JAY KELLY Starring: George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Grace Edwards, and Stacy Keach Director: Noah Baumbach QUENTIN As a person who loves movies about movies (and, by proxy, movie stars), Jay Kelly was right up my alley. George Clooney is perfectly cast, essentially playing himself (a running joke in the movie), as a superstar actor grappling with the shallow relationships and disheartening loneliness of mega fame. It deftly walks a tight rope between self-indulgent navel-gazing and brilliant meta subtext. And as good as Clooney is, it’s Adam Sandler who steals the movie as he once again proves that he is a legitimate actor. If this were to be Clooney’s final movie (it won’t be), it’d be something pored over for years to come. AMARÚ There has yet to be a Noah Baumbach-directed film I’ve enjoyed. I often find that his characters have empty, first-world problems, or in the words of those in my inner circles, white people shit. But Jay Kelly ’s introspective look into the psyche of good people who make bad decisions makes this story a little more relatable. The titular character (George Clooney) and his manager, Ron (Adam Sandler), still make choices that seem counter to their narrative momentum; however, placing their seemingly superfluous conflicts in the chaotic day-to-day of movie stars allows for much more emotional resonance surrounding their work-life balance issues. ADRIANO I was on and off Jay Kelly' s wavelength consistently. I loved Noah Baumbach's Fellini-esque direction and the ambitious approach to the titular character's (George Clooney) reflection, but while Clooney and Adam Sandler are excellent at the centre, Billy Crudup stole the movie. With that said, the attempt to erode the barrier between an out-of-touch actor and the audience didn't always land. The journey was lacking in emotional familiarity and was mostly just sad. The ending, however, sticks the landing and made me wish the rest of the meandering movie matched what the finale delivered. BODE Some have critiqued Noah Baumbach’s latest picture, Jay Kelly , for its sentimentality. To that, I would say: don’t be so easily fooled. It’s there, yes, but it’s constantly balanced out with the sourness that Baumbach initially made his name on. It causes some tonal whiplash, but in a way, that just makes this bittersweet character study more compelling - especially as George Clooney does some of his best work in years exploring the contradictions of this pathetically successful Hollywood figure. Adam Sandler, Riley Keough and (especially) Billy Crudup also shine amidst a star-studded ensemble. Solid - if not spectacular - stuff. NICK I know “aura” is a big buzz word these days, but that is the best way to describe what George Clooney has. Be it his charm, screen presence, or overall likeability, Clooney is the quintessential movie star, which makes him perfect for this character. He's wonderful in a role that looks at the cost and ramifications of fame. Kelly is a flawed character, but Clooney ensures we never turn on him; a great supporting turn from Adam Sandler helps, as well. I don’t think Jay Kelly is going to bring Clooney another Oscar, but it shows those aspirations are far from over. KATIE Jay Kelly is undoubtedly self-indulgent and sentimental, but sincere and with enough humour that I didn’t really mind. The dialogue doesn’t always work, and some characters are too underdeveloped for me to care about them, but it's driven by great performances. George Clooney, playing the titular Jay Kelly, is, as always, a perfect movie star: compelling and charming, with an endlessly watchable screen presence. Adam Sandler is also fantastic, again proving his dramatic talent. The score is lovely, and the cinematography is gorgeous. For all its sentimentality, I enjoyed the A-list performances and nostalgic appeal. ROBERT Ambiguity can be either the life raft that lifts a film and its message or the anchor that sinks it completely. The life of Jay Kelly, as portrayed by George Clooney, is designed to make the audience question reliability in the narrator’s account of the past, forcing them to consider whether they should root for him, right until the end. For me, Jay Kelly is wildly successful in its journey of retrospection, sold beautifully by Clooney, Adam Sandler’s beaten-down charm, and whirlwind stints by Billy Crudup and Riley Keough. Some might find it saccharine, but as a father, it leaves me contemplative and emotional. PAIGE Noah Baumbach’s Jay Kelly is an intriguing meta yet sentimental piece that explores themes of regret and the cost of choosing fame over authenticity. While I found the first half of the film a bit difficult to connect with, mainly due to clunky dialogue and a lead character who initially feels unrelatable, George Clooney’s performance slowly drew me into the narrative. As the story unfolds, you begin to put yourself in Jay’s shoes and reflect on the memories we wish we could have had with the people we love, and that, right there, is the power of cinema. Not to mention Nicholas Britell's beautiful score, which truly enhances the emotions you feel by the end of the film. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

LEFT-HANDED GIRL Starring: Janel Tsai, Shih-Yuan Ma, Nina Ye, Brando Huang, Akio Chen, and Xin-Yan Chao Director: Shih-Ching Tsou ADRIANO In her directorial debut, Shih-Ching Tsou takes a lot from her frequent collaborator, Sean Baker (who happens to have co-written and edited the film). Left-Handed Girl begins as a light tale of hardships with little plot, but offers a breezy look at this family's life against the vibrant backdrop of Taipei's night market. The film slowly devolves into chaos, culminating in a stressful climax that finds beauty in the tragedy of bottom-class living, all put together with compelling handheld home-video style filmmaking. And it's extra watchable when there's a cute little girl at the forefront (Nina Yeh). AMARÚ Director Shih-Ching Tsou’s dynamic handheld direction of Left-Handed Girl drops you right into the tumultuous life of single mother Shu-Fen (Janel Tsai) and her two daughters, I-Jing (Nina Ye) and I-Ann (Shih-Yuan Ma). You feel the weight of every decision made by all three characters through the chaotic, yet somehow methodical, pacing that mirrors the unsteady life of secrets, hardships, and hope for a better future. Watching them fight through their slowly unraveling family history, it’s difficult to know where generational trauma ends and bad decision-making begins, but I guess that’s true to life’s harshness. This film mesmerizingly captures that reality. KATIE Shih-Ching Tsou’s stunning debut, Left-Handed Girl , draws you in with a seemingly naturalistic and understated approach to the small family’s life as they set up a noodle stand in a bustling night market in Taipei. It then grips you and doesn’t let go until the climactic end while being surprisingly moving, funny, and impactful. The camerawork creates an intimate portrait of the family’s struggles and the pressures they each individually face, especially as women. The young Nina Ye, playing I-Jing, is heartbreakingly adorable and has an impressive screen presence, and is the best thing about this bittersweet story.

FLY ME TO THE MOON Starring: Scarlett Johansson, Channing Tatum, Jim Rash, Anna Garcia, Donald Elise Watkins, Noah Robbins, Colin Woodell, Christian Zuber, Nick Dillenburg, Ray Romano, and Woody Harrelson Director: Greg Berlanti AMARÚ Fly Me to the Moon is the first purely entertaining film I’ve seen in a while. No stakes, no problems, no drama…well, a little drama…but just enough to take the vibes slightly seriously. That’s what this film is: a mix of rom-com vibes, historical biopic storylines, and predictable satirical twists, which, in all seriousness, could’ve easily failed. But, with Channing Tatum and Scarlett Johansson’s charm, Woody Harrelson’s cheekiness, and a heartfelt supporting cast, led by CW legend Greg Berlanti directing fluff in his ever-enjoyable way, the perfect personnel were assembled to keep this too-long, thinly plotted film working in all the ways it needed to. ADRIANO Fly Me to the Moon will probably reach its intended audience of middle-aged moms, but considering I'm not 55 years old, I thought this movie was subpar. It’s not endearing or romantic enough to pass as a rom-com, and as revisionist history, it’s uninteresting, strangely convoluted, and way too long. Any laugh I got out of this was from Ray Romano's delivery (pretty big laughs, in fairness). Scarlett Johansson is serviceable, but Channing Tatum is very stilted; I didn't buy their romance at all. Fly Me to the Moon is harmless and silly overall, but I’ve forgotten most of it already. KATIE I was disappointed by Fly Me to the Moon . With the promise of a rom-com starring Scarlett Johansson and Channing Tatum, I expected irresistible chemistry, playful banter, and plenty of laughs. However, their characters, Kelly and Cole, don’t even seem to really like each other, which is a shame because Johansson’s performance is charismatic and fun. Tatum, on the other hand, lacks the light-heartedness necessary to make their dynamic work. It’s also too long, veering from romance to attempts at comedy to emotional drama, never settling on what it wants to be. PRESTON Playing on one of the most widely-held conspiracy beliefs that the televised moon landing was an elaborate government production, Fly Me to the Moon provides enough cleverness in its rom-com format to be an entertaining jaunt to the theater. Although a slow-starter and a bit too long, it still builds appropriately with enough competent pacing to endear the audience to its characters. Scarlett Johansson carries the flick nicely, while Woody Harrelson provides the saucy pop we have come to love him for. Incidentally, Channing Tatum and a cat also star in the film. SHADAN As a Houstonian, I will always be biased toward space-race flicks, but I was admittedly surprised by just how much I enjoyed Fly Me to the Moon . While nothing about the film is outwardly spectacular, the pieces fit together to form a charming, breezy few hours of harmless fun. While I wanted more from the romance between Scarlett Johansson and Channing Tatum, their mere presence here is a delight that further elevates the film to recommendable heights. A perfectly fine time at the movies.

REZ BALL Starring: Jessica Matten, Kauchani Bratt, Amber Midthunder, Zoey Reyes, Julia Jones, Kusem Goodwind, Ernest Tsosie III, Dallas Goldtooth, and Cody Lightning Director: Sydney Freeland NICK For a film about basketball, it’s the sporting elements that fail Rez Ball . The in-game action lacks gritty intensity, so they come across more like a glossy High School Musical scene over something with the weight the story requires. In fact, the film as a whole feels very Disney Channel Original Movie, from the performances to the look and feel. When it delves into the Navajo culture and its people, the film is at its strongest, but those moments happen too infrequently. The focus here is basketball, and when you can’t equal your contemporaries, let alone surpass them on that front, that’s a problem. KATIE The strengths of Rez Ball lie in its cultural specificity and representation of the community, but its hindered by its amateurish performances and TV movie feel. The more interesting parts of the film that focus on Native American culture feel overshadowed by the weaker dramatic subplots, and the cast struggle to convey the intense emotion needed for them to succeed. The runtime is overlong, and the pacing was surprisingly uneven considering that the basketball games should have injected some energy and excitement into the film. Nonetheless, Rez Ball is overall an easy watch with a lot of heart and a feel-good finish. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HIM Starring: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, and Jim Jefferies Director: Justin Tipping NICK I think if Him was content with just being a story about the lengths one will go for greatness, it could have worked better. Instead, it’s a film that feels compelled to touch on things like race and religion without the depth to handle either. It’s too bad, too, because Marlon Wayans is actually quite entertaining, and there are some solid visuals throughout the film. It just all feels so hollow. It’s undone by striving to be more than it is, which is often the downfall of many pro athletes. Unfortunately, that parallel was unintentional. ADRIANO Much like the protagonist in the film (played well by Tyriq Withers, admittedly), Him has sincere hidden greatness. Maybe this is my anticipation talking, but I saw the potential even in the worst moments of the empty style that only distracted from the empty messaging. Too much of Him baffles more than frightens, but even at the lowest points of extreme confusion and disappointment, I was optimistic that it would redeem itself. And then the third act came, eradicating any potential it had to come back around and truly proving that Him has nothing to say. AMARÚ Him has everything necessary for a harrowing tale about athlete commoditization and the dangerous sacrifices of obsession. Director Justin Tipping’s visuals are hauntingly captivating, and Marlon Wayans’ mad-eyed intensity is perfect as the wayward mentor to Tyriq Withers’ doe-eyed naivety. You can see greatness in individual scenes, but the screenplay lacks absolutely any amount of tension. Instead of the ebbs and flows of a full-fledged story with rising actions climaxing to an anxiety alleviating resolution, it’s an outline of spectacle put on film. Montages, music, and motivational phrases aren’t enough to capture audiences’ attention. They’re only enough to waste the potential of this film’s talent.

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE Starring: Eric Bauza, Candi Milo, Peter MacNicol, Carlos Alazraqui, and Fred Tatasciore Director: Peter Browngardt AMARÚ The Day the Earth Blew Up is exactly what you would expect from a Porky Pig and Daffy Duck (both voiced by Eric Bauza) two-hander. It’s wacky, silly, ham-fisted, and the perfect combination of slapstick comedy with adult-laden one-liners. The animation is the best Looney Tunes has ever looked, and the story fits right in with all your childhood favorites from the Tune Squad. The shticks will only take you as far as your tolerance for campy comedy, but even if you're not the hugest fan, the heart of Daffy and Porky’s relationship should take you the rest of the way. ADRIANO The Day the Earth Blew Up is classic Looney Tunes . The visual of Daffy Duck (Eric Bauza) bursting through a wall, leaving a hole in the shape of Daffy is enough to get me laughing hysterically. There were maybe one or two jokes that made me cringe, but other than that, the hijinks and slapstick are all here. The animation is great, the plot is hilariously ridiculous, and as high and silly as its concept goes, the movie has a lot of heart, so you're not coming just for the laughs. I'm a simple man sometimes, and I loved this movie.

THE WIZARD OF THE KREMLIN Starring: Paul Dano, Jude Law, Alicia Vikander, Tom Sturridge, Jeffrey Wright, and Will Keen Director: Olivier Assayas ADRIANO The Wizard of the Kremlin is worth watching for Jude Law's brief yet uncanny performance as Vladimir Putin. Every time he was on screen, my eyes were peeled. Paul Dano also is excellent, but the movie starts to get a little scattershot over the course of its two-and-a-half-hour runtime. As a lover of political thrillers, the dialogue very easily sucked me into the film at times; however, the statement it wants to make on political power in the modern age and the rise of Putin felt lost to a point of no return, creating a forgettable experience. QUENTIN There is an interesting story buried somewhere in The Wizard of the Kremlin , but writer-director Olivier Assayas fails to capture it. First off, this movie is way too long, especially considering the first hour offers unnecessary backstory that is ultimately irrelevant to the plot’s central relationship between Vladimir Putin (Jude Law) and Vadim Baranov (Paul Dano). Second, presenting the story as fiction is confusing. There is a lot of truth here, but I’m not completely sure what is true and what is false, so what’s the point? Lastly, it’s a nitpick, but not even an attempt at Russian accents? Except for Law, this is an across-the-board mess. This film was reviewed by Adriano and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

ANIMAL FARM Starring: Seth Rogen, Gaten Matarazzo, Steve Buscemi, Glenn Close, Laverne Cox, Kieran Culkin, Woody Harrelson, Jim Parsons, Andy Serkis, Kathleen Turner, and Iman Vellani Director: Andy Serkis QUENTIN Andy Serkis’s adaptation of George Orwell’s Animal Farm is an odd one. On one hand, many of Orwell’s original themes are relevant today, particularly in the United States, which makes a movie like this even more important right now. On the other hand, this is a movie geared towards younger audiences. Will kids pick up on any of the timely subtext? Will they even care? I just don’t know. Still, it’s an enjoyable film with great vocal performances by the star-studded cast, but it falls into the purgatory of being too childish to be strictly for adults and too thematically nuanced to be strictly for kids. ADRIANO What do you get when you take a masterwork and try to dumb it down for babies? You get Animal Farm, a baffling disaster. I get modernizing George Orwell’s book to reflect today's authoritarianism, but because director Andy Serkis and writer Nicholas Stoller are so intent on making this dark tale kid-friendly, it’s sanded down to the point where its critiques are obsolete. And even if you want to ignore the source material (like the filmmakers did), Animal Farm is still the lowest common denominator kids' nonsense. Yet they expect them to understand totalitarianism? This is truly for nobody. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

BULLET TRAIN Starring: Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Benito Antonio Martínez Ocasio, Logan Lerman and Zazie Beetz. Director: David Leitch AMARÚ Apparently, director David Leitch wanted to adapt Bullet Train into a Guy Ritchie movie written by Quentin Tarantino. It’s a bit overlong at 126 minutes, but when waiting for every satisfying puzzle piece to click into place, that extra time feels like bloody icing on a violently good cake. Every performance, whether on screen for 5 or 50 minutes, is entertaining, the action ranges from realistic to hilariously hyperbolic, and the story unfolds like a mix of Ocean’s 11 , Pulp Fiction , and Snatch . If there’s a standout, it’s The Twins (Aaron Taylor-Johnson and Brian Tyree Henry) but, damn, every part of Bullet Train is delightful. JACOB Bullet Train is a lot of fun, especially as a theater experience. While director David Leitch’s action films have a tendency to be convoluted and overlong (Bullet Train being no exception), it’s not often that we’re gifted movies that revel in their own premise without seeming self-aggrandizing. Brad Pitt is in full movie star mode as every action sequence ramps up both the thrills and laughs along the way, while Aaron Taylor-Johnson and Brian Tyree Henry almost steal the show. There are some aspects of the film that may leave viewers a tad uneasy, but those flaws are hardly fatal. PAIGE All aboard! David Leitch’s Bullet Train is packed with a bloody mess of action, killer color schemes, and hilarious moments. This high-speed entertainment blockbuster shares similarly stylish vibes to John Wick if it had been directed by Guy Ritchie. But even with fun performances and cameos, the film tends to go off the rails (no pun intended) when trying to pack as much story in as possible. As much as I enjoyed taking the ride, I just felt like I was never going to get off, which made it feel neverending. QUENTIN As a fan of the fun, Quentin Tarantino/Guy Ritchie knockoff subgenre, it’s been way too long since we’ve had a new offering. And while Bullet Train decently scratches the itch, it pales in comparison to similar fare like Smokin’ Aces and Lucky Number Slevin . It’s generically fun without ever veering into “total blast” territory, and the humor elicits more chuckles than laughs. Also, the trailers give a lot away, spoiling everything from one-liners to cameos. Brad Pitt is as entertaining as ever, and the rest of the cast is clearly having fun, but this film isn’t built for first class. It belongs in economy. ADRIANO Bullet Train is a bloated and overstuffed mess whose third act goes off the metaphorical rails. I loved it, and I want to watch it again as soon as possible. Director David Leitch’s style of action is so much fun to behold, and the cast seems to be having a full-on blast with the film’s ridiculous and funny script (Aaron Taylor-Johnson and Brian Tyree Henry are particularly great as a scene stealing duo). I’m a massive sucker for over-the-top, hyper-violent action comedies, and this film delivered that in spades.

OBSESSION Starring: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, and Andy Richter Director: Curry Barker ADRIANO Watching Obsession , it felt like I was witnessing a new horror hit. Weaponized with debut director Curry Barker's awkward sense of humour, he cannonballs onto the scene with confidence and a fantastic eye for creepy imagery. What makes this one so wonderful is the awfully relatable terror of having a hopeless crush, mixed with the highs of optimism that soon reveal some gross scares from the mere sight of Inde Navarrette. She is a true revelation, as her supernatural attachment becomes a nightmare. I hope for dear life that audiences embrace Obsession for the treat it is because it's special. NICK The buzz surrounding Obsession at TIFF last year was palpable, so maybe inflated expectations played a part here, but to me, this is a good (not great) horror film across the board. Director Curry Barker shows sincere promise as a horror filmmaker with his deft utilization of the wish concept. That said, the film gets a little repetitive, and at times reminds me of the Smile movies. Even the heavily acclaimed performance of Inde Navarrette didn’t overwhelm me. Obsession shows Barker deserves more opportunities, but I’m not in agreement with the amount of acclaim it’s receiving. Temper expectations. PAIGE While the “be careful what you wish for” concept has been done many times before, writer/director Curry Barker flips the idea on its head and makes it feel wildly unique. Obsession may not be downright horrifying, but it’s undeniably cringe-inducing. You’ll feel dreadfully uncomfortable through its entire runtime. Much of that comes from Michael Johnston’s intentionally awkward performance as Bear and Inde Navarrette’s uncanny and captivating portrayal of Nikki, in one of the best performances of the year so far. While the film becomes a bit repetitive in its second act, it tonally balances its unsettling premise with some dark humor extremely well. BODE A great thing about film festivals is that you never know if or when you’ll come across the potential “next big thing.” Coming out of Obsession at TIFF, I was convinced writer-director Curry Barker would be that. Taking the well-worn “be careful what you wish for” fable and turning it on its head with enough restraint and eventual force, he delivers a horror feature that’s genuinely frightening, gleefully mean-spirited, and surprisingly hilarious - occasionally in equal measure. It wouldn’t entirely work if it didn’t have Inde Navarrette, whose creepy yet empathetic performance is truly revelatory and makes it even more of a must-see. KATIE Curry Barker's debut feature, Obsession, is one of the most impressive horror films of the year so far. I did not expect such a gripping and affective commentary on the nature of consent and patriarchal entitlement to women’s bodies and attention, fuelled by an astonishing performance by Inde Navarrette. With hints of the best roles from Get Out, Smile , and Weapons , Navarrette’s performance is brilliantly unnerving and unhinged, yet still in complete control. Obsession successfully manages to grapple with its seemingly straightforward but downright chilling and troubling concept, whilst also supplying dark, cringe-inducing humour and satisfying jump scares. ROBERT Horror is set up to have the most challengers for the championship belt for now and the foreseeable future, and here comes Curry Barker with a steel chair in the form of Obsession . The trailers foreshadowed some bonkers moments and high-end unease that the movie delivered on indubitably. The headline is Inde Navarrette with her teetering mental shifts and physical prowess, but the hit rate is so high because of how it plays off of Bear (Michael Johnston) and his stoicism while tap dancing through raindrops of crazy. For the budget, the shots and scares are revelatory, and its conveyed brutality is palpably jarring. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

ON THE COME UP Starring: Jamila C. Gray, Da'Vine Joy Randolph, Lil Yachty, Mike Epps, Miles Gutierrez-Riley, Justin Martin, Titus Makin, Michael Cooper Jr., Sanaa Lathan, and Method Man Director: Sanaa Lathan QUENTIN You know, if I’m being honest, there isn’t anything truly bad about On the Come Up . The acting is mostly serviceable (if a little CW-ish), and the pedestrian story is decent enough. However, it’s essentially a YA version of 8 Mile , which is not something I needed in my life. And, most importantly, most of the raps in the movie are awful, which is a major issue when the main character is constantly being hyped as a skilled and natural rhymer. All in all, the fact that this movie is being released direct-to-streaming on Paramount+ feels right for what it brings to the table. ADRIANO On The Come Up is all familiarity with nothing interesting added. It’s not without its entertainment value…the rap battle sequences can be fun, and Jamila Gray is a great lead and potential star in the making…but the script is so damn basic. I easily guessed everything that was going to happen five minutes into the movie. Luckily, there is a good version of this movie out there already. It’s called 8 Mile . This film was reviewed by Quentin and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

STRUNG Starring: Chloe Bailey, Lynn Whitfield, Anna Diop, Lucien Laviscount, Coco Jones, and Romy Woods Director: Malcolm D. Lee AMARÚ When you cast Lynn Whitfield and Anna Diop, you know you’re going to get some mysterious and messy stuff. Strung is shot with an ethereal quality to highlight those mystically thriller vibes, but it’s tonally all over the place due to some massively goofy decisions. From weird music cues to horribly inconsistent dialogue and character decisions, this soap opera does Chloe Bailey no favors as she tries to navigate a new(ish) acting career. This is one big slightly-better-than-bad soap opera. But then again, when you have Ms. Whitfield, it’ll never be flat-out bad. ROBERT If you take a sprinkle of Soul , a dash of The Perfection , mix in a generous helping of The Housemaid , you get Strung . The movie wanted to be Get Out so badly, I could sense it closing its eyes, gritting its teeth, and attempting to level up like an anime character. Unfortunately, it ended up only reaching its final streamer-level form. I give credit that the “erotic” segment of its erotic thriller categorization did really work for me, but everything else was disjointed and poorly executed to where I knew the ending with fifty minutes remaining. Follow your intuition and perhaps peruse Peacock for alternatives.