A MINECRAFT MOVIE Starring: Jason Momoa, Jack Black, Danielle Brooks, Sebastian Hansen, Emma Myers, Jennifer Coolidge, and Rachel House Director: Jared Hess AMARÚ Jason Momoa excels as a hilariously insane tool while Jack Black’s rock awesomeness creates some bops, but I prefer those schticks in Fast X and the new Jumanji movies, respectively, much more than I do in A Minecraft Movie . This is where my “objective movie critic” lens reaches its limit because this movie is trash, fulfilling the real-life prophecy of full-blown, studio-fueled, IP-driven cash grabs that satires like The Studio make fun of. It doesn’t matter, though; it’s going to make a shit-ton of money, and there will be a bunch of sequels. At least I no longer feel obligated to watch them. ADRIANO I mean... It's A Minecraft Movie . I know fans of the film and games will combat my criticisms with "It's just entertainment" or "It's for kids." And if you feel that way, fine. But you can't possibly tell me, even unironically, that this movie is good. Jason Momoa and some of the aesthetics give this movie a leg up, but between Jack Black's directionless performance, the cringe humour, the horrific green screen, the weak character writing, and the abhorrent script full of clichés and inconsistencies, it's obvious nobody behind this cared about what they presented since it was making money anyway.

ORIGIN Starring: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, Emily Yancy, Vera Farmiga, Audra McDonald, Finn Wittrock, Victoria Pedretti, Jasmine Cephas Jones, and Isha Carlos Blaaker Director: Ava DuVernay QUENTIN Despite being well acted and delivering thoughtful commentaries on racism, caste systems, and personal grief, Origin is as dry as a college lecture. Nothing about Ava DuVernay’s direction is bad, but it’s not particularly dynamic either. It’s not all her fault, though. The message is certainly important and, from a scholarly perspective, incredibly fascinating, but it’s not built for a feature length narrative. This would have been much better and perhaps more impactful as a documentary because, as is, it’s like watching someone act out a doctoral thesis paper. Personally, I can’t say I enjoy movies that feel like homework. NICK The story of Origin is one of importance, but it’s hidden inside a very tedious film. Director Ava DuVernay brings us something that feels more like a college lecture than a concise and interesting narrative. This has nothing to do with the performances, but in the way the subject matter is approached in such a dry manner. It truly felt like I was watching The History Channel at times, and although I sympathize with the trauma Isabel Wilkerson (Aunjanue Ellis-Taylor) faced, everything surrounding her is lethargic. Wilkerson writes “a world without caste would set everyone free;” a lasting message that deserved a better film. AMARÚ I can’t exactly explain how director Ava DuVernay shoots Origin , but the camera work placed it somewhere between narrative and documentary. It’s like she said, “y’all not gon’ watch a documentary? Okay, imma make sure you get this information anyway!” And damn if I didn’t get that info. In the film, Aunjanue Ellis-Taylor’s Isabel is trying to find connection between seemingly unconnected concepts, and DuVernay connects the narrative with the history lessons through the same ideals Isabel does: love, grief, trauma, and compassion. This delivery method masked the triggers similar movies often elicit, and it results in a powerfully engrossing, expertly written film. ADRIANO There is an old rule in storytelling: Show, don't tell. Origin largely abandons that rule. Instead of delivering what should have been a documentary on the caste system, writer/director Ava DuVernay opts for an aggressively unsubtle and borderline Hallmark approach to the narrative form. Aunjanue Ellis-Taylor is terrific, and she could gain something from this, but the way in which the message is presented is flatly directed, a structural disaster, and full of moments that are emotionally manipulative. The final thirty minutes, in particular…I'm not gonna lie…were horrendous. I had high hopes for this one, but I was very disappointed. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 Toronto International Film Festival, respectively.

RYE LANE Starring: David Jonsson and Vivian Oparah Director: Raine Allen-Miller ADRIANO It boggles my mind that Rye Lane is Raine Allen-Wilson’s feature directorial debut. The way her direction turns a fairly simple concept into something that I feel like I’ve never seen before is very impressive. This film is littered with unique framing devices that are both bold and hilarious, not to mention plenty of subtle humor and background jokes that do nothing but make the experience more fun while complimenting the core romance at the center of it all. David Jonsson and Vivian Oparah’s compelling chemistry certainly doesn't hurt either. This one comes highly recommended. DARRYL Starting with possibly one of the strangest meet-cutes in recent memory, Rye Lane is a breath of fresh air in a dying genre. David Jonsson and Vivan Oparah's chemistry is palpable, making it easy for the audience to root for them to succeed in the opening scenes. Sonically, the film's soundtrack gives the story a soulful feel that helps to elevate the sharp writing. The natural progression of events, while following the typical rom-com formula, still feel original and inventive, making the story of Dom (Jonsson) and Yas (Oparah) a strong contender for one of the better movies that (almost) takes place in the span of a single day. JACOB Imperfect though it may be, with a shooting style that annoyed me more than it interested me, I nonetheless was won over by the very cute Rye Lane . Its first act is very choppily edited, but once it balances out, it becomes a sort of one-day rom-com filled with fun banter, subtly impressive performances, and genuine heart. The parts of it that don’t work – mainly the lack of dimension around some supporting characters and an ending that feels appropriate but slightly rushed – stick out, but even if I never return to the film, I’d be happy to recommend it. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

REDUX REDUX Starring: Michaela McManus, Stella Marcus, Jim Cummings, and Jeremy Holm Directors: Kevin McManus and Matthew McManus This film has been reviewed by Nick, Bode, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Although not at all the exhilarating thriller it's promoted as, I enjoyed Redux Redux for what it actually was. Michaela McManus (Irene) channels Rebecca Ferguson as she leads this multiverse-trotting tale of revenge that, despite a lack of high-octane action, is still entertaining. Directors Kevin and Matthew McManus do a great job of showing how someone can lose themselves when blinded by vengeance and what it takes to get them out of that cycle. Could it have been more thrilling? Yes, but the pairing of McManus and Stella Marcus (Mia) give their characters enough life to keep the story engaging. QUENTIN Given Redux Redux ’s status as one of my most anticipated Fantasia offerings, I’m saddened to call it a disappointment. Admittedly, this could be an expectations management issue, but the promised storyline of violent vengeance and “deliverance by any kind of weapon…every kind of weapon” doesn’t deliver. Instead, it’s more about working through trauma and the developing bond between a tortured adult and a defiant teenager. Think You Were Never Really Here mixed with Logan , but only in plotting and themes, not actual quality. That said, the performances are great, so it might have been better had my mind not been clouded by the marketing. BODE When I came across the premise for Redux Redux , I was quite intrigued. A time loop story can comment on so much, and using it to comment on the cycle of revenge could be pretty thrilling. And it is…for the first half, at least. The film struggles to maintain that uniqueness or energy afterwards, relying on surface-level observations of its subject matter, and dragging more than I would’ve liked. But solid performances (especially from lead star Michaela McManus), a cool soundtrack, moody filmic cinematography, and some genuinely memorable blood squibs keep directors Kevin and Matthew McManus’ lo-fi sci-fi watchable.

APOLLO 10 1/2: A SPACE AGE CHILDHOOD Starring: Milo Coy, Jack Black, Glen Powell, Zachary Levi, Josh Wiggins, Lee Eddy, Bill Wise, Natalie L'Amoreaux, Jessica Brynn Cohen, Sam Chipman, and Danielle Guilbot Director: Richard Linklater JOSEPH I’m not really sure what to make of Richard Linklater’s newest endeavor, Apollo 10 ½ . On one hand, it feels like an audiobook come to life, with the drawings playing out in front of you. It’s almost dreamlike in that sense. However, the marketing materials and trailer both imply that this is a story about a boy going to space, not so much a Boomer’s recollection of his childhood. It’s definitely more the nostalgia of the latter than the fantasy of the former, and it blends the two aspects in a confusing way. Overall, it’s probably better for older crowds, but it still wasn’t bad. QUENTIN While I don’t think writer/director Richard Linklater’s latest will appeal to younger generations, the nostalgia and rotoscoping animation mostly won me over. It’s essentially The Sandlot meets Dazed and Confused , highlighting what it was like to be a 10-year-old in 1969, which I found extremely relatable despite being born in 1981. As for the child astronaut fantasy, Linklater could have cut the entire underdeveloped plotline and not missed a beat. Ultimately, if you can’t see pieces of your childhood here (riding down the highway in the back of a pickup truck, playing baseball in the street), you’ll probably think Apollo 10 ½ is pretty lame.

EXHIBITING FORGIVENESS Starring André Holland, Andra Day, John Earl Jelks, Ian Foreman, Aunjanue Ellis-Taylor, Jamie Ray Newman, and Matthew Elam Director: Titus Kaphar KATIE Exhibiting Forgiveness is a poignant film that explores family trauma through a father-and-son relationship damaged by a history of abuse. First-time director Titus Kaphar’s artistic style and talent are clear in the film, which features his stunning paintings and sculptures throughout, and uses them very effectively to explore emotional trauma. The cast is incredible and swept me up in the gripping emotional drama, particularly André Holland’s raw performance as Tarrell. Unlike other films focused on estranged relationships, Exhibiting Forgiveness doesn’t view reconciliation as a prerequisite for forgiveness, resulting in a nuanced, tentatively hopeful film that will stick with me. AMARÚ Exhibiting Forgiveness is a gorgeous film. First time writer-director Titus Kaphar captures images as vibrant and light-filled as one of his paintings, and starting the movie depicting how artistry should allow people to live brought a brightness that was sorely needed in this heavy story. André Holland is outstanding as a father trying not to pass on his trauma, a son trying to move on from his past, and an artist trying to capture the love and pain of it all. He and his co-stars capture the complicated nature of forgiveness and redemption, and the light you choose to find in life’s darkness. ADRIANO Occasionally, I'll watch a directorial debut in disbelief that what I'm watching is from a first-timer. My latest experience, Exhibiting Forgiveness , is the writing/directing debut of Titus Kaphar (a painter), and although it can be familiar, the film takes a sincere approach to the idea of... well, forgiveness. It's not easy, nor is it always fair, but forgiving others and yourself for past trauma is as healing for you as it is for them. Mix that with an excellent ensemble and cinematography that is stunning but not glossy, you've got yourself a wonderful hidden gem that deserves to be found.

SCREAM Starring: Neve Campbell, Courteney Cox, David Arquette, Jack Quaid, Marley Shelton, Jenna Ortega, Dylan Minnette, Melissa Barrera, Mason Gooding, Jasmin Savoy Brown, Mikey Madison & Kyle Gallner. Directors: Matt Bettinelli-Olpin and Tyler Gillett PAIGE Wes Craven’s Scream is one of my favorite movies, so to say that my hopes were high for this would have been an understatement. Unfortunately, this “requel” did not meet my expectations, leaving me disappointed due to the lack of character development. The kills are bloodier and gorier, which is stabtastic, but the fact that I couldn’t connect to these characters left me cold and distant. I did appreciate the Easter Eggs that are scattered throughout the flick, but I really wanted to love this movie more. Maybe I’ll appreciate and enjoy it more on a second viewing. QUENTIN In a vacuum, 2022’s Scream is a relatively clever meta takedown of rebootquels and toxic fandom, but it loses some kudos from me because it feels like a beat-for-beat remake of 1996’s Scream . At one point, a character tells the killer “you might be the most derivative one yet,” which really sums up the entire movie if you’ve seen the original. On top of that, it’s mostly predictable and lead actress Melissa Barrera is outright terrible, seemingly a graduate from The Jessica Alba School for Acting. That said, it’s not bad, especially as a franchise starter for a new generation. JACOB Like the previous entries in the franchise, Scream (2022) is as much a commentary on its own existence and “rules” as it is a fun little slasher flick. Once one figures out what the central mechanic of the plot is this time around, it gets fairly easy to see where things are going. But that doesn’t mean it’s not still fun getting there, bad lead performance or not. The most recommendable parts of the film verge too far into spoiler territory for me to divulge them here, but in short, this one works about as well as it could have. ADRIANO As someone who just recently watched all the Scream movies for the first time, I really enjoyed the 2022 “requel” because it’s just as meta as the others, commenting not only on it’s own existence but on toxic fanbases as well. It also never once forgets what made its predecessors so great, in that it doesn’t rely on jump scares while still maintaining genuine intensity and brutality a lot of the time. I can’t say I was surprised by the twist, but I still loved it… and quite a bit of what came before it too.

DEAD MAIL Starring: Sterling Macer Jr., John Fleck, Tomas Boykin, and Susan Priver Directors: Joe DeBoer and Kyle McConaghy NICK Dead Mail is exactly what you should be looking for from an indie horror. It’s got a grainy shooting style that gives a grimy feel on top of an engaging story to work with. The reason it works as well as it does, however, is the traumatized performance from John Fleck. Although Trent (Fleck) begins with sympathetic motivations, he soon turns sinister, and his descent into madness is the highlight of the film. Sure, you could shave a little off the runtime (there's a bit of a drag in the middle), but Dead Mail feels destined to do well on Shudder. KATIE Dead Mail is an odd little film. Initially, I struggled with the oppressive, almost dingy atmosphere, but as the narrative progressed, I appreciated the impressive lo-fi visuals and distinct 1980s aesthetic. Directors Joe DeBoer and Kyle McConaghy present a bizarre world drained of colour and vibrancy, inhabited by lonely characters; however, despite this bleakness, it's still very compelling, thanks to the understated yet impactful central performances of John Fleck and Sterling Macer Jr. Overall, Dead Mail is a quietly gripping experience for anyone willing to embrace its strangeness. ADRIANO Warts and all, there was a sicko smile on my face for the majority of Dead Mail 's runtime. Its 80s aesthetic could've easily resorted to a gimmick, but writer/directors Joe DeBoer and Kyle McConaghy play within the confines of this idea to create something truly maddening. I'll admit, I think the pacing sometimes clashes with the mayhem, but the performances and score are enough to bring me back into the bizarre nature of the film as it takes one unpredictable turn after another, culminating in a bonkers final act. Suffice to say, I had a lot of fun here. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

SACRAMENTO Starring: Michael Cera, Michael Angarano, Maya Erskine, and Kristen Stewart Director: Michael Angarano PAIGE Although Michael Angarano’s second directorial feature, Sacramento , is a little rough around the edges, it's still a solid coming-of-age film. Its themes surrounding avoiding one’s problems and maturing are slightly one-dimensional, but its sweet and genuine character moments keep this movie afloat. Kristen Stewart and Maya Erskine make the most of the little screen time that they have, while Angarano and Michael Cera's friendship and banter shines throughout. All in all, this indie comedy is a decent, lighthearted story of adult friendships, fatherhood, and emotional maturity. KATIE On paper, Sacramento is a film I should have loved, with its fantastic cast and coming-of-age themes. However, although it's beautifully shot, it never made me care about the strained friendship between Rickey (Michael Angarano) and Glenn (Michael Cera). These men are so emotionally immature and resistant to responsibility that I couldn’t summon any empathy for them, especially since they seemed to just be suffering the consequences of their actions whilst the women in their lives pick up the pieces. Sacramento presents a surface-level exploration of its themes, and any resolutions feel unearned.

TRAIN DREAMS Starring: Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Nathaniel Arcand, Clifton Collins Jr., John Diehl, Paul Schneider, and Will Patton Director: Clint Bentley ADRIANO Through its hazy narrative structure, which is like watching a collection of memories accompanied by a stunning score from Bryce Dessner, Train Dreams emerges as one of 2025's best films. Featuring a career-high performance from Joel Edgerton, director/co-writer Clint Bentley takes audiences through the stunningly shot life of an early 20th century labour worker, through the highs and devastating lows. It's an emotional tour de force, showcasing tender meditation and powerful perseverance; you won't find a film that balances stark realism with an alluring dream-like atmosphere like this. If you can get on its wavelength, Train Dreams will stick with you. NICK Watching Train Dreams is like exploring a museum. The cinematography is akin to watching a painting move across the screen, the storytelling is straight out of a poem, and it's all coated in history as it moves through the evolution of the world in the early 20th century. Although Joel Edgerton's performance isn't flashy, it's exactly what this film needs, along with the pitch-perfect narration from Will Patton. There are moments the title can be taken too literally — as it almost feels like a lullaby at times — but Train Dreams ’ overall achievement in filmmaking won out, and frankly, impressed me. AMARÚ It takes a lot of skill to take a film about nothing in particular and turn it into something special. Train Dreams is something special. Clint Bentley’s gorgeous direction and Greg Kwedar’s simple yet elegant writing highlight the world’s beauty even in life’s cruelty. Joel Edgerton’s quiet grace packs more power than words can convey, and bringing it all together is Will Patton’s voice, making Edgerton’s Robert feel like the most important man on Earth. Then, as you’re watching, you realize that, to someone, he is; and for 102 minutes, to the audience… he was. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

EMPIRE OF LIGHT Starring: Olivia Colman, Micheal Ward, Colin Firth, Toby Jones, and Tom Brooke Director: Sam Mendes NICK There is something so pure and comforting about an Olivia Colman performance because she injects such added humanity into all of her films. Sam Mendes’ Empire of Light is a film that relies too heavily on that humanity without fleshing out a proper story. The setup is lovely, but at the midway point, the film almost becomes something completely different. Even the cinematography by Roger Deakins (who creates the beautiful opening credits) feels like it shifts. The story eventually branches out beyond its means, rushing to some unnecessary conclusions. Sometimes, less is more. ADRIANO Empire Of Light is the definition of lipstick on a pig. From a technical standpoint, it is flawless. Roger Deakins’ cinematography is stunning, while Trent Reznor and Atticus Ross’ score is magical. Micheal Ward is great too, but Olivia Colman is fantastic, even by her standards. That said, the script fails this film. It's not the worst thing ever written, but it juggles too many barely related concepts, including an underdeveloped love story, a poorly written study of mental health, and half-assed racial politics. Admittedly, the “power of cinema” stuff worked on me, but this movie is just weak Oscar bait. QUENTIN For a cinephile, a film billed as “a love letter to the magic of cinema” seems like a no-brainer. However, despite beautiful cinematography and the art deco design, Empire of Light is such a mundane movie for boomers that I expected to be handed an AARP brochure when it ended. Not only is it a bore, but it’s a scattershot approach to various unrelated things that writer-director Sam Mendes seemingly cares about. Is it about cinema, racism, or mental illness? It’s about all of them and none of them, with Mendes failing to give us a reason to care as much as he does. JACOB While Empire of Light is often beautiful to look at and boasts a beautifully composed score (when it’s heard, anyway), the overall experience is just a bit dry. That’s not to say it’s entirely boring or devoid of meaning, but it doesn’t seem to know what it wants to be about, subtextually. Love, desire, mental health, white supremacy – these are all concepts the movie features but doesn’t use in effective ways to enhance the story. Meandering in some films can be a good thing, if it’s the point; unfortunately, this film doesn’t seem to have much of a point at all. DARRYL Empire of Light is a finely crafted film that, while touching on a number of subjects, fails to fully explore any of them. Even with outstanding performances from Olivia Colman and Micheal Ward, the story’s refusal to commit to any of its ideas overshadows the entire project. Somewhat lesser than the sum of its parts, the final product does not completely live up to its potential. Still, there is plenty to love, including top notch cinematography by Roger Deakins and impressive technical work from director Sam Mendes and his crew, making this a strong awards season contender. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

PLAY DIRTY Starring: Mark Wahlberg, LaKeith Stanfield, Rosa Salazar, Keegan-Michael Key, Chukwudi Iwuji, Nat Wolff, Gretchen Mol, Thomas Jane, Hemky Madera, Alejandro Edda, Claire Lovering, Chai Hansen, and Tony Shalhoub Director: Shane Black ADRIANO After The Predator , I was hoping to see a return to form from director/co-writer Shane Black. On paper, Play Dirty appears to be exactly that, with its style of crime comedy hijinks, some of which are present here; however, something crucial is missing: Black's personality. As much humour and action as there is, there's a stylistic void here, and the film winds up being dull as a result, with Mark Wahlberg looking half asleep in every scene, which certainly does not help. This isn't an awful movie - in fact, it's just inoffensively bad - but that doesn't mean I'm not disappointed. ROBERT You may be unaware, but Play Dirty is the seventh iteration of the character Parker being portrayed on film, with notable actors like Robert Duvall, Mel Gibson, and Jason Statham previously playing the professional robber. Unfortunately, despite Mark Wahlberg’s history in films like The Italian Job and Contraband playing a master thief, it is a poor fit this time. Shane Black is at his best when he's not pigeonholed by existing IP and getting to craft his own world and dialogue. This seems like he was neutered. Play Dirty is too long, and the CGI is atrocious; it shouldn't steal a minute of your time.