TICK, TICK... BOOM! Starring: Andrew Garfield, Alexandra Shipp, Robin de Jesús, Vanessa Hudgens, MJ Rodriguez, Jonathan Marc Sherman, Joshua Henry, Bradley Whitford, Judith Light, and Ben Levi Ross Director: Lin-Manuel Miranda JAMES Writers are desperate to know that their toils and sacrifices won’t be in vain, but there comes a moment in every writer’s life when they must set their ego aside in order to become a true artist. Tick, Tick…Boom! perfectly captures that moment. Andrew Garfield is the heart and soul of the movie, and his passion and energy are infectious. He once again demonstrates his talent, range, and authenticity as a performer. For every laugh-out-loud joke he delivers, he also sells a raw, painful monologue on the loss of his friends to the ravages of HIV/AIDS. JACOB Perhaps less polished on the technical side than it could have been, Lin-Manuel Miranda’s directorial debut is a fire-starter. Tick, Tick…Boom! is almost certain to capture the heart of anyone who watches it and is guaranteed to charm Broadway and musical fans of all kinds. Andrew Garfield is sensational as Jonathan Larson, his performance carrying both the film and the music to heights it otherwise might not have reached (“30/90” being a particular standout). Robin de Jesús also charms as Michael, often propelling the more emotionally-driven through lines forward with grace and deep empathy. My former-theater-actor-heart loved it. ADRIANO As someone who loves musicals, I loved nearly every moment of Tick, Tick…Boom!. For a directorial debut, Lin-Manuel Miranda knocks it out of the park with a style that feels like it’s from someone who has been directing for years. Andrew Garfield gives a career best performance, showing the manic energy of someone on cocaine and genuine heartbreaking emotion. From a storytelling standpoint, the film explores an extremely relatable crisis with an upbeat, sharp, and anxiety-inducing energy mixed with catchy-as-hell musical numbers. It all blends together perfectly. This is a very promising debut that I couldn’t get enough of. NICK 2021 will likely go down as the year of the musical thanks to some gems for the genre. However, Tick, Tick... Boom! is the best of them all. From someone who isn’t a big Andrew Garfield fan, he is flat out excellent here. Whether it’s acting or singing, he commands the screen in what may be the best performance of his career. The other major standout in this film is the music. The tunes are catchy and memorable, and the way director Lin-Manuel Miranda incorporates them deserves praise as well. A solid debut behind the camera for Miranda.

PET SEMETARY: BLOODLINES Starring: Jackson White, Forrest Goodluck, Jack Mulhern, Henry Thomas, Natalie Alyn Lind, Isabella Star LaBlanc, Samantha Mathis, Pam Grier, and David Duchovney Director: Lindsey Anderson Beer This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. NICK If you're looking for Pet Sematary: Bloodlines to justify its existence, it doesn't. It's pretty much a rehash of the original story of Ludlow with a different coat of paint. Having said that, as a standalone horror, it's a nice introduction for a new generation to the Pet Sematary concept. Even if you aren't new to the franchise, there’s still enough thrills and chills here to provide a satisfying watch. The backstory of Jud Crandall (Jackson White) may be unnecessary, but it still makes for a more interesting story than the 2019 remake of the 1989 original. QUENTIN As a huge fan of 1989’s Pet Sematary (it remains one of the scariest movies I’ve ever seen, in fact), the idea of a prequel that explores the lore of the titular graveyard had my attention immediately. However, Bloodlines isn’t really interested in exploring that lore in any meaningful way. Director Lindsey Anderson Beer mostly just throws jump scares, blood, gore, and slight nods to the IP at the screen in hopes that it will be enough. Sadly, it is not. When you pair that with very mediocre acting, you end up with a franchise entry that embodies its most known quote: “Sometimes dead is better.” KATIE Pet Sematary: Bloodlines left me wondering, “who asked for this film?” It gave me the same bad taste that I’ve experienced with many recent horror prequels or reboots. It’s a totally lifeless, uninspired re-telling of the original story, featuring underdeveloped characters and lackluster performances (with the notable exception of Isabella Star LaBlanc). The film rests on relationships between lifelong friends, as well as fathers and sons; however, we never explore their emotional bonds, and therefore have no reason to be invested in them. This franchise did not deserve to be resurrected. CALEB Pet Sematary: Bloodlines is a lifeless prequel that loses all the terror the original film brought to the table. Pet Sematary (1989) worked so well because it was simple, with the draw of the story coming from the characters and their choices. The cemetery itself was just a plot device; we didn’t need a movie about its origin story. Bloodlines is needlessly complicated and entirely aimless, and it seems disinterested in exploring loss in any meaningful way, choosing instead to bore its audience to death with terrible characters and convoluted world-building. Just like everything else in the pet sematary, this franchise should’ve stayed dead. PHILL Pet Sematary: Bloodlines might just be a serious contender for dullest movie of the year. This uninspired horror has nothing going for it, outside of some very cheap gore effects (most of which are done off screen) and extremely predictable jump scares. To top it off, every single performance in this film is completely wooden; however, in the actor’s defence, the script is so weak that they had very little to work with, anyway. Sadly, there is not a single redeeming quality in Bloodlines that makes this film worth watching. The entire film is as generic as the title.

CLOWN IN A CORNFIELD Starring: Katie Douglas, Aaron Abrams, Carson MacCormac, Vincent Muller, Kevin Durand, and Will Sasso Director: Eli Craig KATIE Clown in a Cornfield is a slasher film I would recommend to those who don’t like slashers. From the outset, it self-consciously employs tropes in an effort to take a modern approach to the genre, with satisfying and creative kills that don’t indulge in the exploitative gendered violence common of its predecessors. The performances are great, striking a balance between seriousness and B-movie excess, and I laughed out loud more than a few times. However, the mystery surrounding the clown is obvious early on, and it needlessly over-explains itself in the final act. BODE Director Eli Craig made a name for himself over a decade ago with Tucker & Dale vs. Evil , a loving parody that took many clichés associated with horror and twisted them on their head, providing plenty of laughs and gore in the process. Clown in a Cornfield sees Craig taking a somewhat more serious (but still self-aware) approach, and though it never really elevates itself beyond its YA trappings (especially in its generational commentary) or its televisual lensing, it’s still a fun enough slasher that delivers what it promises: a clown, a big cornfield and some old-fashioned bloody mayhem. NICK I will give Clown in a Cornfield credit for trying something outside the box because this isn’t your typical slasher. That doesn’t mean it's good, though. Yes, it’s filled with forgettable performances and pedestrian kills, but the biggest sin is the way the premise is fumbled. What could have been a fun meta angle just turns into a campy adaptation of The Boy Who Cried Wolf . Even with that direction, however, there was still a chance to salvage it if only Frendo had an Art the Clown aura, but it’s not even close. Just another forgettable antagonist in another forgettable horror film. ROBERT I appreciate the newfound recognition that B-level actors have regarding the worthiness of starring in or contributing to a fun horror experience like Clown in a Cornfield . It checks all the boxes: clowns, murder, cornfields. But beyond that, it is easy and breezy enough to stay inoffensive. It is super tropey and some of the best jokes are spoiled in the trailer, but if you rode for Thanksgiving , you will find value in this effort. Just remember, the real villain isn’t the homicidal clown, but high fructose corn syrup.

THE SUPER MARIO BROS. MOVIE Starring: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Seth Rogen, Fred Armisen, Kevin Michael Richardson, Khary Payton, and Charles Martinet Directors: Aaron Horvath and Michael Jelenic JACOB The Super Mario Bros. Movie is full of colorful animation, tons of easter eggs and references, and a healthy helping of nostalgic cues, both musical and visual. That said, it’s still a Mario movie made by Illumination, and how you feel about the former heavily depends on your patience for the latter. The film is okay (even decent for kids), but lacks the heart that would have made it soar. There are some neat sequences, but they’re overshadowed by a lazy, bare-bones narrative with little character development and next-to-no emotionally investing moments. It’s not a disaster, but certainly not a success either. ADRIANO We finally have a faithful movie adaptation of the most popular video game ever…and it’s fine. If you’re like me, a lifelong Mario lover, you’ll have some fun with The Super Mario Bros. Movie . I was constantly pointing at the screen with delight at every easter egg. The voice cast is serviceable (at worst), the animation is perfect, and the score is way better than it needed to be. That said, that all comes at the expense of a well-written story and effective emotional stakes. It has only been a few days, but I’m sad to say this movie has already started to fade. AMARÚ Like other successful video game adaptations, the creators of The Super Mario Bros. Movie understood the source material’s strengths: years upon years of “ooh, I hope they include that in there” from which to pull. And pull they did. However, instead of banking on “because we can” nostalgic energy, the film entertainingly interweaves its numerous references into heartwarming familial themes, surprisingly dark humor, and an invested voice cast (Bowser’s voice is forevermore Jack Black). There’s nothing particularly great about the film, other than what makes the game special, but that’s more than enough for a fun time.

SHE CAME TO ME Starring: Peter Dinklage, Marisa Tomei, Anne Hathaway, Joanna Kulig, Brian d’Arcy James, Harlow Jane, and Evan A. Ellison Director: Rebecca Miller AMARÚ She Came to Me is the kind of quirky movie that usually doesn’t appeal to me. A lot of disparate yet intertwining stories that have their own absurdities and that could be movies in themselves, with plots featuring tones so different that it simultaneously feels like a dark comedy, a horror, a coming-of-age, and a romantic thriller. If not for its performances (Peter Dinklage and Marisa Tomei, in particular), I wouldn’t care one bit about what’s going on. But the characters’ awkwardness kept my heart racing so earnestly that I pushed past the “WTFs?” running through my mind. QUENTIN She Came to Me is reminiscent of Crazy, Stupid, Love , except on a more indie and far less clever scale. Most of the characters come off as too bougie for me to care about their self-made white people problems. Marisa Tomei’s Katrina, an opera-going tugboat captain, is addicted to “romance;” Peter Dinklage’s Steven, an opera composer, has writer’s block; Anne Hathaway’s Patricia is a neat freak. These aren’t real problems, and as such, I found it hard to sympathize with them, let alone find humor in their situations. I will file away Marisa Tomei as a tugboat captain for later, though. Don’t you kink shame me! PRESTON She Came to Me is the baby of writer and director Rebecca Miller, who gives us an authentically aligned romantic-comedy that feels far more pragmatic than other competing “rom-coms.” I mean, how can you beat the trio of Peter Dinklage, Anne Hathaway, and Marisa Tomei?! Each deliver a beautiful performance that reflect the brokenness of their character, imbuing them with convincing realism, even if their problems are of the “First World” variety. The film is hindered by multiple narratives that are crammed in, but its messiness is also why I enjoyed it.

HELLCAT Starring: Dakota Gorman, Todd Terry, Liz Atwater, and James Austin Johnson Director: Brock Bodell This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Although Hellcat is a noticeably lower budget production, it makes up for that with its twisty storytelling. What starts off as an abduction thriller, soon reveals itself as more than meets the eye, especially as you learn these characters’ motivations. For a film so heavily focused on its characters, I would have liked to see some stronger performances (nothing stands out either positively or negatively), but the strength of the story was enough to keep me invested. At times it’s like an extended episode of Are You Afraid of the Dark? or Goosebumps , but for my first film of Fantasia, I can't complain too much. QUENTIN More than any other genre, chamber pieces only go as far as the characters and plotting will take you because those aspects are so front and center. There is no extra fluff to hide behind if those two things don’t work. So, since neither are particularly compelling in Hellcat , the movie falters. It attempts a scenario similar to 10 Cloverfield Lane , in which you don’t know who to believe, but the story isn’t balanced well enough to make the viewer invested in either side, a problem furthered by the bland characterizations. This ultimately results in a final reveal that generates shrugs more than anything else.

DEVOTION Starring: Jonathan Majors, Glen Powell, Thomas Sadoski, Christina Jackson, and Joe Jonas Director: J.D. Dillard QUENTIN Other than being bland and formulaic, not to mention that Maverick definitely stole some of its thunder (Glen Powell being in both doesn’t help), there isn’t anything inherently wrong with Devotion , but there isn’t anything particularly remarkable about it either. The emotional beats elicit little feeling in the viewer, while the dogfight scenes don’t generate many thrills. The acting is fine, even if the characters are fairly standard archetypes, but the film lacks the gravitas that this true story deserves. And I get the story is what it is, but the ending just doesn’t hit all that hard. It’s only slightly better than Flyboys . NICK One has to think Devotion would have been far better received had it come out in 2021. As it stands, it’s a film that pales in comparison to Maverick in virtually every way. That doesn’t make it a bad film, though. Devotion takes some time to find its footing, but once it does, it settles into a nice story of friendship. Jonathan Majors and Glen Powell (who is much more subdued than in Maverick ) carry the weight of the story admirably, while the visuals are still nothing to scoff at. So, sure, Devotion can’t match up to Maverick , but that’s not really its fault. ADRIANO Devotion , or as I like to call it, Mid Gun , is extremely average. Glen Powell and Jonathan Majors both make for great leads, and it’s well shot, especially the aerial sequences; however, from a story standpoint, it’s nothing groundbreaking and it’s not very engaging. It’s a great true story that truly deserves to be told, but it feels like it’s missing a backbone. And I must address the elephant in the room, but coming out months after Maverick does it no favours whatsoever. It makes the movie’s spinelessness even more apparent. JACOB As war films go, Devotion rides the line about as close to center as one can get while still having a little something more to offer. Even with some awkward pacing and a borderline average sense of stakes, the film still boasts terrific performances from Glen Powell and Jonathan Majors, whose on-screen chemistry is what gives the movie its much-needed verve when it slows down. Not everything works to that level, though, and as good as the action sequences often are, they’re too short to make much of an impact. That said, this one is worth a watch. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

CRIMES OF THE FUTURE Starring: Viggo Mortensen, Léa Seydoux, Kristen Stewart, Don McKellar, Welket Bungué, Tanaya Beatty, and Nadia Litz Director: David Cronenberg NICK What is advertised as a grotesque body horror from writer-director David Cronenberg is actually an exposition-heavy, almost Shakespearean drama about a dystopian future. Unfortunately, it didn’t quite work for me. Viggo Mortensen does an admirable job as the lead, but the rest of the cast (including a particularly annoying Kristen Stewart) don’t add all that much. Plus, while it contains some memorable moments, it feels incomplete as a whole. Crimes of the Future certainly isn’t a bad movie, and it does ask some interesting questions; However, by the end, it never quite answers them. JACOB More philosophical in its mission than plot-driven, David Cronenberg’s Crimes of the Future is unlikely to entice average moviegoers, but presents a fascinating experience for Cronenberg fans. The body horror master shows off his trademark tricks, of course, but they are embedded inside a narrative rife with existential questions. What makes us human? Can that definition ever evolve? What if we evolved? It runs a bit long and the ending feels like the beginning of most other stories, but Viggo Mortenson and Léa Seydoux are more than up to the task of keeping viewers engaged. If anything, it’s interesting.

THE NUN II Starring: Taissa Farmiga, Jonas Bloquet, Storm Reid, Anna Popplewell, and Bonnie Aarons Director: Michael Chaves PRESTON The Nun II , directed by Michael Chaves, primarily serves to perpetuate The Conjuring Universe, a collection of words that instantly incite skepticism, causing my money-grubbing defenses to be heightened. But, frankly, I believe my cynicism is justified for a sequel that delivers a toothless script and drags us along the well-worn horror genre path. The film is not without merit, though, with Taissa Farmiga delivering an outstanding performance. And the visuals are nice too. In fact, if you can make it through the boring run-up without napping, then you’ll be rewarded with an interesting ending and a few jump scares. Still… meh. KATIE The Nun II , predictably, is a safe, unoriginal studio horror film that mostly just justifies the existence of the franchise. The film quickly falls into an annoying and predictable rhythm of jump scares, which negate the impact of the titular Nun’s frequent appearances. Although the jump scares don’t deliver, Taissa Farmiga’s amazing performance as Sister Irene certainly does, managing to breathe life into a bland and unimaginative script. What’s more, the relentless, over-the-top horror and absurd set pieces managed to hold my attention until the film’s explosive finale, just in time for the most engaging visuals and best-shot sequences. JACOB Credit where credit is due: The Nun II does actually try to make something meaningful out of its predecessor’s dullness. Unfortunately, the resulting effort can’t quite get where it wants to be. The staying presence of the two eventually coalescing narratives is logical, but rendered inert by the fact that one is far more engaging than the other. The third act does manage to bring a little bit of punch to the otherwise slow-moving proceedings, but by then, it’s too late to not feel as if one’s wasted half the time getting there. Perhaps the third time's a charm for this series. CALEB The Nun II packs a few creative scares, but its narrative suffers from a lack of stakes. For “The greatest evil in The Conjuring Universe,” the titular nun seems to be something of a pacifist. This demon clearly possesses enough power to kill our heroes at any time, but continuously chooses not to. It’s difficult to get invested in characters wearing this much plot armor, and it’s impossible to fear an antagonist that simply refuses to harm anyone important. It’s a shame because the film has some fantastically shot sequences, but impressive cinematography alone isn’t enough to save a script this lazy.

THE SECRET AGENT Starring: Wagner Moura, Alice Carvalho, Gabriel Leone, Maria Fernanda Càndido, Isabél Zuaa, and Udo Kier Director: Kleber Mendonça Filho ADRIANO After last year's I'm Still Here detailing the Brazilian military dictatorship in the 1970s, The Secret Agent is here to give us an interesting perspective on that period of time. Anchored by a subtle but excellent performance from Wagner Moura, writer/director Kleber Mendonça Filho takes us headfirst into the sun-soaked world of the average Brazilian citizen, enjoying life despite the terror going on. As slow as it is, it finds novel ways to never be boring, including creative noir-style editing choices and a memorable sequence involving Brazilian folklore, which makes this one of the more engaging titles of this year. NICK The biggest success of The Secret Agent is in its craftsmanship. Director Kleber Mendonça Filho has recreated 1970s Brazil with impressive authenticity, and it plays as important a role as any character in the film. Well, aside from Wagner Moura's Marcelo. Moura gets to show off leading man capabilities here and keeps you engaged throughout the (deliberately) slower paced film. That pacing can be tough, but along with some other aspects of the film, it makes sense the further the story goes. By its end you have an impressive piece of filmmaking that makes up for a lack of excitement with detail and structure. AMARÚ You can feel every bit of The Secret Agent ’s almost three-hour runtime, but it interestingly never takes you out of the film. Director Kleber Mendonça Filho creates beautifully colorful shots and builds great character depth with his meticulous pacing. That slow-build simultaneously has you lost and locked into its disjointed narrative, which has you anticipating the final puzzle piece that clicks the film’s mysteries into place. Much of this is due to a terrific cast, with Wagner Moura continuing to catapult to must-see status, not to mention a standout performance from Tânia Maria. It took a while to get through, but The Secret Agent is worth the payoff. QUENTIN The Secret Agent is a perfect example of a movie not being greater than the sum of its parts. It has so much going for it, to include another terrific performance from Wagner Moura, an excellent score, a vibrant color palette, and a pastiche that effectively recalls Brazil in the 70s. However, it’s unnecessarily long, even feeling much longer than its 161-minute runtime, which makes it difficult to truly engage with the slow-moving narrative. Not helping in that regard are confusing time jumps, revelations that are fairly ho-hum, weird symbolism, and story beats and characters that come and go, often with no genuine purpose. This film was reviewed by Nick, Adriano, and Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

DEATH ON THE NILE Starring: Kenneth Branagh, Tom Bateman, Annette Bening, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, and Letitia Wright Director: Kenneth Branagh AMARÚ I love a good murder mystery. The intrigue, the twists, the style… and Death on the Nile has it all in spades. It’s salaciously decadent and melodramatic, living up to the spectacle of author Agatha Christie’s words. Kenneth Branagh is more subdued than his previous stint as Hercule Poirot and further cements his absolute control of the character and the direction. Taking longer to get into the mystery than most whodunits, Nile ’s second half is made more suspenseful because we live longer with the ensemble’s deliciously indulgent performances (Russell Brand is a standout). An early surprise of the year candidate. QUENTIN Death on the Nile is fine, but it isn’t anything special. In fact, it’s pretty much the same movie as Murder on the Orient Express : an old-fashioned murder mystery built on a capable (if unremarkable) cast and exceptional production design. However, it’s held back by a sluggish start (the eponymous death doesn’t happen until an hour into the movie), lazily done exposition, and a general lack of forward momentum. It just kind of moseys along like an old man walking laps at the mall. That said, if you enjoyed Orient Express , you’ll likely enjoy this too.

MARRY ME Starring: Jennifer Lopez, Owen Wilson, Maluma, John Bradley, Chloe Coleman, and Sarah Silverman Director: Kat Coiro ADRIANO Marry Me is definitely not the worst rom-com starring Jennifer Lopez that I’ve seen. Actually, Lopez and Owen Wilson do a stellar job. The chemistry they have with each other genuinely made me smile. Unfortunately, the movie crumbles under a lot of bad rom-com trappings. It’s absurdly predictable, and everything that I thought would happen happened exactly as I thought it would. Maybe I could forgive that if it was funny, but for the life of me, I can’t remember a single time I laughed. I didn’t despise this movie, but I definitely didn’t enjoy it. JOSEPH Wow, I was so pleasantly surprised with Marry Me . Going in, it seems like it’s going to be a sort of generic and predictable film, and in many ways it is, but there’s something fresh about it. Don’t get me wrong, the film is still tropey and a little dumb at times, but it’s just pure joy to watch. There’s a surprising level of chemistry between Owen Wilson and Jennifer Lopez, while Sarah Silverman offers some good humor. Marry Me is a smile-inducing, fun time.