PUSS IN BOOTS: THE LAST WISH Starring: Antonio Banderas, Salma Hayek, Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da’Vine Joy Randolph, and Anthony Mendez Directors: Joel Crawford and Januel Mercado JOSEPH The Last Wish has everything. It’s stunning to watch, effortlessly funny, and smartly written. Plain and simple, it is top-tier filmmaking and one of the best films of the year. I could not contain my joy while watching, and I was absolutely mesmerized by the gorgeous visuals. The Last Wish shows how films with families and children in mind do not have to be dumbed down or avoid complex issues to be successful, and I hope it sends a signal to studios to continue pushing the boundaries of visual storytelling. AMARÚ DreamWorks Animation always seems to be an afterthought to Disney and Pixar, and movies like The Last Wish are constant reminders why they shouldn’t be. Not only is this sequel’s dual animation style impressive, but so are the adult themes that could make the “wisest” of us appreciate the one life we have. Kids will love the family-friendly shenanigans that Puss (Antonio Banderas) embarks on, adults will love the intelligent references and anime-style action, and ALL moviegoers will appreciate how well crafted the drama, comedy, and horror (yes, horror) are blended in this end-of-year surprise hit. QUENTIN As I get older, I’ve found that most animated movies aren’t for me. The messages for today’s youth either don’t resonate with my own childhood, or, generally speaking, they are too kid-centric, focused more on selling toys than telling a good story. The Last Wish is a rare exception. While it maintains Shrek ’s winning brand of referential humor, it’s also surprisingly dark, featuring hints of adult fare like Logan and Snatch . Themes of mortality and family are approached with remarkable maturity, and The Big Bad Wolf (Wagner Moura) is an absolute scene-stealer of a villain. Overall, it’s a beautifully animated surprise for cynical (and childless) adults. ADRIANO Never in my wildest imagination would I have ever thought I would be writing this, but The Last Wish is one of the year's best movies. The animation is striking and the film’s adventure is a lot of fun, but what really got me was the emotional core of it all. For a film targeted towards families, this film has stuff to say about mortality and the way we use the time we have on this planet. I didn’t expect a Shrek spinoff to make me feel the things this movie made me feel. JACOB Like Shrek 2 before it, The Last Wish takes everything that worked about its predecessor and turns it up a notch. Unlike Shrek 2 , however, its predecessor is not an undisputed classic, so there’s no debate about which is the series’ better movie (it’s this one). With stylistic animation clearly inspired by Into the Spider-Verse , a genuinely heartfelt story in which almost no characters are one-dimensional, and maybe one of the year’s outright best villains, The Last Wish is a genuinely great time making a late-breaking push as the dark horse for Best Animated Feature.

THE MARVELS Starring: Brie Larson, Teyonah Parris, Iman Vellani, Samuel L. Jackson, Zawe Ashton, Zenobia Shroff, Mohan Kapur, and Saagar Shaikh Director: Nia DaCosta AMARÚ The Marvels feels like it had so much more story to tell (at least 30 minutes’ worth), and its makeshift structure is clearly a product of the end of the MCU’s Bob Chapek era. But while some emotional moments and plot points are underdeveloped, the film is ultimately an enjoyable time and highly rewatchable. The lead trio shines together (Iman Vellani is just a fucking delight), and director Nia DaCosta puts together great set pieces, both comedic and action-packed. Plus, the endings (worth a half-reel alone) hold promise that the so-called post-Endgame “mess” will soon be behind us. NICK Just as it feels like things are about to get heavy in the MCU, The Marvels boasts a lighter tone, which is a welcome change. The three leads (Brie Larson, Iman Vellani, Teyonah Parris) work well together, and though I wasn’t particularly a fan of Ms. Marvel , Kamala Khan (Vellani) is the highlight here as her quirks are vastly improved when paired with seasoned superheroes. It’s certainly no homerun, though, thanks to a sorely underdeveloped villain and a progressively messy plot, but I can’t deny I had fun with the creative set pieces from director Nia DaCosta (the opening fight is excellent) and the team's chemistry. QUENTIN For a person who thinks both Captain Marvel and Ms. Marvel are bottom-tier MCU offerings, The Marvels might be slightly better than I expected, but that doesn’t elevate it any higher than just okay. The opening fight scene is admittedly a lot of fun, but the movie also has a forced, almost pandering, Bollywood-inspired set piece and a silly sequence set to “Memory” from Cats that rivals the goofiest parts of Love and Thunder . Plus, overall, the plot is just thin and messy, not to mention an ending that sets up a future I have zero interest in (the mid-credits scene is a different story). ADRIANO I'm not one of those people who enjoys constantly harping on Marvel, but if The Marvels is any indication, their reign is coming to an end. It's not horrible, but it's certainly nonsensical from a story and tone perspective. It's all over the place, and the villain is as undercooked as it gets. Still, I did have fun, though. When director Nia DaCosta was able to express some creative freedom, it elicited some enjoyment and laughter out of me, as did the three leads, especially Iman Vellani. However, I did not have nearly enough fun to call this movie good. PAIGE The latest MCU entry, The Marvels , shines due to its stellar chemistry between leads Brie Larson, Teyonah Parris, and Iman Vellani. It’s got boatloads of fun action sequences and comedic moments that will have you grinning from ear to ear. While this well-paced popcorn flick is full of energy, I can’t help but feel a wee bit underwhelmed by another weak MCU villain and a subpar script that felt like scenes were missing from the final cut. Although it falls in the middle of the road in regards to Marvel's films, I walked away joyfully entertained with this lighter and more buoyant outing. KATIE I was so pleasantly surprised by The Marvels . Unlike the latest Marvel offerings, director Nia DaCosta brings creative flair and originality to inject humour and heart into the story, as well as composing some entertaining set pieces. It’s well-paced and energetic, and driven by the genuine chemistry between the leads Brie Larson, Teyonah Parris, and Iman Vellani. Although the script is a little weak, and I would have liked for the villain’s plot to have been further developed, it’s the first Marvel film in a long time that I can honestly say I’d rewatch.

MEMOIR OF A SNAIL Starring: Sarah Snook, Kodi Smit-McPhee, Jacki Weaver, and Eric Bana Director: Adam Elliot ADRIANO While it doesn't reach the highs of his last film, Mary and Max , writer/director Adam Elliot hits another very special note with Memoir of a Snail . With its unique stop-motion animation and pitch-perfect, darkly comedic tone, this film hits you with tragedy after tragedy, but always in an organic and funny way. This ultimately leads to a powerful ending that left me a teary mess. Despite how dour the film can get, the movie is anything but hopeless, choosing to put one foot in front of the other in the face of tragedy. Memoir of a Snail is a profoundly beautiful experience. KATIE Memoir of a Snail is instantly one of my favourite animated films of the year, with its creative and distinctive stop-motion style, crude and often outrageous humour, and life-affirming message. Plus, despite all the sex and swearing, it’s the most wholesome, rewarding film of LFF. It’s also an intelligent film, exploring the darkest moments of the character’s lives whilst advocating for a forward-thinking approach to tragedy and celebrating progress in the face of adversity. The voice cast is also very endearing, especially Sarah Snook as the protagonist Grace and Jacki Weaver as Pinky. QUENTIN I have a tremendous amount of respect for stop-motion animation, and on a technical level, it will always impress me because of the painstaking meticulousness it requires. However, that doesn’t mean all stop-motion movies are good. Memoir of a Snail fails to adhere to the adage of “show, don’t tell,” with its story told almost entirely through narration instead of dialogue, resulting in a vibe more akin to listening to an audiobook than watching a film. In fact, you could ignore the visual aspects and not lose much, which makes for a heartbreakingly heavy and unengaging experience that seems a waste of terrific animator effort. AMARÚ Memoir of a Snail could’ve easily fallen into a trap of sluggishly reading out a life story, but there’s so many weird and quirky turns in the main character Grace’s (Sarah Snook) life, that I excitedly tuned into each progressively shocking and entertaining chapter. The film’s hilariously honest embrace of life’s peculiarities is expertly explored through a forceful resilience that’s both sweet and powerful. With each piling tragedy in Grace’s story, the film constantly follows its own advice of moving “onward, upward, and sidewards”, leaving your heart utterly fulfilled with its cheer-worthy ending. PRESTON The ending of Memoir of a Snail brings this film a long way. I appreciate the final message, but the journey to get there is fraught with misery and melancholy that showers over you like a water-boarding session. If I wasn’t encouraged by pre-viewing reviews, I might not have made it to the mostly satisfying conclusion. There are some moments of dark levity, but the overwhelming insistence on its trauma-forward narrative reinforces a barrier to any emotional connection. My most cynical self sees its impressive and taxing stop-motion format as nothing more than a means to the awards stage. NICK Those who dismiss animated features as "just children's films" often miss great content, and Memoir of a Snail is just the latest example of that. This tragic story is as grown-up as they come as it touches on some incredibly dark themes, including death, abandonment, and loneliness. There's a lot of pain here, and the gloomy aesthetics only enhance that feeling. Even the somewhat off-putting animation fits with the story being told. I can definitely see this film being a little too depressing for some (it can go a little overboard in that sense), but its ultimate message is pure and worth the somber journey.

THE SUPER MARIO GALAXY MOVIE Starring: Chris Pratt, Anya Taylor-Joy, Charlie Day, Jack Black, Keegan-Michael Key, Benny Safdie, Donald Glover, and Brie Larson Directors: Aaron Horvath and Michael Jelenic AMARÚ The Super Mario Bros. brand is an all-timer because it never overcomplicates its strengths. The Super Mario Galaxy Movie continues the franchise's acceptable run of knowing that children’s entertainment can be straightforward without talking down to them. This sequel is less a movie and more a string of shenanigan filled adventures, but kids will love it, families will enjoy it, and inner-children like myself will be entertained watching the visually interesting nostalgic set pieces (some of this year’s best visuals, by the way). While it’s simple and by-the-book, Galaxy has enough kid-friendly intensity not to feel totally like a dumb cash grab… Just a run-of-the-mill one. ADRIANO As a lifelong Mario fan who got guilty pleasure out of the first film despite its flaws, The Super Mario Galaxy Movie didn’t get me this time. Visually, it’s as wondrous as the last, but the main voice cast is as underwhelming as before (Benny Safdie is the MVP, though), and somehow, there’s less of a story this time. It’s shamelessly all devised to jump from one reference and Easter egg to the next at lightning speed, and if I don’t give Marvel a pass for that, I’m not giving this a pass just because I like the IP. ROBERT When it is all said and done, I believe the Super Mario Bros. universe will be the most successful kids film franchise ever. As a follow-up, The Super Mario Galaxy Movie falls in line with the model of its predecessor while expanding the lore, which is all you can really expect. If you come in searching for Pixar quality, you will be disappointed, but if you come to have a few laughs and Dicaprio-meme at images and sounds from your childhood, it will scratch that itch. You can’t catch the wind, but Nintendo has captured lightning in a bottle twice. BODE Even as someone who grew up playing a lot of Mario games, I found the first Super Mario Bros. Movie to be, like most Illumination films, full of sound and fury, signifying nothing (to quote Macbeth ). The Super Mario Galaxy Movie isn’t that much of an improvement. Some jokes hit this time around, but they’re mostly basic. Like the first, it barely tries to assemble all its references and Easter eggs into something resembling a story. Visually, it’s as stunning as the last, but that’s really it. Even if it’s marginally better, it’s still more of the same.

THE MINISTRY OF UNGENTLEMANLY WARFARE Starring: Henry Cavill, Alan Ritchson, Cary Elwes, Henry Golding, Eiza González, Alex Pettyfer, Babs Olusanmokun, Hero Fiennes Tiffin, Rory Kinnear, Freddie Fox, and Til Schweiger Director: Guy Ritchie AMARÚ When walking into a Guy Ritchie film, you’re almost always guaranteed a good time; The Ministry of Ungentlemanly Warfare doesn’t buck that trend. That said, maybe this time it delivered a little too well on the good vibes. While the cast and its chemistry are an absolute blast to watch (I’d gladly watch more fictional missions with this crew), the low stakes and laissez-faire tone seep into every other aspect of the film. The mission, story, and action set pieces, while all fun, lack the heft to make Ungentlemanly Warfare anything more than a lesser, breezier version of Inglourious Basterds . PRESTON The Ministry of Ungentlemanly Warfare is another classically suitable entry into director Guy Ritchie’s rolodex of extremely watchable fanfare. The fact that this film is based on true events and the actions of some honest-to-goodness, real-life G.D. heroes makes it even better! Admittedly, it does play tame when compared to similar Ritchie works, and it’s rather straightforward in its cinematography, dialogue, and action scenes (shoot here, shoot there, always calm, etc.), which deprives it of the “Wow” factor that we have come to expect. Nevertheless, it is a good film with great actors and an even greater story. QUENTIN The Ministry of Ungentlemanly Warfare is basically director Guy Ritchie’s attempt to blend Kingsman and Inglorious Basterds in his own signature style. For the most part, he succeeds, especially for anyone who is already a Ritchie fan. Admittedly, it’s more a series of fun sequences and performances than it is a great movie, but the cast chemistry, characters, banter, and explosive action set pieces more than make up for the somewhat stakes-free story and lack of weight to the happenings on screen. After the crash-and-burn that was Argylle , I’d have no problem with this becoming Henry Cavill’s new franchise. I’d certainly watch more of these (un)gentlemen.

BONES AND ALL Starring: Taylor Russell, Timothée Chalamet, Mark Rylance, Michael Stuhlbarg and Chloë Sevigny Director: Luca Guadagnino ADRIANO Bones And All made me say something that I never thought I’d say: “This movie about cannibals is beautiful.” Director Luca Guadagnino and writer David Kajganich have pulled off a magic trick because the line between gory horror and poignant love is drawn seamlessly. Timothée Chalamet and Taylor Russell’s chemistry adds to this being one of the most romantic things I’ve seen in ages, while Mark Rylance’s creepy performance adds new layers of frightening. The film’s allegory of repressed urges and societal outcasts may get lost on some viewers, but nonetheless, I am infatuated with this freaky and lovely film. JACOB Certainly not for the faint of heart, Luca Guadagnino’s Bones and All lets the audience know what kind of movie it is right up front, and for some, that will be an immediate turn-off. That said, for those who stick around, great things await. The surprisingly gory cannibal romance, led by an unbelievable Taylor Russell and an assured (but secondary) Timothée Chalamet, manages to find as much humor and depth in a story like this as anything likely could. Guadagnino’s direction is simultaneously wary but never judgmental, and Mark Rylance nearly steals the whole movie every time he is on screen. JTE Bones and All re-teams director Luca Guadagnino and star Timothée Chalamet for another tale of young romance, but this time, with more bite... pun intended. That's right, we have a teenage love story, but the lovebirds are cannibals; much like the director’s previous film, Suspiria , Guadagnino doesn't shy away from the gruesome stuff either. Bones is elevated by its cast, especially Mark Rylance, who is literally chewing up the scenery (amongst other things) in his juicy role. The film never lost my attention, even if the third act isn't as strong as the first two. PAIGE Director Luca Guadagnino is back with another appetizing film that touches on themes of discovering who you truly are and accepting it. This film may not be for everyone, but if you're looking for something unique and different, then it’s a must watch. Bones And All is bloody remarkable due to the strong chemistry between its two leads, Taylor Russell and Timothée Chalamet, while Mark Rylance will have you terrified throughout. It’s a gory love story that will rip your heart out…then eat it! Add it to this year’s list of great horror gems. This film was reviewed by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

NOPE Starring: Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea, and Michael Wincott Director: Jordan Peele JACOB Nope may not boast the subtext of Get Out or the ambition of Us , but it’s every bit as worthy of the praise heaped upon it. Expertly shot by cinematographer Hoyte van Hoytema and featuring stellar sound design, filmmaker Jordan Peele’s latest is a genuine thrill ride meant to be seen on the largest theater screen possible. Keke Palmer and Daniel Kaluuya hold the gaze of every gorgeous frame even as scene-stealer Brandon Perea shares it, and the set-pieces are as tense as the best of Peele’s other works. This is the quintessential summer thriller of 2022. AMARÚ Filmmaker Jordan Peele has mastered the intense slow burn. His third directorial outing, Nope , takes every second of its 131-minute runtime to engulf your attention and immerse you into this world. That same care is taken with its endearing cast too. Peele capitalizes on each actors’ strength, fully utilizing Keke Palmer’s charm, Daniel Kaluuya’s stoicism, Michael Wincott’s intensity, and Brandon Perea’s earnestness, all of which aid in marrying you to this harmonious ensemble through a story that is best entered sight unseen. Jordan Peele’s mind is wild, and Nope officially places him amongst the ranks of best event-movie directors. QUENTIN From a technical perspective, Nope is probably filmmaker Jordan Peele’s best film yet. You can really see his growth as a filmmaker in the imagery, cinematography, and use of light and sound. From an entertainment standpoint, while Nope is still good, it’s also the weakest of his three offerings. It’s slow moving enough that the film feels longer than it actually is, and it feels so much like Signs that the originality Peele is known for takes a bit of a backseat. Again though, let me reiterate, it’s still good and worth your time; it’s just not as good as Us or Get Out . PAIGE Nope is out of this world, and big ol’ YUP in my book. It’s this generation's Close Encounters of the Third Kind , but with enough originality to make it one of the most stunning and eerie films in recent memory. Unfortunately, I was never fully invested in these characters, which kept me in the clouds throughout the film, but that doesn’t take away from the great direction of Jordan Peele, the amazing sound design, or the performances. You will look up into the sky differently after seeing this flick. ADRIANO Insert obligatory “more like ‘Yup’” joke here. But seriously, Nope truly is great. It’s not perfect in any sense of the word, as the characters are kinda one-note and don’t have much of an arc, but Nope is all about spectacle. Writer/director Jordan Peele definitely delivers on that front. Visually, it looks stunning, thanks in part to cinematographer Hoyte van Hoytema, and it’s one of those movies that I feel benefits from an IMAX screen. Plus, as is always the case with Peele, it’s a well-written and creepy puzzle box of a film with layers that may take multiple viewings to peel off.

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

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY Starring: Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, Clarke Peters, Daniel Washington, Bailee Lopes, Bria Danielle Singleton, JaQuan Malik Jones, Kris Sidberry, and Dave Heard Director: Kasi Lemmons JACOB I Wanna Dance with Somebody does not have an identity. It goes through the motions of biopic tropes in chronicling the rise and fall of pop superstar Whitney Houston (Naomi Ackie), but it doesn’t actually have anything important to say about her or a viewpoint from which to approach her story. Ackie works in the part, but it’s not exactly transformative material. Thankfully, the film does touch on Houston’s love life as being not entirely straight, so that’s not hidden from the audience; however, what is hidden is a sense of purpose as to why the film was made beyond “we haven’t done Whitney yet.” ADRIANO I Wanna Dance With Somebody is yet another chapter in the “bland musical biopic” series of films. It lacks any semblance of nuance or dedication while being a great Naomi Ackie performance away from being the non-parody version of Walk Hard . I learned nothing new about Whitney Houston (Ackie), and whereas previous by-the-numbers musical biopics like Elvis or Bohemian Rhapsody had flashy stylistic choices, this film is stale, dull, and lifeless throughout. Whitney Houston deserves much better than this trash.

WHO KILLED THE MONTREAL EXPOS? Starring: Felipe Alou, Jeremy Filosa, Claude Brochu, David Samson, Vladimir Guerrero, Pedro Martinez, and Larry Walker Director: Jean-François Poisson NICK Although a definitive answer would have been great, Who Killed the Montreal Expos? is more about laying out the facts and letting all parties state their case. Unfortunately, most of the people involved aren't particularly engaging, with only the former players (Pedro Martinez, Larry Walker) holding my attention. The heartbreak of the city is evident, and you can't help but feel for the people of Montréal; not just because they lost their team but because their story is told in such a lacklustre documentary. If you don’t know the backstory, maybe you’ll find something here. If you do, don’t expect much. ROBERT After the success of The Last Dance during COVID, I assumed sports documentaries about 90s-era teams would air every other week, but it didn’t turn out that way. The plight of the Montreal Expos is often thought of by baseball fans, but it hardly ever comes up in mainstream discussions anymore. Being able to take a thoughtful look into all the reasons why the Expos had to move to Washington D.C., destroying the fan base in Montreal in the process, is fascinating, though its composition is a bit turbulent as it jumps back and forth in time. QUENTIN Have you seen the internet joke, “before memes, guys just sat around yelling the names of 90s baseball players at each other?” Who Killed the Montreal Expos? is basically a 90-minute documentary that offers little more than that. Sure, there’s a short love letter to the fans of Montreal, as well as some dry facts as to why the Expos relocated to Washington D.C. to become the Washington Nationals; however, most of my limited enjoyment simply came from watching old baseball highlights and doing Leo-pointing-meme at random players from my youth, like Marquis Grissom and, one of my all-time favorites, Larry Walker.

NIRVANNA THE BAND THE SHOW THE MOVIE Starring: Matt Johnson and Jay McCarrol Director: Matt Johnson NICK As someone who’s never seen Nirvanna the Band the Show , I really had no idea what to expect going into this movie. But it’s incredible. Yes, the film is hilarious, as Matt Johnson and Jay McCarrol have clearly fine-tuned these characters. It’s the filmmaking, however, that kind of blew me away. Some of the things that Johnson attempts and succeeds at, be it editing or flat out risk-taking, is thoroughly impressive. On top of that, this thing is so authentically Torontonian, and that combined with a certain film’s integration to the story’s plot, made me feel like this was made for me. ADRIANO As a Torontonian, I acknowledge my bias for a film so littered with Toronto easter eggs, but Nirvanna the Band the Show the Movie is a blast I'd recommend to anyone. Yes, there are inside jokes not everyone will get, but there's still a lot to laugh at. From a sheer filmmaking standpoint, I wondered "how did they do this?" multiple times. The writing alone is truly brilliant, weaving in time travel, comedy, and a sincere friendship narrative all into one uniquely enjoyable package. At the risk of sounding hyperbolic, this movie is sort of a miracle. AMARÚ Watching such a Toronto film with such a Toronto audience definitely helped my viewing of Nirvanna the Band the Show the Movie. Now, don’t get me wrong, there were plenty of jokes that I laughed at all on my own, but the communal experience informing me when I missed a very specific joke allowed for director/star Matt Jones and Jay McCarrol’s charm to naturally grow on me. It’s silly and ridiculous in plenty of the right ways, and while it didn’t necessarily fully hit my funny bone, there was an endearing story of friendship to help boost the laughs I both caught and missed BODE The thing about Nirvanna the Band the Show the Movie is that you don’t necessarily need to have been familiar with Matt Johnson and Jay McCarrol’s previous web and television series to enjoy it, though it definitely doesn’t hurt if you are (I came into it already a fan). If you’re simply looking for a great comedy, this’ll scratch that itch in many ways - from its hilariously astounding leveraging of fair use (right down to its central homage), to its touching ode to friendship and to the city of Toronto itself. This is Canadian cinema at its finest. This film was reviewed by Nick, Adriano, and Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

JURASSIC WORLD DOMINION Starring: Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, Sam Neill, DeWanda Wise, Mamoudou Athie, BD Wong, Isabella Sermon, and Campbell Scott Director: Colin Trevorrow PAIGE No matter how hard they try with these new installments, nothing comes close to how magical the original film is. This outing has a few fun popcorn action sequences, but the script and some of the acting is just flat out horrific. Even with bringing back the original cast and having an eagerly anticipated concept, it’s somehow the second worst movie of the franchise behind Fallen Kingdom . It’s a dinosaur movie with no particular interest in dinosaurs. They needed to bring this franchise back to its Amblin-adventure roots, but instead they delivered a poor Mission: Impossible ripoff with dinos. NICK When this franchise is at its best, it’s a mix of horror and fun. Sadly, Jurassic World Dominion doesn’t have either of those elements. This is a far-too-long film with brutal dialogue, a weak story, and disappointing performances from actors capable of much better. If this movie were just the storyline of the legacy characters, it would have been serviceable; However, far too much focus is spent on the (uninteresting) Chris Pratt and Bryce Dallas Howard side of things. Admittedly, the Jurassic World trilogy hasn’t been great, but I never thought the finale would be this bad. It’s time to let this franchise die. QUENTIN In the franchise’s sixth and reportedly final installment, Jurassic World Dominion doesn’t deliver an ending as much as it delivers a lazy tribute to what came before it. So many scenes are cribbed directly from the previous movies (not to mention one sequence that plays like The Bourne Raptors ) that it feels more like a fan-made Youtube recap. It lacks thrills, the humor doesn’t land (a couple Jeff Goldblum gems notwithstanding), and even the dinosaurs are yawn inducing. Add in a heavy-handed “coexist” message forcefully tacked on the end, and you’ve got an overlong shrug of a movie that ends with a fart noise. AMARÚ There are many instances of characters saying “what?” throughout Jurassic World Dominion , which is exactly what you’ll be thinking as the first act ties up the stench of Fallen Kingdom . No one, not even OG’s Laura Dern and Sam Neill, can bring back the Jurassic Park wonder. Eventually though, standouts DeWanda Wise, Mamoudou Athie, and, of course, Jeff Goldblum, bring the film to a watchable place: specifically, likable characters running from dinosaurs. Director Colin Trevorrow couldn’t get us to love anything on screen, but at least the newcomers reminded us of the franchise’s potential. Still, the series should end on this not-good-but-not-horrific note. ADRIANO Jurassic World Dominion is a fittingly terrible end to a terrible trilogy. Director/co-writer Colin Trevorrow apparently listened to none of the criticisms of the previous two entries, and if he did, it seems like he doubled down on those complaints because the characters are somehow less interesting, the story makes less sense, and everything is unnecessarily overcomplicated. The presence of the legacy characters is a little cool, but the novelty wears out quickly. This is easily the worst of the three films, and I’m genuinely impressed by how they butchered such an easy premise. I felt absolutely no fear or attachment to anything. JACOB An unremarkable end to an ill-conceived trilogy, Jurassic World Dominion doubles down on all the mistakes of Fallen Kingdom, then adds another half-hour. It wastes not only fan service, but the viewer’s time. What little story there is stretches well past its logical endpoint as we follow non-dimensional characters through some largely terrible performances. The legacy faces have absolutely no necessity to the story being told apart from one plot point, while the dinosaurs – yes, the dinosaurs – are put on the backburner. No amount of fan service can redeem a lackluster narrative, especially when what makes it meaningful is squandered. JOSEPH There are a multitude of storylines in Jurassic World Dominion , which is precisely the movie’s main problem. Bringing back legacy characters and having multiple action sequences are pointless if there is absolutely zero focus to them. It may be fun popcorn fodder and there might be some good ideas here, but they’re drowned out by the rest of the noise. And, oddly enough, it feels like there are less dinosaurs than ever before. This series finale will go down as a pointless footnote to what was a once promising legacy franchise.