarence ’s magnetic style, talented cast, and thought-provoking take on religion brings Samuel one step closer to my “event director” shortlist. NICK With The Book of Clarence , director Jeymes Samuel shows much of the promise he displayed with 2021's The Harder They Fall , but unlike that film, this is a much more disjointed effort. Although the film maintained my attention throughout, I was never "IN" it, largely due to tonal inconsistencies. There are a range of genres (comedy, action, romance, drama), but they often don't mesh, and they certainly make the first "Book" drag more than others. That said, the film improves as it goes, and Samuel shows an undeniable ability behind the lens. It’s not bad, but it’s time to close this book and start another. ADRIANO I am genuinely heartbroken by The Book of Clarence . Writer-director Jeymes Samuel showed boatloads of promise with his debut The Harder They Fall , and the concept of Clarence is so original and interesting. Even when watching it, I can see the film's potential shine through its genuinely great production values and terrific ensemble, led by a never failing LaKeith Stanfield. However, the writing is so muddled and all over the place that it fails to convey anything of note for anyone to take its great ideas seriously. There's excellence here, it's just not in the final product.

MASTERS OF THE UNIVERSE Starring: Nicholas Galitzine, Camila Mendes, Alison Brie, James Purefoy, Morena Baccarin, Jóhannes Haukur Jóhannesson, Jared Leto, Idris Elba, and Kristen Wiig Director: Travis Knight QUENTIN Masters of the Universe is goofy as shit. If you have any familiarity with the cartoon, you already know this. I mean, the hero’s name is He-Man (Nicholas Galitzine); one of his warriors is Fisto (Jóhannes Haukur Jóhannesson). Thankfully, director Travis Knight and his team of screenwriters embrace that silliness, resulting in an incredibly fun movie that feels like watching a kid play with real-life action figures. That alone would have been enough for my nostalgia, but with complementary pieces like the 80s-inspired score, amazingly accurate costume design, and—believe it or not—a hilarious, scene-stealing Jared Leto as Skeletor, I could not have asked for much more. NICK I’ve never had any nostalgic attachment to the He-Man character, but from what I know of the IP, Masters of the Universe seems to be the best way to adapt this story to modern times. It’s cheesy, goofy, and cringy, but it doesn't shy away from those aspects as the comedy leans into its self-awareness. It certainly could’ve been funnier, though, especially with how long the film feels. Nicholas Galitzine embodies He-Man wonderfully, but it’s Jared Leto's sassy and flamboyant Skeletor who steals every scene. This is something that should please existing fans, but I don’t think it has the juice to make any new ones. ADRIANO Against all odds, Masters of the Universe is… fine. Unlike most of the $100 million slop we’ve been subjected to recently, director Travis Knight has an inkling of knowledge about what he’s making and genuinely cares. Don’t get me wrong… it’s visually repulsive at times, the humour is hit and miss, and its attempts at a masculinity message are laughable. But for a movie where He-Man (Nicholas Galitzine) gets saved by an Amazon Prime truck, there is a lot of fun to be had with the colourful silliness, not to mention a banging score that matches the excitement. KATIE I have basically no familiarity with the IP, but nonetheless found Masters of the Universe to be a fun, goofy, and ultimately entertaining film. Granted, the CGI is awful, but the film is so silly and carefree that it wills you not to notice, or more accurately, care. The laughable effects almost suit the tone of the film, so it's difficult to criticise it too much, plus I was distracted by the catchy score. Nicholas Galitzine is fantastic as He-Man, giving a charming performance that suits the unserious tone, and Jared Leto gives my now favourite performance of his as Skeletor. AMARÚ Dolph Lundgren, Jean-Claude Van Damme, and Chuck Norris can now have Nicholas Galitzine’s name listed next to them as awesome action stars. And make no mistakes, Masters of the Universe is awesome. Travis Knight always understands how to direct retro franchises with nostalgia and reverence, and he fully understands that assignment here with a bodacious soundtrack and spot-on, heartfelt performances. Idris Elba starts it off fully embracing the 80s charm, Galitzine carries that into modern times with joyful optimism, and Jared Leto solidifies everything with perfect “until we meet again” energy. Great decision not using his real face, and great decision giving us this spectacular remake. PAIGE Masters of the Universe is a mixed bag. On one hand, its fight choreography is impressive, and its visual style is faithful to the animated series. On the other hand, its silliness is too over-the-top. The script is watered down by jokes that don't always fit in this universe. While the cast certainly embraces the wackiness and plays their roles well, most of the line delivery comes off extremely cheesy. Don't get me wrong, its gleeful energy lands at times, but overall, I found the tone of the movie to be a bit cringeworthy. Want to hear even more of our thoughts? Nick and Quentin join Amarú to take A Bigger Bite out of Masters of the Universe HERE .

PAIN HUSTLERS Starring: Emily Blunt, Chris Evans, Andy Garcia, Chloe Coleman, and Catherine O'Hara Director: David Yates NICK I find difficulty in enjoying movies where all the characters are despicable people doing despicable things, which is exactly what Pain Hustlers is. There is just no one to root for, so I was left watching things unfold, quietly waiting for everyone to get their comeuppance. It doesn’t take the opioid crisis very seriously, which would be fine had it leaned further into the comedy, but it approaches things too straight-faced (same issue as Dumb Money ). This made it all feel… cruel. That said, there likely will be an audience for this B-movie version of The Wolf of Wall Street , but I’m not it. ADRIANO Pain Hustlers wants to be The Wolf of Wall Street so badly that it forgot to be good…at all. It wants to have it both ways in its approach to the opioid crisis: highlighting the depravity of the people pushing the drugs while also attempting a humanizing character study. Sadly, it fails at both, especially considering how tame the movie really is. In short, it’s too easy. It offers simple answers and takes quick shortcuts in how it handles the subject matter. If you want a good example of style over substance, look no further. PRESTON Pain Hustlers is one long pharmaceutical-movie trope that flirts with being cliché. It is based on a highly fictionalized true story that takes generous liberties to sell the viewer and inject some emotional connection. That said, director David Yates mostly succeeds in his intention, even if it feels a little choppy and stylistically conflicted. Emily Blunt and Chris Evans are fantastic, playing the traumatized hustlers in a way that gives the film some realism, but also diametrically opposing the intended indictment of the opioid crisis. Despite its faults, I guiltily admit to finding this film to be acceptably serviceable entertainment. QUENTIN The fact that Pain Hustlers is so blatantly derivative, like Dopesick through the lens of The Wolf of Wall Street and The Big Short , means that the story and character arcs feel secondary to simply capturing “the vibe.” It also doesn’t help that, at this point, movies (and series) covering the opioid epidemic already feel played out. That said, there are enough singular moments to make it relatively entertaining, even if it’s not likely to stick with you, including a fiery (and rapping) Chris Evans in full Boston accent, Emily Blunt being her typical awesome self, a nice soundtrack, and an appealingly shiny veneer. CALEB Pain Hustlers may fancy itself as the next The Wolf of Wall Street or The Big Short , but it feels like a low-budget imitation of those films rather than something that can stand alongside them. The flashy soundtrack, narration, and cut-away interview segments all feel extremely derivative and inappropriate. The soulless script isn’t exactly brought to life by Emily Blunt or Chris Evans either, with it being strikingly clear that neither of them have the charisma to carry something like this. At its best, Pain Hustlers is forgettable; at its worst, it’s downright offensive. PAIGE Pain Hustlers tries very much to be like The Wolf of Wall Street of pharmaceutical movies, and while it may be somewhat superficial, it excels in the entertainment department. What makes this flick work so well is the story and cast. The story itself is wildly captivating, but still manages to feel grounded and real, and the top-notch cast seems to be having a blast portraying these characters. Yes, admittedly, the film doesn’t say anything new about money or greed, but it remains a light watch about the drug crisis that is worth your time. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE BOY AND THE HERON Starring: Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Shōhei Hino, Ko Shibasaki, Takuya Kimura, Jun Kunimura, and Kaoru Kobayashi Director: Hayao Miyazaki ADRIANO Hayao Miyazaki's latest feature, The Boy and the Heron , is another wonder from the legendary filmmaker, but one that unfortunately falls just short of greatness. Like Miyazaki's other films, the animation is stunning to look at, with every single frame a sight to behold as it takes you to a universe that shows Miyazaki's imagination holds no equal. While its themes of grief are well written, the film throws a bit too much at the viewer to get the message across, making the film less thought-provoking and more overwhelming. It’s another win for Miyazaki, but not amongst his best. PAIGE While The Boy and the Heron is another captivating film by Hayao Miyazaki, I can’t help but feel that its themes missed the mark for me. It just wasn’t as compelling as his previous works, and it relies heavily on beats similar to those from his other films instead of bringing something new to the table. Still, it’s visually spectacular (as usual) and quite funny at times, but it's tonally inconsistent, with Joe Hisaishi’s score ultimately elevating the film’s emotional beats. CALEB I’ve always admired director Hayao Miyazaki’s films more than I’ve actually enjoyed them, and The Boy and the Heron is no exception. The animation is a feast for the eyes, but the story is severely disjointed. The characters are weak, the world-building is muddled, and the pacing is genuinely bad. I’m sure there are layers to peel back and analyze here, but it’s all too abstract for its own good. There isn’t a strong enough narrative on the surface to spark any curiosity about the hidden meanings or subtext below. I had high hopes, but this is easily Miyazaki’s least coherent effort. This film was reviewed by Adriano and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.

DESPICABLE ME 4 Starring: Steve Carell, Kristen Wiig, Pierre Coffin, Joey King, Miranda Cosgrove, Stephen Colbert, Sofía Vergara, Steve Coogan, Chris Renaud, Madison Polan, Dana Gaier, Chloe Fineman, and Will Ferrell Director: Chris Renaud AMARÚ Despicable Me 4 has some of the best animation Illumination Studios has released to date. After that, it’s the silliness you’d expect: Minions, memes, and lots of bodily function jokes. Gru’s (Steve Carell) three kids (now four) are still adorable, and the Minions are still fun mayhem, but this is the first time a franchise entry has felt more like an amalgamation of a bunch of TV episodes than a movie. Towards the end, one plotline takes center stage, allowing the film’s heart to shine a bit more, but make no mistake…this is a fourth-time diluted version of a just-ok animated series. ADRIANO Despicable Me 4 is another Despicable Me movie. Take that as you will. If you liked the other three, you'll be into this one. Me? I enjoy it as a shut-your-brain-off kind of movie, well aware that it's made for literal babies. It's got some funny slapstick and heart, but most of the jokes are pretty obvious. Plot-wise, for a 90-minute movie, there is a wild amount of time fodder and non-sequiturs that amount to not much. Kids are gonna fall in love, and adults won't hate it, but they won't think anything of it either.

CHA CHA REAL SMOOTH Starring: Cooper Raiff, Dakota Johnson, Leslie Mann, Brad Garrett, Vanessa Burghardt, Evan Assante, Raúl Castillo, and Odeya Rush Director: Cooper Raiff PAIGE Cooper Raiff’s ambition as a writer, director, and actor is breathtaking, and he is forging his own path as a filmmaker by focusing more on characters and their growth as people first and foremost. Cha Cha Real Smooth is “Exhibit A” by being more than a love story, and its themes go so much further. It’s charming, heart-warming, and grounded. The cast’s chemistry feels so authentic and real that I fell in love with these characters to the point that I didn’t want to leave them when the film was over. It proves Raiff is an exciting young filmmaker to be on the lookout for. AMARÚ Writer, director, and lead Cooper Raiff bodied everything about Cha Cha Real Smooth . His portrayal of Andrew is fully authentic, and his palpable chemistry with everyone is a testament to his direction. Whether sparks fly with Dakota Johnson (Domino), compassion brims with Vanessa Burghardt (Lola), or love overflows with his family (Evan Assante, Leslie Mann, and Brad Garrett), there isn’t one unfulfilled moment. While some scenes feel cut off due to budgetary restrictions, the film’s honest writing says the things in life we try to hide out of fear and elevates it to being one of this year’s most satisfying movies. NICK Cha Cha Real Smooth is a film that delivers a wonderfully authentic portrayal of autism through solid performances across the board. It also features a sweet, relatable story, regardless of faith. So, why didn’t I love it? I liked it, sure, but something kept it from reaching that next tier for me. It just felt like a lot of “good,” but not a lot of “great.” Based on the love it’s been getting both critically and by my peers, I’m clearly in the minority, but this one just didn’t do enough to warrant that praise from me. JACOB The sophomore effort of director Cooper Raiff, Cha Cha Real Smooth , finds its star in even finer form as a filmmaker. The Shithouse helmer possesses the uncanny ability to mimic the softer sides of Richard Linklater without losing his own voice in the process, navigating conflicts with permeating empathy and enveloping warmth. Whereas his previous film felt more like a chapter than a full story, Cha Cha takes that same formula and stretches it to its logical endpoints without outright villainizing anyone. Raiff and co-star Dakota Johnson have genuine chemistry, and their individual connections with scene-stealer Vanessa Burghardt are palpable. ADRIANO Cha Cha Real Smooth played with all of my feels. I watched this film soon after my 21st birthday, and as a result, it couldn’t have hit closer to home. The anxiety and fear that the lead character feels in this era of his life is accurately represented, but never in a purely negative manner. In fact, director/writer Cooper Raiff portrays these feelings honestly and in a light and hopeful way. The movie is extremely funny, even as it goes into serious territories, and I appreciated the film for that. This is a tender film that I can see myself watching again and again.

BOYS GO TO JUPITER Starring: Julian Glander, Janeane Garofalo, Tavi Gevinson, Elsie Fisher, Grace Kuhlenschmidt, Julio Torres, Joe Pera, Miya Folick, Sarah Sherman, Cole Escola, Max Wittert, Chris Fleming, Eva Victor, River L. Ramirez, and Demi Adejuyigbe Director: Julian Glander BODE The one thing undeniable about Boys Go to Jupiter is that you won’t see much like it this year. Julian Glander’s debut feature captures teenage isolation, as well as the monotony of “grindset” culture, with a good amount of idiosyncratic charm and subtle melancholy. It’s made all the more unique with its plasticine-looking 3D animation (created entirely with Blender), unexpected musical numbers, and eccentric voice work from a surprisingly large cast. I do wish it meandered less in the back half and that its ending left more of an impact, but this is overall still worth a watch. ADRIANO Boys Go to Jupiter is a strange experiment that, if I overheard someone saying they hated it, I'd partially understand why. As for me, despite its cookiness, I was bizarrely endeared. The animation is not “good” in the traditional sense, but the colours and personality worked for me. Narratively, it's mostly just a series of bits taped together to form a story, but the appeal of the film is primarily vibes. And in terms of vibes, it delivers with sincerity. Again, this isn't a slam dunk, but I found it enjoyable.

ABIGAIL Starring: Melissa Barrera, Dan Stevens, Alisha Weir, William Catlett, Kathryn Newton, Kevin Durand, Angus Cloud, and Giancarlo Esposito Director: Matt Bettinelli-Olpin and Tyler Gillett ADRIANO A word of advice: it might be best to go into Abigail without the mindset that it's a horror film because the overbearing score and overall tone make the film seem more like a heist thriller, for better and for worse. That said, while some of the rules in the writing are nonsensical and the third act goes too far off the rails, I had way too much fun with Abigail . The entire ensemble works off each other amazingly, and once the shit hits the fan, it's an ultra-gory blast that made me forgive its obvious shortcomings. AMARÚ Sometimes, I wish Giancarlo Esposito just wasn’t in a movie because he’s the sole reason I decided to see Abigail . While I don’t regret watching, it did nothing to sway me towards liking horror. The Radio Silence directorial team brings flashes of Clue and Murder by Death to this horror comedy, but it’s nowhere near funny enough or clever enough to reach those heights. People still make dumb decisions, characters are still cliché, and even though Melissa Barrera, Dan Stevens, and a stand-out Kevin Durand try to bring some nuance, they don’t bring quite enough to say it’s anything more than fine. PAIGE While Abigail may get off to a slow start, once the game of cat and mouse begins, the movie really picks up steam and takes off. It becomes a bloody blast! Directing team Radio Silence succeeds in crafting an excellent blend of horror and comedy with this vampire flick. If you’ve seen the trailers, you know what to expect from the movie, and while it may not reinvent the wheel in any way, it’s an utter delight. This campy gore fest is a hell of a ride, thanks to its charismatic cast, who elevate the story with their performances. KATIE Abigail is a ridiculously fun time that had me both laughing out loud and wincing at the gore. It's unashamedly camp and excessive, and Alisha Weir is amazing in the titular role, moving effortlessly between adorable and menacing. Despite the stale dialogue, the ensemble cast each make the most of their roles and have great chemistry. My only issue is that it's slightly overlong, not knowing when to end its finale. I imagine I would not have been as impressed had I seen the trailer and known the premise, but going in blind made this a bloody and fun surprise. PRESTON Abigail may be a victim of its own trailer, as what would have otherwise been a spine-tingling revelation serves as a mundane step in the plot marching forward. Instead, this gory vampire flick proceeds with a predictable unfolding of events that doesn’t break any known molds. While not self-serious, it still doesn’t come close to the campy cleverness of Matt Bettinelli-Olpin and Tyler Gillett’s previously directed Ready or Not. One highlight is a dance scene set to the awesomely chilling sounds of Danzig's “Blood and Tears” (I won’t mention the stupidly conflicting effects of the exposure to the sunlight, though…oh, oops). CALEB When Alisha Weir gets to do her thing, Abigail is a blast. The movie is at its best when the tiny vampire queen is running amok, but there just isn’t enough of her doing that. The other cast members dominate the runtime, and they aren’t nearly as entertaining as she is. By the third act, Abigail (Weir) gets sidelined by another, much lamer antagonist, and it results in a convoluted, unsatisfying conclusion that caps off the movie on a low note. I still had a good time with Abigail , but I wish it played to its strengths and let lil’ Abby have a bit more fun.

MUSTACHE Starring: Alicia Silverstone, Atharva Verma, Hasan Minhaj, Rizwan Manji, and Ayana Manji Director: Imran J. Khan AMARÚ Coming-of-age films are only as good as the main character we watch come of age, and in Mustache , the combination of singular narration, break-neck editing, short runtime, and brisk pacing quickly connects us to the protagonist, Ilyas (Atharva Verma). Through his eyes, the film truly captures the utter awkwardness of being 13 years-old: trying to figure yourself out, making dumbass mistakes, finding new friends, and bumbling into adolescence. Mustache tightly establishes itself as a creatively directed, authentically acted, very wholesome gem of a movie. PAIGE With its grounded and awkward coming-of-age story set in the mid-90s, Mustache brings us back to that weird stage of adolescence when we are simply trying to find our place in life. While the film had the potential to be a decent story, it just isn’t fleshed out enough to make for a solid journey throughout, with the film feeling its most authentic only in the last 15 minutes. It also is a dry film that is uneven with its character development, especially with regards to Ilyas’ (Atharva Verma) family dynamic, which should have been more at the forefront.

BELFAST Starring: Jude Hill, Caitríona Balfe, Jamie Dornan, Ciarán Hinds, and Judi Dench Director: Kenneth Branagh JACOB Once viewed, it’s easy to see why writer/director Kenneth Branagh's Belfast is a frontrunner for Best Picture. Beautifully photographed in black and white, the semi-autobiographical, coming-of-age tale is deeply sweet and often quite funny while featuring great performances across the board (Caitríona Balfe is a lock for an Oscar nomination). However, there are frequent opportunities in the film for Branagh to comment on larger conflicts, but these moments are mostly just background noise, seemingly important context that remains unexplored. Nonetheless, the subtle charms of the film’s main narrative are undeniable. ADRIANO Belfast is an undeniably sweet film. It takes a bit to get going (the opening sequence is actively bad), but once it picks up, it’s hard not to get swept away by the film's heart. It’s clearly a personal story for writer-director Kenneth Branagh, which makes it super easy to connect with. It certainly hit me right in the feels. On top of that, it boasts very good cinematography and an incredible ensemble, specifically Caitríona Balfe and newcomer Jude Hill. Overall, it’s a beautiful story of family and home that is definitely worth a watch.

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM Starring: Nicolas Cantu, Brady Noon, Micah Abbey, Shamon Brown Jr., Ayo Edebiri, Jackie Chan, Ice Cube, Seth Rogen, John Cena, Maya Rudolph, Paul Rudd, Giancarlo Esposito, Rose Byrne, Natasia Demetriou, Austin Post, and Hannibal Buress Directors: Jeff Rowe and Kyler Spears AMARÚ The Into the Spider-Verse affect is on full display with Mutant Mayhem and it’s beautiful. From its unique animation style to pitch perfect music choices, Mayhem utilizes the Spidey films’ groundbreaking aesthetics without feeling like a knockoff. The star-studded voice cast is led by the charming dynamic of an actual teenage foursome (Nicolas Cantu, Brady Noon, Micah Abbey, Shamon Brown Jr.) and Ayo Edebiri as April O’Neil, creating heartfelt characters and a story from which every other aspect shines. The action, humor, and character motivations feel fresh while still paying homage, easily making this the best TMNT movie to date. ADRIANO As a lifelong TMNT fan, I feel comfortable saying that Mutant Mayhem is the best movie of the franchise yet. Is the story perfect? No. It’s pretty familiar, honestly. But thankfully, the movie has plenty to make up for it. Obviously, the animation is tremendous. But the movie also is funny, and the cast is great, namely the leads (Nicolas Cantu, Brady Noon, Micah Abbey, and Shamon Brown Jr.); however, what really elevates it is the amount of heart it has. It has a clear message that is executed in such a heartwarming way that I was smiling as I exited the theater. CALEB Mutant Mayhem is a fantastic return to form for the Ninja Turtles. The film's teenage leads (Nicolas Cantu, Brady Noon, Micah Abbey, Shamon Brown Jr.) are undeniably charismatic, lending these brothers more chemistry than they’ve ever had before. Although the Turtles shine, I found the extended cast to be rather undeveloped. The villainous Superfly (Ice Cube) and his fellow mutants feel more like voice actor cameos than actual characters. Thankfully, the narrative packs enough of a punch to succeed despite its villain problem, delivering an entertaining and stylish new direction for the franchise that truly understands the youthful appeal of these characters. QUENTIN As a 42-year-old dude who grew up on TMNT (I had the action figures and everything!), it’s hard to tell where my views as a movie lover separate from the pure nostalgia of it all, but either way, I had a damn good time with Mutant Mayhem . The coming-of-age story about acceptance is nothing new, recycling themes from 2000’s X-Men , but the TMNT -ness of it is quite subversive and full of great callbacks to the franchise’s history, even as they refresh the origin story. With a tremendous hip-hop soundtrack, a scene-stealing Jackie Chan as Splinter, and Into the Spider-Verse -level animation, this one is a winner. PRESTON Mutant Mayhem is exactly what you might expect from a movie co-written and produced by Seth Rogen. Taking advantage of low-hanging fruit, some of the humor is pedestrian and outplayed, while the Into the Spider-Verse -inspired animation may not be for everyone. Having set that stage… I thoroughly enjoyed it. As a Ninja Turtle -phile, I think the movie does justice to the original story and characters from the comic book and cartoon while still remaining fresh. The voice acting is on point, the soundtrack is next level, and I smiled all the way through this rendition that doesn’t take itself too seriously. Cowabunga! PHILL Mutant Mayhem is the first film of the franchise to take a swing and try something different with the world of TMNT. This is especially true because of the younger iterations of its titular heroes that focus less on the ninja characteristics and more on family. Splinter (Jackie Chan) is no longer master; he is just dad to four motor-mouthed, rebellious, and cringey teenagers that happen to be turtles. Overall, the comedy mostly lands, and the animation is a delight, creating Teenage Mutant Ninja Turtles for a new generation of fans. Older TMNT fans will likely enjoy the fresh take too. JACOB As a relative newcomer to the TMNT world, I wasn’t quite sure what to expect when it came to the group’s newest adventures in Mutant Mayhem . That said, I do love animation, and this marks yet another win for the medium in 2023. The film very much feels like something made for today’s youth without simultaneously feeling cynical or condescending, and the art style – while certainly inspired by the Spider-Verse films – feels distinctly its own. Narratively, the film isn’t exactly the singing triumph it could be, but the comedy feels appropriately tailored, and the voice cast all do solid work. PAIGE Cowabunga, dudes! Mutant Mayhem is a total blast. This flick is definitely targeted towards a younger audience, which means the plot plays it safe at times, but it’s still filled with fun for everyone to enjoy. The sketch-like animation is stellar, and allowing the voice cast to record in the same space together really paid off because the chemistry between these turtles radiates on screen. While Mutant Mayhem may not be my favorite TMNT film, it’s still a delightful new installment that everyone should go see with their families.

BREAKUP SEASON Starring: Chandler Riggs, Samantha Isler, James Urbaniak, Brook Hogan, Carly Stewart, and Jacob Wysocki Director: H. Nelson Tracey NICK There’s an authenticity to Breakup Season that makes it more relatable than clichéd. From how frustrated I became with Ben (Chandler Riggs) and his inability to get out of his own way to the hectic and annoying family moments (and members) of the holiday season, everything feels like a lived experience. This approach works for what this film is: a grounded, cozy indie that plays things fairly safe. There are spots that call for a big dramatic moment, but director H. Nelson Tracey instead goes the route of subtlety, which left me wanting, but still works within the context of the film. KATIE Breakup Season is a simple and endearing, if slightly underwhelming, romantic comedy-drama that follows Ben (Chandler Riggs) and Cassie’s (Samantha Isler) sudden and inconvenient breakup during the Christmas holidays. The performances are not bad individually, but their relationship doesn’t feel very authentic and it lacks chemistry, which makes it difficult to believe they were madly in love only recently. I would have liked it better if it leaned more into the awkward moments and tension between the couple, but it meanders from conversation to conversation. Nonetheless, it looks very pretty, and it makes for an easy and cozy watch.