HOPPERS Starring: Piper Curda, Bobby Moynihan, Jon Hamm, Kathy Najimy, and Dave Franco Director: Daniel Chong NICK Although Pixar's first original series, Win or Lose , felt like a return to form for the studio, Hoppers confirms it. This is the best Pixar film this decade and writer/director Daniel Chong deserves a ton of credit. Using the comedic sensibilities he showed with We Bare Bears , Chong brought forth one of the funniest Pixar entries in a while. It’s enhanced by a great voice cast, highlighted by Piper Curda, Jon Hamm, and Dave Franco. As well as the studio’s trademark heart and beautiful animation. Hoppers evokes memories of the golden age of Pixar; a clear step up from the likes of Luca and Elio . AMARÚ Hoppers is a wholly unique Pixar experience. It is a non-stop ball of energy from beginning to end, led by its very passionate, annoyingly persistent, and strong protagonist, Mabel (Piper Curda). Moving swiftly through its fairly straightforward narrative at a breakneck pace, it avoids the pitfalls of blandness by quickly and forcefully leaning into the unhinged aspects of its conceit. This allows the sweet and relatable messaging to be more heartfelt than other flatter and less committed Pixar films. Hoppers wholly believes in itself, and that allows the sum of the film to create something better than its routine parts. ADRIANO While it’s nowhere close to the highs of its golden age, Hoppers is Pixar’s best outing since Inside Out . Admittedly, it took a moment to find its footing beyond serviceable children's fare, but when it did, I laughed a whole helluva lot. When Pixar’s working, it’s not only because it’s entertaining, but also because it’s so sincere, and Hoppers struck a nerve with its societal messaging. The feeling of hopelessness against corporations and the environmental love narrative got me good, and if a Pixar movie can make me laugh and get emotional, that's a winner. Want to hear even more of our thoughts? Nick, Adriano, and Shak join Matt to take A Bigger Bite out of Hoppers HERE .

WONKA Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Natasha Rothwell, Tom Davis, Olivia Colman, and Hugh Grant Director: Paul King ADRIANO I can't help but to like a movie that puts a smile on my face throughout. Wonka is not without its wasted characters and narrative squabbles, but director Paul King fills the film with so much heart and (pun fully intended) eye-candy for any viewer to enjoy, even if the original's darker undertones are mostly abandoned. And despite my initial reservations, Timothée Chalamet is funny and endearing, as is his young co-star, Calah Lane. The movie's intentions feel sincere enough to make the joyfulness feel real, and I was pleasantly surprised by this return to a world of pure imagination. CALEB Honestly, it took me a good 20 minutes to get past the fact that Timothée Chalamet was singing, but once I did, Wonka really won me over. There’s just so much to love about this movie. Chalamet is much better than I thought he might be, the songs are catchy, and the script is genuinely moving. While the film might be a little too sweet for some people, there’s no denying that director Paul King poured his heart into this project, and more children’s films deserve to be crafted with this level of passion and care. Wonka is a delightful surprise. PAIGE While Wonka is a whimsical and charming treat, the musical aspect of the film falls flat. It’s a full-blown musical that lacks powerful vocals from our lead, Timothée Chalamet, and has no memorable songs to go along with its journey of Willy Wonka trying to accomplish his dream of opening a chocolate factory. Plus, the film also plays it a little too safe, needing to be a wee bit more unhinged to satisfy my need for this prequel to Roald Dahl’s beloved character. All in all, this flick is a perfectly fine family-friendly film. PRESTON Wonka is director Paul King’s reimagined look at the life of Willy Wonka (Timothée Chalamet). The fantastical visuals are on full display with a competent cast, but despite its polished finish, I left the theater feeling unsatisfied. The overly saccharine nature of this somewhat forced musical had me feeling slightly queasy, and without any of the mystery or darkness of its predecessors, there was little incentive to emotionally invest in any of the characters, which caused many of Wonka’s antics to fall flat. The result is a decent, but excessively safe children’s story that leaves little for us older kids. KATIE Willy Wonka & the Chocolate Factory is one of my favourite films, and Gene Wilder's incarnation of the character is very close to my heart. So, I went into Wonka believing that I wouldn't be impressed; however, it won me over almost immediately. The musical set pieces are spectacular, the songs are catchy, Timothée Chalamet is charming and frankly adorable as Wonka, and the tone is perfect throughout. I also am pleased that it employs nostalgia effectively, yet sparingly. It's unapologetically wacky and extravagant, and whilst it may border on sickly sweet for some, it's everything I’d expect from a Wonka musical.

THE DEVIL'S MOUTH Starring: Kathryn Newton, Lana Condor, Gavin Casalegno, Nico Hiraga, Tommi Rose, and Tayme Thapthimthong Director: Jeff Wadlow PAIGE The Devil's Mouth may be director Jeff Wadlow's best movie to date, but that isn't saying much considering his resume includes Truth or Dare , Fantasy Island , and Imaginary . The script leans heavily into familiar genre tropes, but does manage to create a somewhat tense atmosphere. It's not as gory as I'd hoped from a shark thriller, but it does enough to make you feel the danger. Besides Kathryn Newton's character, the rest of the ensemble is pretty insufferable, and in a shark movie, you need to want the characters to survive. Instead, I found myself rooting for them to become shark bait. KATIE The Devil’s Mouth is so bad it’s… bad. Jeff Wadlow’s shark thriller is disappointingly dull, lacking any B-movie charm that would make its shortcomings entertaining. The dialogue is bland, the characters are unbearable, intensified by their nonsensical and often confusing decision-making, and it lacked thrills. It fails to build tension and it doesn’t help that it looks terrible and the CGI is shonky, so what you’re left with is characters you don’t care about thrashing around in the dark. Kathryn Newton, playing Sara, somewhat elevates The Devil’s Mouth beyond being unwatchable, but it’s still completely forgettable.

LEAVE THE WORLD BEHIND Starring: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la, Kevin Bacon, Farrah Mackenzie, and Charlie Evans Director: Sam Esmail KATIE Leave the World Behind is an immensely enjoyable semi-apocalyptic psychological thriller featuring magnificent performances from a stellar cast. The film gradually reveals intriguing details about the nature of the disaster, inciting a relentless sense of tension that slowly builds, emphasised by the striking, off-kilter score. The answers to the many questions that the film poses don’t really matter; it's the collision of the different characters, the awkward tension, and emotional drama that drives the plot. Though undoubtedly a slow burn, the pacing is great, and the intriguing premise held my attention. QUENTIN Driven by terrific performances and dynamic direction that fuels the unsettling tension that only grows over the course of the movie’s runtime, I can honestly say there were no moments in which I wasn’t fully engaged with Leave the World Behind …until the relatively unsatisfying ending, that is. Plus, while I was captivated while watching the film, as the credits rolled, several questions entered my mind that made me think, “wait, but why did…? That doesn’t make sense.” All that is to say, when you’re in it, this movie is a winner – just don’t think too hard about it once it’s over. CALEB Usually, I'm a fan of director Sam Esmail, but Leave the World Behind did nothing for me. The premise was too ill-defined to hook me, and the characters were far too unlikable to root for. The film is essentially one long build-up for a very, very weak payoff. This made it feel like something M. Night Shyamalan might direct, but unlike Old (2021) or The Happening (2008), Leave the World Behind is too pretentious to have any fun with. The empty critiques on consumerism are almost as annoying as the disorienting camerawork. I can appreciate what Esmail was going for, but unfortunately, this one is a miss. PAIGE Leave the World Behind may not be your typical apocalyptic thriller, but it is an ominously slow burn that keeps tensions high throughout (not to mention the stylish camerawork and all-star cast that enhances the 2.5-hour runtime). This somewhat unsettling film is extremely thought-provoking, which some will find fascinating, but it ultimately leaves you with more questions than answers. That said, while the end result may not be completely satisfying, the film’s commentary on human dynamics is powerful enough to stick with you. ADRIANO I admire certain ambitions of Leave the World Behind , but beyond that, I found the movie lacking. There is no real thematic depth to draw me in beyond its mystery and cast, nor did I think the satire had any real weight or even much to say. There are moments when the weirdness sucked me in, but it felt like writer/director Sam Esmail was simply trying to get reactions at times, even if that wasn't his intent. Lastly, I simply did not like the ending. I can't say it didn't entertain me at all, but I don’t think this movie is worth much either. NICK Leave the World Behind provides more interesting questions than answers, but thanks to its great performances (highlighted by Julia Roberts) and some excellent visuals from director Sam Esmail, it makes for an interesting watch. Unfortunately, there's something missing in the proceedings as the film is just never as gripping as it should be. It works great as an in-the-moment watch, but if you think about it too much after the fact, you’ll see that there’s definitely an aspect of style over substance littered throughout. This is what stops the film from being great, forcing it to settle on being merely good instead.

EMANCIPATION Starring: Will Smith, Ben Foster, and Charmaine Bingwa Director: Antoine Fuqua QUENTIN Emancipation has a bit of an identity crisis on its hands. What starts as an Oscar Bait slavery drama akin to 12 Years a Slave evolves into an action chase movie similar to Mel Gibson’s Apocalypto before eventually giving way to a Civil War movie in the vein of Glory . The mishmash of those tones, not to mention the inconsistent color palette, makes it hard for the viewer to truly settle in. That said, it’s never boring. Will Smith and Ben Foster do nice work, and it’s beautifully shot. The brutality might turn some people off, but there is enough here to make it worth your time. AMARÚ Emancipation ’s story should always be told. It’s a well-written, well-acted, well-scored and well-directed movie. Director Antoine Fuqua’s action doesn’t miss, and his use of tints and colors is especially poignant. That said, as an American Black man whose upbringing included Glory , Roots , and Amistad , there’s always the lingering question of whether I need to watch another slavery movie. I wanted to watch…that’s why you’re reading this review…but after finishing it, the answer is "no, I did not." By all means, watch the film. But if your station in life mirrors mine, then I’ll let you decide if your want outweighs your need. JACOB Its heart is in the right place, but unfortunately, Emancipation doesn’t quite rise to the level of filmmaking it hopes to achieve. Director Antoine Fuqua’s runaway slave thriller does feature a solid (if tepid) Will Smith performance, but the film has little to say about the brutality of slavery or the difficulties involved in escaping it. The film also looks quite bad, with such a desaturated color grade that one would think it was black & white if not for a few warm hues in some margins (not to mention the far too many drone shots). All in all, it’s serviceable, but skippable. ADRIANO I wish I knew what director Antoine Fuqua was trying to accomplish with Emancipation . One moment, the film is a sickening look at slavery; five minutes later, it's an action thriller. Those ideals never mesh together in a cohesive way, so it left me lost as to what the ultimate goal was. I’m not saying the story is never compelling, it just feels fumbled. Despite the film’s distracting color grading, it is admittedly well constructed, and Will Smith is an effective lead; however, I never felt gripped by the events of the story enough to care.

BABYLON Starring: Margot Robbie, Diego Calva, Brad Pitt, Jean Smart, Jovan Adepo, and Li Jun Li Director: Damien Chazelle NICK I've never been on drugs, but I'm fairly certain that the cinematic experience of Babylon is what a heavy trip feels like. This thing is wild. From the opening scene, it kicks into high gear and stays on that track for over three hours. The cast is stacked too, with a few performances worthy of awards consideration (Margot Robbie, in particular, is excellent). Director Damien Chazelle may have made yet another film about dreamers, but this one is easily his most chaotic, which really works in the film’s favour. Babylon fires on all cylinders, and is another dynamite addition to Chazelle's already impressive resume. ADRIANO Babylon is a lot. Writer/director Damien Chazelle attempts to do way too much, which leaves some of the results being underbaked. Even with a 3-hour runtime, interesting key characters and themes don’t feel completely fleshed out, leaving the film feeling bloated. However, on a technical aspect, I have no notes for Chazelle. The atmosphere is debaucherous and energetic, led to perfection by Diego Calva and Margot Robbie, and the absurdity never feels like it’s extreme for the sake of being extreme. Instead, it contributes to the film’s message regarding the beauty and, most importantly, the ugliness of Hollywood. AMARÚ Babylon is three hours of unfiltered, unfettered chaos, but it’s the quiet moments that are the loudest. Margot Robbie, Brad Pitt, and Diego Calva all command the screen, but it’s Li Jun Li and Jovan Adepo that command your attention. Director Damien Chazelle crafted a decadent, outrageous, and hilariously exorbitant love letter to the magic and mayhem of Hollywood, but it’s one of the final shots on a singular face that will mean the most to movie lovers. Come for the crazy, stay for the silence, but whatever you connect to, just sit back and let it wash over you. JTE Babylon wants to be a kinetic, drug-fueled ride through Old Hollywood, but, instead, it's a lifeless and empty 3-hour drag. Director Damien Chazelle attempts a film in the vein of Martin Scorsese's The Wolf of Wall Street or Paul Thomas Anderson's Boogie Nights , but the thing that made those films so successful was the characters that inhabited the intoxicating nights and heightened debauchery. However, in Babylon , I didn't care for any of the characters, with each one feeling like a boring stereotype. I could see where their story was going within the first 15 minutes of the film. DARRYL Babylon as a whole feels like an empty affair. Though technically dazzling, director Damien Chazelle’s impressive cinematography and production design aren’t enough to cover what is essentially a run-of-the-mill Old Hollywood story with little new to add. The opening scenes of depravity and debauchery start the film with a jolt of energy before losing momentum in the second act, ending with a heavy-handed montage dedicated to the power of cinema. At three hours, it’s a roller-coaster ride of a movie, and for better or for worse, Babylon feels its length, which will leave some viewers in a state of confusion as the credits roll. JACOB Damien Chazelle’s Babylon may be his most ambitious, daring, and passionate movie to date, and whether it’s stronger or weaker than his other films should be of little consequence to those who manage to make it to the credits. The first half is a cacophonous hurricane of sex, sound, and pure energy, while the second half is about the slow but steady demise of stardom, yet Margot Robbie and Diego Calva carry it all the way to the finish. Linus Sandgren’s cinematography delights in the long shot, and Justin Hurwitz’ mammoth score (specifically “Voodoo Mama”) may be the best piece of music I’ve heard this year.

STRAYS Starring: Will Ferrell, Jamie Foxx, Will Forte, Isla Fisher, Randall Park, Josh Gad, and Rob Riggle Director: Josh Greenbaum NICK Growing up, talking animal films (mainly for kids) were a dime a dozen. Although they're less common now, they still feel overdone. Strays tries to combat this by going the adult route – think what Sausage Party did for animated films - and it does its job in providing the laughs. However, like many comedy films, the trailers really do the movie a disservice by undermining many of the jokes. The voice performances are good, and the speaking visuals aren't off-putting, yet there’s just a familiarity with the content that made Strays feel like I’d seen it before. Something is missing here, I just can’t pinpoint what. ADRIANO Strays does nothing to reinvent the comedy genre. In fact, Strays is pretty stale in terms of story and writing. But I get the sense the goal was “let’s make a funny, R-rated comedy about dogs,” and you know what? They succeeded. This film may not be for the squeamish, but it made me laugh a lot, thanks in part to some great voice work from the cast. To top it all off, it’s got a decent amount of heart as well. So, while it’s nothing to write home about, it’s dependable if you want a good laugh. QUENTIN I imagine that Strays , which is known by the much better name Doggy Style in Germany, is probably pretty hilarious to someone who hasn’t seen many comedies, be it because they were sheltered or they are just young. I admit there was a time when I would have found it laugh-out-loud funny. But now? It’s merely breathe-a-bit-harder-through-your-nose amusing. This is mostly because the jokes are obvious (did you know dogs don’t like mailmen?), or worse, they are ripped directly from Family Guy . As if it pooped on the rug, this Homeward Bound with Sausage Party sensibilities should have its nose rubbed in it. JACOB Strays is hardly the disaster Letterboxd would have you believe, but the juvenility of its overly repetitive humor is what keeps it from being anything more than surface-level. The voice cast doesn’t exactly stand out, but the script also doesn’t offer them any opportunities to really shine. The characters are one-note at best, only one or two jokes made me chuckle, and it all plays out exactly as one thinks it will. That said, if you enjoyed Good Boys on any level, this is more or less the same thing, just with dogs. Truthfully, I didn’t hate it. AMARÚ Dogs are the cutest and bestest things in this world, and 95% of the reason why Strays is getting this rating. As the movie progresses, it moves away from the try-hard raunch that has stifled Will Ferrell’s worst outings to focus more on the dog-related humor. The lewd gags get a few good laughs, but they work best when having a clever connection to our four-legged friends. Once the incessant cursing stopped being there just to be there and started adding to the surprisingly heartfelt story of worth and friendship, Strays moved from almost unbearable to unexpectedly alright. PHILL Strays is one of the worst films to be released in 2023. This review may seem cynical, but for a film that is supposed to be a comedy, it’s just plain sad, both for the characters’ journeys AND the state of comedy as a whole if this is considered funny enough to be given a worldwide release. It’s grotesque and nauseating white noise, with almost every joke involving dog’s genitalia or dogs going to the toilet. All of that is thrown in with some cheap cameo choices that only work if you’ve seen the films they’re very lightly referencing, making Strays heinously terrible.

AFTER THE HUNT Starring: Julia Roberts, Andrew Garfield, Ayo Edebiri, Michael Stuhlbarg, and Chloë Sevigny Director: Luca Guadagnino QUENTIN I’ve been underwhelmed by Luca Guadagnino’s films thus far, but After the Hunt , though imperfect, is easily my favorite work of his. As the battle on political correctness and performative wokeness rages on, Guadagnino captivatingly explores modern-day snowflake syndrome and the cultural divide between Gen X, Millennials, and Gen Z. As a result, this is a film that may trigger you or make you feel seen, or both; the ability to effectively elicit such divisive yet accurate opinions, even within oneself, is evidence of a master filmmaker. The excellent performances he pulls from the perfectly cast ensemble is icing on the cake. PAIGE Luca Guadagnino’s After the Hunt raises interesting ideas but fumbles its narrative since it doesn’t dive deep enough into any of its themes. As the film goes on, it begins to drag because it’s not clear what it wants to say. The performances are great across the board, especially Julia Roberts, who delivers some of her best work in a long time; however, due to the film’s ambiguity and messy approach, it's hard to care about any of the characters. It's honestly a shame the script is as sloppy as it is because with stronger writing, this could have been a powerful, thought-provoking film. ADRIANO It's with a heavy heart that I say director Luca Guadagnino struck out with After the Hunt . His direction is interesting, but the overwritten script is a problem. On one hand, there's something there about Gen X being as sensitive as the young folks they criticize. However, while wanting to have its cake and eat it too, it doesn't find effective criticism for Gen Z beyond "they're annoying.” It proudly proclaims it wants to make you uncomfortable, but ultimately muddies the waters too much, especially while handling serious subject matter. Despite excellent performances, After the Hunt is a misfire. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

ALIEN: ROMULUS Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu Director: Fede Alvarez NICK Director Fede Alvarez has a knack for taking tired franchises and rejuvenating them for a new audience, and that's exactly what he accomplishes with Alien: Romulus . He has crafted a film that instantly immerses you thanks to some brilliant visuals and smart directorial choices, aspects that are only enhanced by the solid cast filled with up-and-comers (highlighted by a terrific performance from David Jonsson). The tension is palpable, the story is inventive, and the Xenomorph is never overexposed. Romulus isn't just a worthy successor to the Alien brand, it's among its best entries. ADRIANO In many ways, Alien: Romulus is a dream come true for this Alien fan. Combining the tension-filled eeriness of Ridley Scott's Alien and the contained action of James Cameron's Aliens , Romulus is an atmospheric action-horror film that is both successfully creepy and badass. Cailee Spaeny certainly is one hell of a heroine, but David Jonsson is the heartwarming standout. The film retreads its predecessors maybe a bit too much for my liking, and some of the fan-service references annoyed me, but overall, especially with the bonkers finale, I had a blast with this film. QUENTIN Considering Romulus takes place between Alien and Aliens , it makes sense that it seamlessly combines and transitions from the slow-burn horror of the former (the first hour) to the tense action of the latter (the second hour). Plus, it’s tremendously directed, with Fede Alvarez making great use of light and shadows to build dread while capturing some truly iconic shots that call back to the originals. And speaking of…the Easter Eggs are plentiful for Xenomorph stans without feeling too forced, which is nice. This is easily the best franchise offering since 1986, and if you only watched Alien , Romulus , and Aliens , you’d have an excellent trilogy. AMARÚ Fede Alvarez directed the hell out of Alien: Romulus , utilizing light, shadow, and great sound design to create momentous tension without relying on it. Instead, it enhances a plot, which much like the first two Alien films, is mightily propelled by the main group’s relationship with a synthetic, played phenomenally by David Jonsson. The relationship between Andy (Jonsson) and Cailee Speany’s Rain endears us to the story and the rest of the crew, and while Alvarez’s third act takes big horror swings that may not work for everyone, the captivating balance of thrills, character, sound, and visuals creates a solid addition to the franchise. PAIGE Despite the fact that Alien: Romulus may not bring anything new to the franchise, director Fede Alvarez successfully evokes the ascents and terror of 1979's Alien while also including numerous callbacks to other films in the series. Though there isn't much tension in the movie, David Jonsson's dad jokes and Cailee Spaeny's performance offer just the right amount of emotional impact to keep viewers interested. Plus, it’s packed with beautiful visuals, stellar practical effects, and a fantastic sound design. I just wish it established its own identity instead of feeling like a love letter to the franchise. KATIE Alien: Romulus executes its simple but impactful premise with grippingly gruesome precision, bringing new blood to the franchise whilst honouring its predecessors. Plus, David Jonsson and Cailee Spaeny are just fantastic in the lead roles, standing out amongst the rest of the cast. Jonsson’s impressive performance ranges from unsettling to endearing, and Spaeny solidifies her rising stardom. There are plenty of callbacks to the previous films that don’t totally make sense, but they’re subtle enough to not break the immersion too much. Overall, Romulus is totally predictable but far from boring, brimming with atmosphere, action-packed set pieces, and impressively gory effects. PRESTON I have a confession to make…I haven’t been the biggest fan of the Alien movies. I liked that Warrant Officers got a well-deserved nod, but that is about as far as my appreciation goes. But this latest Alien (tribute) film is, surprisingly, my favorite so far. There were a lot of Easter Eggs lost on me, but the updated technological production elements, visual effects, and storyline are a much-needed improvement from past films. Plus, David Jonsson (Andy) provides a lovely, nuanced performance with a character whose development arc is the highlight of the film.

HOUSE OF GUCCI Starring: Lady Gaga, Adam Driver, Al Pacino, Jared Leto, Jeremy Irons, Salma Hayek, and Jack Huston Director: Ridley Scott QUENTIN House of Gucci is a mess. First, it’s overly serious, except when it veers into Showgirls -level campiness. Second, it’s very poorly edited, with character developments coming out of nowhere. It’s like they cut a 10-hour miniseries into a 2.5-hour movie. It does feature some excellent songs to evoke the era, but they don’t always mesh with the scenes with which they are paired. Then there is Jared Leto: I’m not sure his performance is “good,” but it’s certainly the most entertaining part of this barely average movie. Perhaps it would have been better if everyone else had matched his energy. JACOB House of Gucci may not be the disaster many have claimed, but it remains one of 2021’s biggest letdowns in terms of execution. The film is far too long, quite messy, and its script is stretched out in areas that don’t matter while being far too brief in places that do. The individual performances are mostly good, yet feel like they belong in completely different projects (especially Jared Leto’s). For a film primarily about a fashion dynasty, the whole affair possesses a distinct lack of flair. It may land a few Oscar nominations, but don’t count it amongst the frontrunners. ADRIANO House Of Gucci is one of the year's biggest disasters. While there are some campy moments that are somewhat enjoyable, it's an incredibly tone deaf and unbalanced mess for the most part. It is the one thing a movie should never be: boring, an agonizing 150 minutes that I felt every second of. The cast generally does a good job (mainly Adam Driver), but the actors can’t seem to agree on what type of movie they’re in. Add in an awful script, and you have one of 2021's worst movies.

SUPERMAN Starring: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Wendell Pierce, Skyler Gisondo, María Gabriela de Faría, and Sara Sampaio Director: James Gunn QUENTIN Superman features awe-inspiring sequences and a production design that harkens back to the Golden Age of Comics, with some scenes looking like they were ripped directly from the page. However, the story is thin, overstuffed, rushed, predictable, and trying too hard to be topical. While David Corenswet was a knockout choice for Supes (Edi Gathegi also is excellent as Mr. Terrific, the low-key MVP), Nicholas Hoult was a misfire, playing Lex Luthor as a whiny Gen-Zer rather than a diabolical genius. Then there’s Krypto – a sure-to-be fan favorite – but also a crutch leaned on far too often. Overall, Superman flies, but fails to soar because of the little things. AMARÚ Superman is weird as hell, making it the most interesting iteration of the superhero to date. Attuning the Man of Steel to director James Gunn’s freaky sensibilities finally gives Superman/Clark Kent (David Corenswet) some personality to chew on. The action is frenetic, the story is unafraid to embrace DC’s more mind-bending aspects, the actors fall full force into Gunn’s quirks, and all of it is wrapped in a heart that’s worn enthusiastically on its sleeve. The tone won’t work for everyone, and some emotional beats land softer than expected, but there’s no denying the hopeful essence that permeates throughout. ADRIANO For a cinematic universe starter, writer/director James Gunn mistakenly shoves us into this one as if it's a continuation. A universe that already has superheroes isn't a bad idea, but with Superman it felt bloated and messy. Yet somehow, it filled me with a joy I haven't felt from superheroes in a while. Gunn's earnestness shines through even the clunkiest parts, with a perfectly balanced corny tone that makes Superman (David Corenswet) feel like the hope-inspiring hero he's supposed to be. So while there are things that needed fixing, I'll admit this DC Universe is off to a good start. ROBERT It is quite a magic trick to bring classic sensibility to a popular character, thrust him into a contemporary landscape and not have it feel tonally awkward. I think James Gunn pulls this off with Superman , where the hopefulness of the character bleeds into his surrounding environment and into the future of the DCU. The castings of David Corenswet and Rachel Brosnahan as Clark Kent/Superman and Lois Lane end up more inspired than initially thought, and while there are wacky and ham-fisted aspects of Lex Luthor, Nicholas Hoult portrays his spitefulness ferociously. I didn’t think I would see a consequential Superman film in my lifetime, but I am happy to be proven wrong. BODE It seems jarring initially when writer-director James Gunn opens Superman in the middle of the action. No origin. No hand-holding whatsoever. It’s in that sense - and more, from its rapid tonal shifts, to its bevy of characters - that it feels like a random Golden Age issue come to life. It put a smile on my face almost immediately, and that feeling stayed throughout this modern iteration. It’s not without its faults, but it’s so unabashedly sincere, breathlessly energetic, and perfectly cast that I had a great time regardless. If the new DCU continues like this, sign me up. KATIE I didn’t expect to enjoy Superman as much as I did, and I was happily surprised by James Gunn’s sincere iteration of the hero. I’m personally glad it moves away from the forced grittiness and cynicism of recent superhero films, and is instead charming and hopeful, striking a great balance between silliness and seriousness. I was also moved by the rousing message, and although some characters were underwritten, it makes up for it with emotional moments and warm humour. It’s a simple narrative, but well-paced and driven by compelling performances, especially David Corenswet’s charming Superman, and some fantastic action sequences. NICK Although I like what Superman (David Corenswet) represents, he often comes across as slightly simple minded and kind of a dork (Man of Steel being the exception). That’s definitely present at times in director James Gunn’s adaptation, but that’s not all Supes is in this iteration. Corenswet gives a layered performance as he reintroduces the character, and although it doesn’t all work (it’s a messy film in general), he reaffirms that he was the right casting. I wish the story was a little more grounded, but the seeds have been planted for a new DC Universe, and I have… hope. Want to hear even more of our thoughts? Amarú, Shak, and guest Winston A. Marshall join Matt to take A Bigger Bite out of Superman HERE .

ALL OF US STRANGERS Starring: Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy Director: Andrew Haigh PAIGE All of Us Strangers is an incredibly personal film that is both heartbreaking and extremely powerful. It’s intimate, tender, and everything in between. This work of art touches on themes of loneliness and grief that will resonate with many, and I promise you it will give you all the feels thanks to the stellar and moving direction from director Andrew Haigh. Plus, Andrew Scott, Paul Mescal, Claire Foy, and Jamie Bell all deliver riveting performances. Once the end credits hit, this gem will have you rushing out of the theater to call your loved ones. ADRIANO All of Us Strangers has some real devastation, but sadly, a lot of it fell flat for me. Admittedly, writer/director Andrew Haigh does pull off the heartbreaking drama as it examines how we can sometimes fail to accept grief and how love can set us free, and this movie did make me shed some tears at times, thanks in part to the richly layered performance from Andrew Scott. However, some of the ways in which the film tries to explore its subjects collapse on themselves and the ending feels pointless. So, while this is worthwhile, I wish I got more out of it. AMARÚ All of Us Stranger s has the difficult position of having a ploddingly slow pace be essential to its emotional payoffs. I felt myself getting detached throughout the film whenever Adam’s (Andrew Scott) story paused for more contemplative scenes, but at the same time, that silence and Andrew Haigh’s intense direction made the film’s unique approach to trauma and memories much more powerful. Combine that with Scott, Paul Mescal, Jamie Bell, and Claire Foy all bringing tremendous gravitas to that emotional resonance, and Strangers makes for a moving, if at times sluggish, experience. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.