THE WOMAN IN THE YARD Starring: Danielle Deadwyler, Okwui Okpokwasili, Peyton Jackson, Estella Kahiha, and Russell Hornsby Director: Jaume Collet-Serra BODE It was only a matter of time before modern genre craftsman Jaume Collet-Serra returned to his horror roots, and with Blumhouse no less. But I don’t think that combination properly prepared me for what The Woman in the Yard had in store. Serra takes what could’ve felt familiar in its exploration of grief and depression, and pushes it (with the help of DP Pawel Pogorzelski and the committed brilliance of star Danielle Deadwyler) to surprisingly expressionistic places, further accentuating its palpable dread, and making some of the heavy-handedness in Sam Stefanak’s debut script easier to forgive. I mostly dug this. ADRIANO The Woman in the Yard's unapologetic bleakness is almost admirable, but it very clearly bites off more than it can chew. The filmmaking works. The excellent cinematography contributes to the storytelling and director Jaume Collet-Serra's tension. Danielle Deadwyler is (obviously) amazing, but the child actors, Peyton Jackson and Estella Kahiha, are equally great. That said... the writing tanks it. It sets up something interesting, but it's textbook "this should've been a short." It spins its wheels for way too long and its final act becomes nonsensical. I can respect the ambition, but it failed to leave the impact it tried for.

MAXXXINE Starring: Mia Goth, Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Halsey, Lily Collins, Giancarlo Esposito, and Kevin Bacon Director: Ti West ADRIANO It saddens me to say that MaXXXine is far and away the weakest of writer/director Ti West and Mia Goth's trilogy. That's not to say you won't get similar thrills and the gory fun you got in the previous installments. But this film's plot is much more all over the place and kinda gets lost in itself a little too much. Not to mention, while the 80s vibe was fun, it didn't commit quite like the others did, and MaXXXine just simply lacked the teeth of the previous films. But hey, Mia Goth's great still, at least. PAIGE Despite Ti West directing the hell out of MaXXXine , his screenplay is lacking a bit, making the story feel hollow in comparison to its predecessors. However, this does not lessen the fact that Mia Goth is an absolute star, or that the supporting roster also kills it here. The aesthetic and style of this film are to die for, with the giallo-inspired 80s slasher and neo-noir vibes exuding the glitz and glam of Hollywood. Overall, this horror trilogy explored the idea of going to any lengths to achieve fame in a brilliant manner. PRESTON Unlike Pearl , a stand-alone prequel, MaXXXine serves as a direct sequel to X , which requires re-watching if your memory is as fogged as mine because there are lots of flashbacks that speak to the experienced trauma that has shaped our dear Maxine Minx (Mia Goth). Problematically, there is little dialogue from our primary protagonist to further develop her character, and the additional, over-the-top cast don't necessarily bring any desired nuance. The nostalgic nod to 80s Hollywood and the integrated Hollywood Studios tour are the best parts of a film that isn’t all that scary or thrilling but entertaining enough. KATIE The final installment in Ti West’s horror trilogy, MaXXXine is a gloriously gory, immensely stylish film that platforms Mia Goth’s phenomenal star quality. The film contains countless nods to 80s Hollywood and pop culture with a nostalgic, neon-lit aesthetic and the sleazy atmosphere of a giallo-esque thriller. Goth is, again, deeply compelling with a formidable screen presence, but her character doesn't feel as fully formed as in the two previous films, and the script generally pays less attention to character development than flashy personas. Still, overall, MaXXXine is a fervently fun and entertaining final chapter for the franchise.

THEY WILL KILL YOU Starring: Zazie Beetz, Myha’la, Patricia Arquette, Tom Felton, Paterson Joseph, Angus Sampson, and Heather Graham Director: Kirill Sokolov AMARÚ After an obligatory backstory scene, They Will Kill You director Kirill Sokolov combines swooping cinematography and exaggerated sound design to make this action horror comedy worthy of your favorite campy martial arts films. And even then, you have no clue the zany shenanigans the film is about to evolve into. Once the entire conceit reveals itself, this absurdist gorefest goes from bloody awesome to grotesquely magnificent. The story is simple, ridiculous, and nonsensical, but with Zazie Beetz, Patricia Arquette, and Tom Felton leading an all-in cast through gorgeous stunt choreography, this is the epitome of kick back and enjoy the fuckin’ show. ROBERT Nothing bad can come from Hollywood wanting to expand the action genre with more female-led efforts. With They Will Kill You , you have a simple premise, a likeable actor at the center in Zazie Beetz, and fun set pieces; the formula is there. Unfortunately, it does end up being somewhat of a twin movie to Ready or Not 2 and thus shares the same corner, so it loses out in the greater cinema landscape. The premier supporting actors were not utilized properly, and the performances overall were hokey, but you can turn your brain off and revel in the satanic carnage. ADRIANO Describing movies as “boring” is reductive most of the time, but with a film like They Will Kill You , where the intention is to maximize on mayhem, it’s worth acknowledging that it bored me after a while. Zazie Beets going full Kill Bill mode is fun in the first sequence, but they quickly diminish the stakes from there. After that, director Kirill Sokolov just regurgitates the gory styles of Quentin Tarantino and Sam Raimi, and granted, he’s not hiding that. However, it lends the film’s repetition an extra level of familiarity that reminded me of better exploitation films like this. KATIE Director Kirill Sokolov is not shy about relying on his influences in They Will Kill You , and he’s clearly inspired by the likes of Quentin Tarantino, Park Chan-wook, Sam Raimi, Edgar Wright, and Wes Anderson, to name a few. It’s also narratively similar to Ready or Not , and this prevents it from feeling fresh and consistently interesting. Still, it has very entertaining fight sequences with creative cinematography, it's intensely gory and absurdly violent, and has some fun use of practical effects. Zazie Beats is also formidable in the leading role and makes a magnetic action hero.

PAST LIVES Starring: Greta Lee, Teo Yoo and John Magaro Director: Celine Song ADRIANO Past Lives made my jaw drop. This is a story about how we approach fate and the way human beings seek connection to one another, and it’s told through a very unique love triangle, with Teo Yoo and Greta Lee giving compelling performances. But it’s writer/director Celine Song that’s the real star, as she knocks it completely out of the park. She directs every scene with a deft hand and writes every scene with poignancy, comedy, and in the end, bittersweet heartbreak. I don’t say this often, but this was a perfect film. JACOB Truth be told, it’s difficult to define in precise terms what I feel about Celine Song’s Past Lives in the immediacy of its conclusion, but one thing about my feeling is certain: it is profound and inescapable. The pitch-perfect screenplay from debut writer/director Song is a ballet of longing – for a life one once knew, for the life one could have – and a delicate reckoning with what is. Greta Lee owns every minute of screentime she has, inviting your attention without demanding it, while Teo Yoo and John Magaro shine in their supporting parts. This one is a real knockout. PAIGE A24 may have another Best Picture winner on their hands with writer/director Celine Song’s phenomenal debut, Past Lives , a deeply impactful film that knows how to pull at your heart strings. The screenplay will give you a lot to ponder over, but it's the soulful and layered performances that will stick with you, especially Greta Lee as Nora. Furthermore, the film is a very subtle but thoughtful piece about the influence of soulmates and the "what ifs?" of life, something we can all relate to. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

ALL THE OLD KNIVES Starring: Chris Pine, Thandiwe Newton, Laurence Fishburne, and Jonathan Pryce Director: Janus Metz QUENTIN All the Old Knives , the second straight-to-streaming, spy-related movie starring Chris Pine released in the past week, is a much better film than the first one (The Contractor ). Although it’s slower and quieter, there is a simmering tension (sexual and otherwise) between Pine and Thandiwe Newton that ropes you in. The only real fault is that the film plays its cards too close to the vest, which made me a little lost in the plot at times. However, in doing that, it made for some small twists that I didn’t see coming. It’s a solid, mature thriller for grown-ups, even if it isn’t mind-blowing. JOSEPH I regret ever watching All the Old Knives . It is, quite possibly, the most dull film I’ve seen in years. The two leads are fine, and some of the scenes are well filmed (especially when in the restaurant); However, the story, which should be interesting, is told in such a boring manner. It has all the parts of a good film, yet it simply doesn’t hit the right notes. Prime Video has taken the mantle from Netflix as the home of bad and forgettable originals.

ARE YOU THERE GOD? IT'S ME, MARGARET Starring: Abby Ryder Fortson, Rachel McAdams, Kathy Bates, Benny Safdie, Elle Graham, Amari Price, Katherine Kupferer, Isol Young, and Echo Kellum Director: Kelly Fremon Craig JACOB While not quite as strong as her previous film, The Edge of Seventeen , Kelly Fremon Craig once again establishes her underpraised directorial skills with the affecting adaptation of Are You There God? It’s Me, Margaret . Even for those who haven’t read the novel (such as myself), Craig’s delicate handling of the sometimes uncomfortably real journey through female adolescence wrings charm out of every scene, co-courtesy of a great lead performance by Abby Ryder Fortson and the secret weapon that is the supporting cast. Some subplots and character journeys are dropped somewhat unceremoniously, but their eventual exclusions fit within the story being told anyway. ADRIANO I went into this film unfamiliar with the book, and yet I found Are You There, God? It’s Me, Margaret to be a delightful and honest coming-of-age tale. As a male who, at best, has lapsed from religion, I thought Margaret’s (Abby Ryder Fortson) personal and physical journey oddly resonated with me in ways that were ugly and endearing, especially with Fortson and the fantastic supporting cast killing it. I don’t think all the plot threads end in a satisfying fashion, but I got the emotions that I hope for from a movie like this. I would happily watch it again.

YOU HURT MY FEELINGS Starring: Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Arian Moayed, and Owen Teague Director: Nicole Holofcener JACOB Similarly to Kelly Reichardt’s Showing Up from earlier this year, Nicole Holofcener’s You Hurt My Feelings operates on a more low-key playing field than a lot of other indies, even from A24. There are no huge revelations, plot twists, or abundance of dramatic tension, but that doesn’t keep the film from being any less compelling. Julia Louis-Dreyfus is excellent in the lead, working off a well-written script that has more depth than it lets on at first, and Tobias Menzies’ understated turn seeps into your soul. It’s hardly a mind-blowing watch, but it’s a nice time. PAIGE Writer/director Nicole Holofcener set out to deliver a sweet and light-hearted dramedy, and she succeeds with You Hurt My Feelings . While the film leans toward the more boring side of the tracks, I’m fairly certain an older audience, especially married couples, will enjoy this one. The film is filled with solid performances, and the comedic timing of the entire cast is executed fairly well overall. The message that it’s sometimes okay to tell white lies to those we love also will resonate with many. ADRIANO You Hurt My Feelings is the kind of slice-of-life dramedy that writer/director Nicole Holofcener knows how to do. It’s very low stakes…and maybe a little too lowkey…but Julia Louis-Dreyfus commands the screen with funny moments that don’t undermine the more effective serious notes dealing with the turbulence of fragile egos. Is this gonna change anyone’s life? No. But it’s an easy watch that could get to your core and make you laugh along the way.

THUNDERBOLTS* Starring: Florence Pugh, David Harbour, Sebastian Stan, Hannah John-Kamen, Olga Kurylenko, Wyatt Russell, Lewis Pullman, Julia Louis-Dreyfus, Geraldine Viswanathan, and Wendell Pierce Director: Jake Schreier NICK I’m going to start off with the good stuff as I enjoyed a lot of Thunderbolts* . The subjects of trauma and belonging are deftly handled, both story-wise and cinematically. Florence Pugh and David Harbour both give their best MCU showings yet as Yelena and Alexei, respectively, while Lewis Pullman’s Bob makes for a welcome addition. The fights are engaging, and the comedy is organic and funny. The only thing negatively affecting my rating is the pacing of the final 30 minutes. There's a rush to the conclusion that feels claustrophobic compared to the rest of the film. Besides that, though, this exceeded my expectations. QUENTIN If you’ve seen the “Marvel is trash! – Marvel is back!” meme, Thunderbolts* puts extra emphasis on the positive side of that seesaw. Through a terrific cast, resonant character work, and surprisingly layered writing that touches on trauma, trust, mental health, and finding your tribe, this Guardians of the Galaxy -style team-up is the first MCU movie in a long while to feel like Infinity Saga-era Marvel. The action and humor are typically on point (feeling fresh, even), and the world building to set up future movies is more organic than it has been in recent efforts. Good job, Marvel; Thunderbolts* is a winner. Now, keep it up. AMARÚ If director Jack Schreier can successfully use an entire* ensemble with great action, effective comedy, and tremendous heart like this, maybe he should direct an Avengers film. Thunderbolts* is a more-than-solid MCU entry in every* aspect we’ve come to enjoy. Even Julia Louis-Dreyfus is a better version of her still-too-ham-fisted portrayal of Allegra Valentina de Fontaine. The script’s employment of her character boosts the emotional impact the titular group’s marred pasts provides, especially through Lewis Pullman and Florence Pugh’s outstanding chemistry. To find out how surprisingly impactful, and what my additional asterisks mean, you’re going to have to watch the movie. Which you should. ROBERT When I was projecting out my expectations and excitement of the three MCU projects for 2025, Thunderbolts* would’ve been a distant third on the list. Then, the movie drove up like Bucky Barnes on his motorcycle and blew up those preconceived notions as it unfolded before my eyes. Those eyes had to fight back tears of all kinds: of joy from laughing and of sadness from empathizing with characters as they struggled for purpose, for positive mental outlook, and for connection. Thunderbolts* managed to be cohesive, be surprising, and be mirthful, which are three adjectives Marvel has struggled to imprint on their films until now. ADRIANO I'll give the MCU half a point for making half a great movie because the first half of Thunderbolts* is unbearable at times. The structure and pacing are sloppy, and aside from the seeds of effective character writing they plant, everyone is relegated to "the quirky one." The second half, though, kicked my Marvel-hating ass a bit. Some characters are left in the dust, but I loved the mature and humanistic approach to mental health, even taking swings that were effective. It's rough around the edges, but I'll take stuff like Thunderbolts* over the other slop Marvel has been releasing any day. BODE Even by the low bar the MCU has recently set for itself, it says something that Thunderbolts* manages to clear it. By virtue of feeling more like a real movie and less like another branding exercise, it succeeds with a structure that puts actual emphasis on its characters, genuine thought into its visual look (decent colour grading, real locations, etc), humour that doesn’t undercut emotional beats, and even some fairly memorable music (courtesy of Son Lux). I won’t say Thunderbolts* is a massive step in the right direction (its best moments don’t come until the third act), but it’s at least a step. Want to hear even more of our thoughts? Nick, Amarú, and Shak join Matt to take A Bigger Bite out of Thunderbolts* HERE .

NUREMBERG Starring: Russell Crowe, Rami Malek, Leo Woodall, Michael Shannon, John Slattery, Mark O'Brien, and Richard E. Grant Director: James Vanderbilt QUENTIN Although it certainly has moments when it feels more like a history lesson than it should, the fact remains that it’s a lesson some still need to learn. Through powerhouse performances, particularly from an Oscar-worthy Russell Crowe who somehow gives Hermann Göring humanity, director James Vanderbilt delivers a compelling courtroom drama that, surprisingly, mostly lets the facts speak for themselves without sensationalizing them (not that he really needed to). It can, admittedly, get a little preachy, but like I said, this is a sermon that many people still need to hear, sadly. Nuremberg is a dark horse Oscar player. AMARÚ For a two-and-a-half hour movie about one of the darkest parts of world history, Nuremberg is a breakneck tour de force of actors chewing the hell out of their respective scenery. Russell Crowe is as enticing as evil is allowed to be, Michael Shannon has a quiet force that only he can muster, and Rami Malek hasn’t been this engrossing in a long while. The gripping drama is as compellingly written and performed as an Aaron Sorkin thriller, just without the word-per-minute quota. It touches the melodramatic quite a few times, but the psychological cat-and-mouse is so intriguing that it fits the verbal tête-à-têtes quite well. NICK To anyone who forgot how good of an actor Russell Crowe is, he is here to emphatically remind you in Nuremberg . Crowe is quietly menacing as Hermann Göring, but more impressive is the humanity he brings to Adolf Hitler's second-in-command. This makes the evil hit harder, especially when contrasted against the members of the prosecution, including Rami Malek, Michael Shannon, and Leo Woodall, all of whom are great in their own right. Look, Nuremberg may feel like a history lesson, but it's one that kept me engaged the entire runtime. Also, sadly, one that is all too prevalent today. ADRIANO While in many ways Nuremberg is sluggish dad porn, I also think it's riskier than I assumed it would be. The writing, while not perfectly focused, does attempt to ask viewers to see the atrocities of the Holocaust through the lens that human beings carried them out, an angle that can be haunting (i.e., The Zone of Interest ). But James Vanderbilt's direction weighs this down. It's a tonal mismash that's lethargically paced, with cinematography as grey as a Ridley Scott movie. Despite excellent performances from Rami Malek and Russell Crowe, Nuremberg is a potentially interesting but ultimately fine film. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2 025 Zurich Film Festival.

CLIFFORD THE BIG RED DOG Starring: Darby Camp, Jack Whitehall, Izaac Wang, John Cleese, Sienna Guillory, Tony Hale, and David Alan Grier Director: Walt Becker JACOB Were it not for the notion of entertaining small children, I cannot think of a single reason to recommend the latest iteration of Clifford the Big Red Dog . The underwritten narrative rushes around from theme to theme with no sense of direction, and the giant CGI canine makes less and less sense (looks-wise) every few frames. Its main characters are hollowed out caricatures of actual people, with its side characters just plain old hollow shells fueled by laughably bad dialogue. I will give the movie partial credit for making me laugh twice (and emotional once), but that’s about it. JOSEPH Clifford the Big Red Dog is exactly what you’d expect it to be. There are hijinks akin to animal-buddy movies from the 90s and mid-brow humor, but nothing too special. You’d think with a giant dog there’d be more unique visual gags, but nope. Still, as children’s movies go, it could be worse, and the themes on the importance of community are nice. There’s much this film could have improved upon, but for its target audience, it should be enjoyable enough. As for adults, it’s not a total waste of time, but you might be better off skipping it.

TUNER Starring: Leo Woodall, Dustin Hoffman, Havana Rose Liu, Lior Raz, Tovah Feldshuh, and Jean Reno Director: Daniel Roher NICK When it comes to Tuner , Dustin Hoffman may get you in the door, but you still walk into a surprisingly good film. Evoking memories of films like Baby Driver , this is just a good time at the movies. Leo Woodall gives perhaps his strongest performance to date, and everything auditory in the film - from its sound design to its jazz infused score - is all top notch. Plus, the aforementioned Hoffman can still steal a scene at 88 years old. Considering this is a debut narrative feature from a documentary filmmaker, this is quite a success. ADRIANO I admittedly wasn’t floored with Tuner like others were, and that may have been a victim of expectations more than anything. That said, I still had a blast and found it perfectly serviceable at worst. Clearly playing in Edgar Wright's toybox, the editing and sound work are frenetic and draw you into the protagonist's perspective, with Leo Woodall giving his all. I also found it well written with engaging characters and story progressions, but there was a kick that others had which I didn't get. Hopefully, a second watch will get me there, but for now, I still really liked Tuner . QUENTIN There is nothing particularly special or groundbreaking about Tuner , but that doesn’t mean it isn’t worth your time. The simple fact is that this is a good, old-fashioned throwback that feels like an elevated mix of 90s favorites Rounders and Grosse Pointe Blank . Given those nostalgic vibes, it’s possible that slightly older (read: millennials) viewers will appreciate it a bit more than the youths; however, between the charming leads, believable romance, jazzy score, lived-in humor, and heist-adjacent elements, it delivers a fun, if formulaic, date movie. Plus, it’s always nice to see Dustin Hoffman having a good time. AMARÚ Blending awesome sound design with sweet jazz is a good time. Add in slick talking Dustin Hoffman and that’s a great time. Tuner has all of that (I mean seriously, just listen to the sound design tricks director Daniel Roher utilizes throughout, it’s crazy) plus another great example of Leo Woodall being an up-and-comer you should know. Woodall’s underplayed presence, the brilliant use of his character’s hearing affliction, and Hoffman’s charm lock you into a reluctant crime story you’ve seen plenty of times before. Yet, from Woodall and Havana Rose Liu’s great chemistry to the intense criminal turns, Tuner is still a well-oiled machine. BODE Documentary filmmakers making the leap to narrative features is nothing new, but rarely has that pivot led to something as surprising as Tuner . Toronto filmmaker Daniel Roher - best known for his Oscar-winning documentary Navalny - delivers a crime thriller that’s essentially a cross between Good Will Hunting and Baby Driver . While it can be a little too reverent of its influences, it moves with such propulsion and immersion (thanks to Leo Woodall’s strong lead turn, and Johnnie Burn's insane sound design) that I couldn’t help but be swept up by its old-school machinery. It’s a MOVIE movie in the most entertaining sense. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

SHARP CORNER Starring: Ben Foster, Cobie Smulders, and William Kosovic Director: Jason Buxton NICK Although it’s nice to see Ben Foster playing against type, Sharp Corner leaves much to be desired. You can tell it was originally a short story because its thin premise is stretched out to a near two-hour runtime filled with tons of build-up that culminates in a rushed and disappointing final ten minutes. Foster does well to keep you interested up to that point, but when all is said and done, I just felt deflated. The story either needed to be adapted into a short film or a really expanded and fleshed-out mini-series. As currently constituted, it misses the mark. BODE There’s a fascinating concept at the centre of director Jason Buxton’s second feature, Sharp Corner , particularly its attempt to examine the intersection between emasculation and control through a mix of psychological thriller and dark comedy (think Nightcrawler with the absurdity of a Tim Robinson sketch, with Ben Foster’s creepily polite performance intermittently feeling like it jumped out of the latter). Unfortunately, the film never really digs below the surface of its commentary, nor is it tense or humorous enough to consistently engage the viewer. It has the occasional moment of intrigue, but for the most part, it comes up frustratingly short. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.