NUTCRACKERS Starring: Ben Stiller, Homer Janson, Ulysses Janson, Arlo Janson, Atlas Janson, Linda Cardellini, and Toby Huss Director: David Gordon Green NICK You've seen this story before: the reluctant father figure who comes into guardianship only to re-evaluate his life. In fact, story aside, Nutcrackers feels like a film from a bygone era, the mid ‘90s to early 2000s boom of family films. What gives it a slight edge are the child performers (all real-life siblings). They are quite good, bringing an authenticity that helps the film land emotionally. It's incredibly predictable and fairly unoriginal, but at the very least, it's a feel-good film that'll bring a smile to your face. You could do worse. KATIE Nutcrackers is disappointingly devoid of Christmas joy. The cliché and predictable plot follows character archetypes that everyone will recognise, but I actually didn’t have an issue with that. In fact, I love a reliably comforting family comedy. The problem is it's hollow, and although the child cast is quite endearing, they are all underwritten. Meanwhile, Ben Stiller’s character, Mike, doesn’t form enough of a bond with them for the emotional impact to hit. It looks nice, with pretty shots of the small town and nostalgia-tinged scenes of the brothers playing outside, but that's about it. PAIGE Nutcrackers may be one of the most cliché and run-of-the-mill Christmas dramedies I’ve seen in a while. Unfortunately for its director, David Gordon Green, he’s had more misses than hits lately, and this falls in the miss category. Instead of trying to get you emotionally attached to the characters, the film asks its audience to fill in the emotional beats, which doesn't help the already shoddy narrative. Despite there being some endearing moments in this family holiday film, it won't make you laugh or pull at your heartstrings. Nutcrackers is simply forgettable, and I don’t foresee it being on my holiday rewatch list. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE PLATFORM 2 Starring: Milena Smit, Hovik Keuchkerian, Natalia Tena, Óscar Jaenada, and Ivan Massagué Director: Galder Gaztelu-Urrutia PRESTON I pride myself on being able to tease out a movie’s allegorical message or meaning. Even so, I don’t know what the point of The Platform 2 is, or what it’s attempting to convey. As a sequel to the fantastic original, it is bolstered by a supremely unique and interest-commanding plot. The story is continued, rather successfully I might I add, until the absolutely nonsensical end. If that type of thing is something you can’t deal with, then maybe it’s best to avoid this one and just rewatch the original. Otherwise, it’s entertaining, intense, and a great way to brush up on your Spanish. QUENTIN In 2020, when Netflix dropped The Platform as the world shut down, it was an incredibly original and, more importantly, timely horror movie. It was near-perfect lightning in a bottle, and honestly, it didn’t need a sequel. However, nearly five years and a “healed” world later, here we are with a prequel that doesn’t hit the same. It doesn’t help that it’s basically a retread, except replacing economic themes with religious ones. It fails to give background on the premise of the setting or justify its own existence. I’d still highly recommend the first one, but lightning certainly didn’t strike twice (especially without the pandemic backdrop). PAIGE While its predecessor served us some delicious concepts to chew on, The Platform 2 was not as appetizing as I’d hoped. It felt like a rehash of the first film, but with an undercooked story. I couldn’t connect with these new characters as the plot didn’t dive deeper into the intriguing themes presented in the original, and the ideas it tries to tackle this time around felt hollow, which leads to some unresolved questions being left on the table. I have to say that, despite highlighting certain positive aspects of the first film, The Platform 2 didn’t have the same impact and felt wholly unnecessary.

SYMPATHY FOR THE DEVIL Starring: Nicolas Cage and Joel Kinnaman Director: Yuval Adler This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN Objectively speaking, I admit that Sympathy for the Devil isn’t the greatest movie. It’s a tad derivative, reminding me of Collateral and another movie I can’t mention lest we get into spoiler territory, and the motivations of Nic Cage’s character are a little convoluted at times. That said, for Cage fans, it’s a must-watch because it lets Cage channel his inner Castor Troy (from Face/Off , youngins). The tense cat-and-mouse shenanigans between Cage and Joel Kinnaman make for an engaging 90 minutes, and I’m pleased to report that it does not play out like either of the predictions I made based on the trailers. PAIGE Sympathy for the Devil allows Nic Cage the opportunity to, yet again, play another electric and wacky maniac who manages to dominate the screen in every scene he’s in, while Joel Kinnanan balances the tense ride with a more grounded performance. Ultimately, this duo transcends the bizarre but entertaining-as-hell game of cat-and-mouse. Overall, the film is enhanced by its stylish cinematography, but is held back by its off-the-rails script. Let’s be honest, though: we’re all here for Cage’s unhinged performance and not-so-wicked Boston accent. NICK Joel Kinnaman (who I've considered underrated since his turn on House of Cards ) and Nic Cage (the ultimate wild card) come together in this Collateral -esque film that is entertaining if not overly unique. A character-driven story, both leads do enough to keep your focus while playing off each other well. Kinnaman as the straight man with Cage going, well...full Nicolas Cage…is fun. However, for Cage, what hurts his performance is the ROUGH Boston accent he wavers in and out of. It becomes a distraction. That said, despite its flaws, it’s still worth checking out; just maybe once it inevitably comes to streaming.

MATERIALISTS Starring: Dakota Johnson, Chris Evans, Pedro Pascal, and Zoë Winters Director: Celine Song ADRIANO If you're a Past Lives fan like me, you'll love what writer/director Celine Song offers in her sophomore film, even with its tonal differences. In Materialists , she gives the same honest approach to human relationships that we saw in Past Lives . Through the lens of a near-parody-like rom-com structure, she skewers the genre's superficial approach with incredible emotional weight, even in moments where we're being told the message. The headlining trio does incredible work here, as does Zoë Winters, to make this hit home. There aren't many ways to discuss Materialists without sounding corny, but this movie is what love is. NICK On occasion, I leave a screening knowing good and well my opinion is in the minority, and I struggle to understand the disconnect. That’s Materialists for me. There’s nothing inherently wrong with the film. I just didn’t enjoy it. The chemistry didn’t jump off the page (sometimes intentionally, as director Celine Song shows her cards early in the film), and the characters’ decision-making often felt disingenuous. I’m not some cold-hearted man who can’t enjoy a love story, I just push back on the idea that this is a good one. Perhaps you’ll feel different, but if not, know you’re not alone. AMARÚ In Materialists’ first 20 minutes, matchmaker Lucy (Dakota Johnson) describes a client as the epitome of average: okay salary, okay looks, okay personality, just okay. That’s also a pretty apt description for this movie. It’s an experience much like that of an okay first date, a lot of dead air filled with single lines of dialogue struggling to keep the conversation going. Sometimes it works (Pedro Pascal’s effortless charm makes the transactional screenplay interesting) and sometimes it doesn’t (Chris Evans was given nothing to do until the end). Luckily for director Celine Song’s second feature, it was okay enough to want a third date. BODE When Materialists opens with a quiet pre-civilization prologue, it’s clear that writer/director Celine Song won’t go about the rom-com conventionally. Its ambitions are loftier, in ways that are intellectually alluring in its first half, but emotionally excluding in its second, lacking much of the warmth and passion needed for it to pack a punch. It certainly has moments of depth (script-wise) and beauty (from its three leads, of course, to the great Shabier Kirchner’s photography), making this not bad as is. Compared to Past Lives however, I can’t help but feel that this is a fairly significant step-down.

DINNER TO DIE FOR Starring: Shamilla Miller, Steven John Ward, and Nina Erasmus Director: Diana Mills Smith This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Dinner to Die For just didn't do it for me. It feels like an unnecessarily drawn out short film, has the look of a well made commercial, and doesn't provide a particularly engaging plot. I understand there's budgetary limitations (this was in the Burnt Ends section of Fantastic Fest), but the struggles of this one go beyond that. It’s no excuse for the sluggish pacing and pedestrian performances (which give this the feel of a high quality student film), nor the film's rushed conclusion that was wholly unsatisfying. Nothing to die for here, in fact you’re lucky if you feel anything. QUENTIN Playing as part of Fantastic Fest’s (low-budget) Burnt Ends section, I can’t be too hard on Dinner to Die For because it probably does more with less than most of its competition. However, at only 75 minutes, the film is caught in no man’s land between being too long for a short film and too short to sustain itself as a feature. As a result, the pacing is laggy and the story’s stakes aren’t adequately fleshed out to create the suspense required. Director Diana Mills Smith seems to have a decent eye, but the general cheapness made me wish I had skipped this meal.

A HOUSE OF DYNAMITE Starring: Idris Elba, Rebecca Ferguson, Jared Harris, Gabriel Basso, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke Director: Kathryn Bigelow AMARÚ Kathryn Bigelow knows how to stress you the hell out. She’s masterful at directing subtle intensity out of commonly mundane happenings until, seemingly out of nowhere, that build up grabs you by the throat. A House of Dynamite does that three times over, with Rashomon -style storytelling retreading a ticking-clock political timeline, and a huge ensemble of game performers, especially standout Gabriel Basso. He alone saves act two from feeling redundant after an explosive first, and helps maintain enough tension to make up for a flat final act. Even with its soft landing, Dynamite is another successfully gripping anti-war introspective for Bigelow. ADRIANO I love seeing director Kathryn Bigelow back in her wheelhouse of tense political thrillers, but A House of Dynamite was depressingly pointless. As well-researched as it seemed in its dissection of the US Government's response to an attack, I was waiting for the film to reach a purpose beyond bleak doom. But the ending is so abrupt that the rest of the film is one big waste of time, especially considering the utter lack of characters to emotionally latch onto (aside from maybe Jared Harris). So, suffice to say, this was an intense but disappointing return for Bigelow. QUENTIN A House of Dynamite starts off with a bang, a perfectly constructed first act that is taut and tense in all the best ways. However, acts two and three are presented in a nesting-doll structure that repeats itself, which results in diminishing returns as you see several scenes multiple times. Even through that repetition, there is almost zero character development, including some characters that serve no purpose whatsoever. Furthermore, the ending is so unsatisfyingly abrupt that you might think director Kathryn Bigelow forgot to shoot the script’s final pages. That first act, though… It’s too bad the rest of the movie couldn’t match its greatness. NICK A House of Dynamite is a film that could desperately use tension, which makes it hard to believe that Kathryn Bigelow – who is typically great at creating tension – directed this. Aside from a lack of urgency, the film features fairly bland characters that don't warrant any attachment (save, perhaps, Idris Elba's President of the United States). Then there's the editing... content wise, this is practically a short film on a loop from different perspectives. It may have worked if not for the above issues, but instead, it magnifies the film’s shortcomings. As for the end… oh, it seems I’ve hit my word limit. ROBERT Kathryn Bigelow is at a place where every time she releases a movie, it is a huge deal, magnified by the eight years since her last directing effort. Unfortunately, the wait was met with a paper tiger in the form of A House of Dynamite . The cast, the story structure, the score, and sound are all reminiscent of a prestige titan seen in Bigelow’s history, but as the plot unfurls, it becomes a word soup of acronyms, safety protocols, and on-the-nose metaphors. In 2025, for films in which Idris Elba plays a world leader, it is a true toss-up which is more logical. KATIE A House of Dynamite begins with an excellent first act, full of tension and expertly built suspense, and introducing us to interesting characters and a compelling, dread-inducing scenario. I didn’t mind the second time it takes us through the same events from a different perspective, but by the third, I was slightly frustrated, noticing the repetitiveness and that many of the characters didn’t seem to matter. The score is fantastic, and the performances are solid, but not enough new information is revealed over the three perspectives. The ending, which I was looking forward to after very nearly losing interest, is abrupt and unsatisfying. BODE It’s clear that director Kathryn Bigelow will forever be committed to holding a mirror up to America’s political landscape. A House of Dynamite continues that very mission by bringing a Rashomon -style approach to a doomsday scenario. On a moment-to-moment basis, it’s certainly watchable, even though the structure doesn’t entirely work, Bigelow still knows how to create tension, and she has formed an undeniably strong ensemble; however, in its repetition, the film fails to make a larger point about the severity of the situation, which isn’t helped by its total non-ending. It's pretty frustrating all around.

OMAHA Starring: John Magaro, Molly Belle Wright, Wyatt Solis, and Talia Balsam Director: Cole Webley KATIE Omaha is a simple, understated, yet deeply affecting film, driven by the authentic-feeling relationship between a father and his two children. The film withholds the specificities of the family’s difficult situation, but throughout the road trip manages to quickly establish the relationship dynamics with scenes of naturalistic interactions that both reveal their heartbreaking reality and show the joy to be found in the quiet moments. John Magaro is fantastic as the father strained with stress and the weight of responsibility, and Molly Belle Wright gives a striking performance as his daughter, Ella. AMARÚ From the soulful music to the ambient car sounds and the fly-on-the-wall camera angles, everything about Omaha is heartbreaking. There’s a looming weight that John Magaro’s “Dad” holds in his face which makes the little beautiful moments on his family’s trip all the more heart-wrenching. The film isn’t complicated, primarily revealing the ultimate destination through the unknowing, but suspecting, perspective of his daughter Ella, played by standout Molly Belle Wright. With its simple, child-like viewpoint on such an impossible decision, Omaha stamps the humanity behind a breathtaking, precious, and sorrowful story.

REBEL MOON: PART TWO - THE SCARGIVER Starring: Sofia Boutella, Ed Skrein, Michiel Huisman, Anthony Hopkins, Djimon Hounsou, Doona Bae, and Ray Fisher Director: Zack Snyder CALEB I didn’t think it was possible, but somehow The Scargiver is actually worse than A Child of Fire . It’s an overdramatic, joyless, ugly film about a bunch of farmers fighting in a field. Since the worldbuilding and characterization were so pitiful the first time around, this sequel doesn’t have anything substantial on which to build. Director Zack Snyder attempts to flesh out the characters with a plethora of bothersome flashbacks, but they only succeed in making the universe even more convoluted and tiresome. The Scargiver is a tortuous cacophony of noise that only die-hard Snyder-heads will enjoy. NICK Unlike A Child of Fire , I went into The Scargiver with zero expectations, and even that didn't help. The performances maintain their inadequacy, while the music in particular stands out as even worse than last time. Everything feels like a misfire. I mean, it's honestly impressive Zack Snyder has managed to craft this expansive world across two films without a single interesting character. I hope for his sake that Snyder can see this for the failure it is and move on to something else. Forget about the R-rated versions. I'm sure they’re at least a slight improvement, but I’m not watching them. Just let this die.

SOMEBODY I USED TO KNOW Starring: Alison Brie, Jay Ellis, Kiersey Clemons, Danny Pudi, Olga Merediz, Haley Joel Osment, Julie Hagerty, and Ayden Mayeri Director: Dave Franco AMARÚ Somebody I Used to Know struggles mightily to find its groove. There are 30 minutes in the second act where the film is what the trailer promised, an uneasy romance about Alison Brie seeing her ex-boyfriend (Jay Ellis) on his wedding weekend. Ellis plays these romantic conundrums well (see Insecure ), and Kiersey Clemons is electric as his fiancé, so I’m not sure why it focused on Brie being the shittiest human possible stuck in awkward comedic situations akin to American Pie . The conflicting tones and unlikable (read: uninteresting) lead killed any momentum the engaged couple sporadically brought to this unappealing film. NICK Somebody I Used to Know deserves its props for trying to do something outside the traditional rom-com format. That said, it provides mixed results. On the technical side, Dave Franco continues to show some promise as a director; however, with questionable decisions for many of the characters, I was hard pressed to root for anyone. The marketing also hurt it because the trailer teased a direction that would have served the story well, yet it is never fully realized. Honestly, it’s a bit of a disappointment by the end. However, I couldn’t help but enjoy the Community reunion of Alison Brie and Danny Pudi. PAIGE Somebody I Used to Know is definitely not your run-of-the-mill rom-com. Tonally, it’s a little all over the place, but at its core is a film about self-worth and love. It’s refreshing to get adult-like coming-of-age stories that many can relate too. Yes, it has its cute, light-hearted rom-com beats, but when director Dave Franco digs into the overall message of the film, that’s where it shines the brightest. Overall, it’s a cute little gem that starts off a little rough around the edges, but cruises along quite gracefully once it finds its groove. QUENTIN Despite the cast’s chemistry, Somebody I Used to Know can be summed up in two words, contemptuously uttered by Kiersey Clemons’ character about our “hero,” Ally (Alison Brie): “…dis bitch.” Like many rom-com protagonists, Ally is a terrible person. Her aim is to break up an engagement mostly to make herself feel better, and since the film’s tone is closer to pseudo-serious dramedy than charming comedy, it makes for an ickier version of My Best Friend’s Wedding . It’s not a bad movie at all, and it’s nice to see Community alum Brie and Danny Pudi reunited on screen, but it’s a hard story to root for. JOSEPH Mix My Best Friend’s Wedding with a Hallmark romance, throw in Allison Brie, and you get Somebody I Used to Know . It’s a mess of a movie that fails to be romantic, funny, or even likable. There’s no charm, little humor, and awkward character traits and backstory. However, I think Brie is the main issue because it’s hard for me to buy her as a small town girl. She never fits in with the rest of the movie, and it weighs everything and everyone else down substantially. It’s a huge miss that fails to entertain on most every level.

FAST X Starring: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris ‘Ludacris’ Bridges, Jason Momoa, John Cena, Jordana Brewster, Nathalie Emmanuel, Sung Kang, Brie Larson, Alan Ritchson, Leo Abelo Perry, Charlize Theron, and Jason Statham Director: Louis Leterrier AMARÚ If there are two more Fast sequels coming, please don’t include the hour-long rendition of Wiz Khalifa’s “See You Again” that Fast X starts with. Director Louis Leterrier doesn’t do this movie any favors by opening with 60 minutes of tribute meme dialogue set to a pop/rap soundtrack, then shooting the franchise’s fakest looking action sequences. Luckily, once they stopped waxing poetic about the previous nine movies, the focus moved to Jason Momoa’s Dante Reyes, whose wacky, brilliant, devilish, assignment-understanding glee makes up for every head-shaking “why?” moment. So much so, in fact, that I’m actually looking forward to the next ride. QUENTIN At this point, what else is there to say about new Fast & Furious movies? Expensive cars go vroom, big bombs go boom…yada yada yada…boo physics, yay family. You likely already know if you’re crossing the finish line with this series is what I’m saying. Either way, Fast X is about the same, for better or worse, as The Fate of the Furious and F9 . That said, Jason Momoa is the jolt of life the franchise needed. He seems to be the only one who realizes that a tenth(!) Fast movie should be dumb fun, so he goes absolute HAM being gleefully Momoa-y. He’s just…*chef’s kiss* NICK Although Fast X is superior to the series' prior two entries, it's still a far cry from the franchise’s heights. What was once a story about street racers has become one about family, heists, and truly terrible dialogue. Seriously, these films would be so much better if most characters would just shut up. The action is undeniable, but there is no longer any room to think of things logically. It's as if Fast & Furious has become its own parody with how ridiculous it has become. The standout positive, however, is Jason Momoa, in what may be the top performance of his career (seriously). ADRIANO Fast X is proof that this franchise is out of fuel. If it weren’t for Jason Momoa’s gleefully committed villain…the franchise’s most entertaining yet…I’d see nothing of value here; however, he is worth the price of admission. I understand that plot isn’t “important” when it comes to these movies, but this one is a complete mess, with nonsensical diversions and constant conveniences. The dedication to disregarding reality is just not entertaining anymore, and it feels less intentional and more like nobody cares. Lastly, the ending infuriated me, and I am not in any way excited for the next one. JACOB While Jason Momoa may be having the most fun of his entire career in Fast X , much of the excitement the franchise once boasted has unfortunately stalled. Between the frankly atrocious editing, mostly unfollowable action sequences, and the barrage of truly terrible dialogue, the Fast franchise has slowed itself to new lows, especially in scenes featuring Brie Larson's and Alan Ritchson’s one-note cardboard characters. I’m all for the dumb fun of Fast & Furious as a brand, but even this barely passes muster as a movie. Thank god the end of the road has begun, because this series is out of gas.

THE MITCHELLS VS THE MACHINES Starring: Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend, and Charlyne Yi Directors: Michael Rianda and Jeff Rowe AMARÚ Mirroring producers Phil Lord and Chris Miller's signature combo of heart and self-aware humor, writer/director duo Michael Rianda and Jeff Rowe's The Mitchells vs. The Machines is a refreshingly laugh-out-loud good time. Scenes range from hysterically absurd to warmly tear-jerking, which helps prevent the repetitive meta-humor and familiar themes of world-ending artificial intelligence and strained parent-child relationships from becoming stale. Add eye-popping animation with a pitch-perfect voice cast (Olivia Colman's pocket sized personal assistant Pal may go down as an all-time animated character), and you get 2021's first contender for the Best Animated Feature Oscar. QUENTIN The Mitchells vs. The Machines is the type of movie that sneaks up on you. It's a little scattershot, pinballing from somewhat heavy-handed heartfelt moments to frenetic action scenes in the blink of an eye, all while sprinkling in some clever social commentary. As you watch, you're enjoying yourself, but you aren't blown away - a chuckle here, a twinge of excitement there - until you reach the end, which is when you realize it has surprisingly and genuinely hit you right in the feels. It becomes out-of-nowhere great, giving Sony and Netflix a film that easily rivals many Pixar movies. JOSEPH I cannot stress enough how beautiful the animation is in The Mitchells vs. The Machines . Thanks to a witty and timely script, as well as some dazzling visuals, the film manages to own a premise that isn't at all unique. It also uses humor to pay homage to internet and meme culture in some great ways. Along with that, the film is incredibly heartfelt, portraying a family that is a little more complicated than you typically see in family films. All in all, check it out! It's fun for all ages. JACOB Though less balanced than Into the Spider-Verse or the first two Lego movies. The Mitchells vs. The Machines puts yet another notch in producers Lord & Miller's victory belt. There are some scenes where dialogue or the characters could have used a polish, plus some minor plot holes, but the beautiful animation and earnest storytelling do plenty of heavy lifting. The trademark Lord & Miller humor isn't quite as sharp as usual, but it gets the job done. Having a queer film nerd protagonist in an animated movie is pretty sweet too. I'd certainly recommend this to anyone who asked.

ONE OF THEM DAYS Starring: Keke Palmer, SZA, Joshua David Neal, Katt Williams, Patrick Cage, Vanessa Bell Calloway, and Maude Apatow Director: Lawrence Lamont AMARÚ One of Them Days works hard to channel the comedic essence of hood classics like Friday and How High , but modern day comedies’ searching for that feeling often have a razor’s edge margin of error. Luckily, this one falls on the side of success due to Keke Palmer’s endless charm, her authentic chemistry with SZA, and an outrageously likable ensemble. While the camera work is a bit too choppy and there’s one plot point that, even though I ultimately forgave, I could’ve lived without, there is just the right amount of heart and humor to capture the nostalgia it's aiming for. PAIGE One of Them Days was such a pleasant surprise. In many ways, it reminded me a lot of late 1990s/early 2000s comedies. Our leads, Keke Palmer and SZA, are a perfect pairing, and their chemistry and comedic charm are the driving forces behind this film. This day-in-the-life movie does a fantastic job of creating a sense of urgency, which not only keeps the film on course, but also keeps the laughs flowing. There are no dull moments throughout a 90-minute runtime that is full of hilarious dialogue and relatable laugh-out-loud moments. I’m looking forward to watching director Lawrence Lamont and writer Syreeta Singleton’s next flick during my next “Prosecco Party with Pals”.