IMAGINARY Starring: DeWanda Wise, Taegan Burns, Pyper Braun, Betty Buckley, and Tom Payne Director: Jeff Wadlow NICK Let me get this out of the way: Imaginary is not a good film. It’s filled with all the clichés you find in the horror genre, from archetype characters to gargantuan leaps in logic. But… I’d be lying if I said this thing didn’t keep me entertained throughout. There’s no atrocious acting, the script leans into the ridiculousness of it all, and, conceptually, it’s a fun idea. I fully expect more negative reviews than the one I’m giving here, but for me, I’m far more likely to revisit this than something like 2022's M3GAN . Just turn off your brain and try to enjoy. CALEB Without a hint of hyperbole, I can confidently state that Imaginary is one of the most poorly written horror films I’ve ever seen. Between this, Five Nights at Freddy’s , and Night Swim , I am slowly becoming convinced that second drafts are actually discouraged over at Blumhouse. The pacing is torturously slow, the clichés are endless, and the redundant, pointless exposition is beyond infuriating. The script is the film's biggest flaw, but the hideous cinematography, wooden acting, and mediocre CGI don’t help matters either. I'll give it props for using some practical effects, but beyond that, Imaginary has very little worth praising.

DADDY'S HEAD Starring: Julia Brown, Rupert Turnbull, Charlies Aitken, and Nathaniel Martello-White Director: Benjamin Barfoot This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2024. PAIGE Although Daddy’s Head kind of feels like a ripoff of The Babadook , it’s still an unsettling and moody horror flick featuring a genuinely creepy creature design that will make the hair on your arms stand up. With that said, the characters don't have any depth, which makes them seem rather one-dimensional, even if the story does an effective job of tackling its theme of grief. Overall, this movie will be very hit or miss, as its ending is so rushed that it results in a very anti-climactic conclusion. Still, if you have Shudder, it's worth checking out for the haunting atmosphere in its first two acts. QUENTIN With Daddy’s Head , we have yet another atmospheric horror metaphor about dealing with grief. Honestly, it feels a lot like a knockoff of The Babadook , and, full disclosure, I am not a fan of The Babadook . As such, you can probably gather I wasn’t a huge fan here either. For one, it’s a very slow burn, rarely showing the creature we should be fearing until the very end, which becomes more annoying than anything. Second, it gives few explanations, seemingly trying to elicit forced interpretation to prove how smart it is rather than telling a story with clear purpose. Lastly…just meh. Meh, all around.

GOOD MADAM Starring: Chumisa Cosa, Nosipho Mtebe, and Kamvalethu Jonas Raziya Director: Jenna Cato Bass JOSEPH Good Madam feels very similar in tone to Get Out . It’s a criticism of race relations in South Africa, showing how the sins of the past, namely apartheid, live through and affect the present. Despite strong performances and atmosphere, some of the horror elements just did not resonate with me, but the film still managed to deliver a compelling story and mystery. The ending itself is strange, a Twilight Zone -style sequence that blends plenty of nuance with some abject horror. It’s a film that could have done more, but what is there is still pretty good. PAIGE Good Madam may not be the kind of thing that you’d expect to see on Shudder, but different is always good, so it’s definitely worth the watch. It’s an atmospheric, slow burn, horror film that is also a social commentary, much like Jordan Peele’s Get Out. The story itself doesn’t fully come together as well as you’d hope, needing more meat on the bones, but that doesn’t take away from the fact that you’ll fall under its spell due to the film’s great performances.

I DON'T UNDERSTAND YOU Starring: Nick Kroll, Andrew Rannells, Nunzia Schiano, Morgan Spector, and Amanda Seyfried Directors: Brian William Crano and David Joseph Craig NICK What do you get if you take the loose concept of Tucker & Dale vs. Evil , add in a language barrier, and wrap it all up in a queer love story? I Don’t Understand You , a film whose title couldn’t encapsulate it any better. Still, I enjoyed this, and a lot of the credit goes to Nick Kroll and Andrew Rannells. The pair’s chemistry brings an authenticity to their relationship that makes their genuine interactions with those around them just as appealing as the more zany content. Even the language barrier gag never feels overused because of them. This was a pleasant surprise. ADRIANO When I'm promised a horror comedy, I expect to see a horror comedy. We get the comedy part, thanks to the lead performances from Nick Kroll and Andrew Rannells, who do a great job of performing quick-witted, fish-out-of-water comedy that could've been plain. As for the horror, I did find the plot escalation entertaining, but the complete lack of tension made the experience less memorable. All that said, I Don't Understand You is a nice time-waster that'll make you chuckle, which I guess I can't dunk on.

THE ODYSSEY Starring: Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Jon Bernthal, Lupita Nyong’o, Zendaya, John Leguizamo, Samantha Morton, Himesh Patel, Benny Safdie, Charlize Theron, Elliot Page, Corey Hawkins, and Mia Goth Director: Christopher Nolan ADRIANO Christopher Nolan’s talents as a filmmaker are undeniable and nearly unmatched, and The Odyssey is no exception. A sprawling sword-and-sandals epic of this scale is exactly what the theatrical experience demands, and Nolan and his team make outstanding use of the format with an array of amazing set pieces. The writing falls into typical pitfalls for him, including unnecessary non-linear storytelling and failing to reach the heights he’s thematically aiming for, but it's not for lack of trying. His commitment makes it incredibly watchable, and while you should seek it out because it’s something you must experience, it is mid-tier Nolan. NICK I have always loved Homer’s Odyssey and although it feels out of place for director Christopher Nolan to take on, I was excited for his version. As expected, he has created something that is both epic in scale and wonderfully acted across the board. Having said that, Nolan’s take is overly sanitized, and while there are some stand-out sequences, the lack of brutality made me question whether Nolan fully understood the character of Odysseus (Matt Damon), especially in the film’s finale. The Odyssey is a technical achievement, to be sure, but I don’t think Nolan has succeeded in creating the definitive adaptation of this story. QUENTIN For all the hype he gets, I haven’t loved a Christopher Nolan movie since 2010's Inception (everything since has been generally good, except Tenet , but also kinda forgettable). The Odyssey , with all its epic blockbuster trappings and preceding hype, changes that. It's undeniably fantastic, boasting action, tragedy, suspense, grandeur, and even horror. Plus, surprisingly, at nearly three hours, there is zero fat. You need every bit of this story, meaning it never drags. Couple that with Nolan's typical technical wizardry and stellar performances, and you’ve got the must-see theatrical experience of the summer (maybe the year) and a return to form for the lauded filmmaker. AMARÚ It took about 10 minutes to get used to the modern dialogue used for The Odyssey ’s ancient prose. While that mixture substantiates writing as Christopher Nolan’s foible, his direction, coupled with the stacked cast’s performances, gives us the epic of the year. It is harsh, cruel, tense, and heart pounding. With Nolan being my favorite director and Homer’s poem being one of my favorite all-time stories, the marriage of the two was as grand, emotional and marvelously scored, shot, and paced as I wanted it to be. I can’t wait to see it again now that I am more attuned to its slightly out-of-place, modernized script. ROBERT In the times of cell phones and short attention spans, a three-hour film keeping eyeballs transfixed is nothing short of miraculous. The Odyssey is special in that the environment and setting do nothing, even when considering gods and monsters, to take you out of the brutality and struggle of everyone’s journey, not just Odysseus’ (Matt Damon). Everything is a character, including the ocean the Greeks traverse and the boats they lumber to steer. While there are some odd casting choices in my personal estimation, most everyone is pitch perfect in the universe they occupy. A technical marvel and glorious insight into man’s descent…a true symphony from director Christopher Nolan. KATIE The Odyssey is beautiful and full of suspense, horror, heartbreak, and awe-inspiring visuals. Some of the casting choices are slightly bizarre, but, crucially, Matt Damon is fantastic. I was doubtful he could rise to the heights the name Odysseus demands, but he is excellent as director Chistopher Nolan’s realisation of this character. I don’t understand the ensemble’s American accents or why the dialogue was so modern, but it didn’t detract from my enjoyment once I was used to it. It’s essential to see it on the biggest screen possible, and I want to see it in its true IMAX format as soon as I can. BODE Putting aside the dozens of films inspired by Homer’s The Odyssey , there actually haven’t been many direct adaptations of the foundational Greek poem. So, leave it to director Christopher Nolan to spend his post-Oscar blank cheque doing just that. It’s what you’d expect his version of this text would be, with all the technical wizardry, solid performances (Samantha Morton is the clear MVP), and exciting set pieces fitting for an epic. It’s certainly satisfying to watch unfold, yet its flaws - mostly in its writing - kept me from embracing it wholeheartedly. But, as often with Nolan, perhaps another watch could unlock it. PAIGE The artistry in director Christopher Nolan’s The Odyssey is outstanding, from its massive scope and scale to its practical effects that fully immerse you into this world. Its score from Ludwig Göransson is epic, and its cinematography is gorgeous. But that isn't to say the film is without flaws, as its sound mixing, non-linear storytelling, and confusing editing can be distracting at times. That said, it's still a gigantic spectacle that allows Matt Damon to deliver one of his best performances to date. All in all, The Odyssey is a breathtaking epic that will leave you in awe. Want to hear even more of our thoughts? Nick , Amarú, and Jeannine join Matt to take A Bigger Bite out of The Odyssey HERE .

THE HARDER THEY FALL Starring: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, LaKeith Stanfield, Delroy Lindo, Edi Gathegi, RJ Cyler, Danielle Deadwyler, and Deon Cole Director: Jeymes Samuel AMARÚ The Harder They Fall is my kind of western, featuring the coolest characters played by the coolest performers saying the coolest things over the coolest score. First-time director Jeymes Samuel makes sure to capture everything as epically as possible and does not waste a shot. Although every person on screen shines bright, it's Jonathan Majors who continues to prove how, even amongst legends like Regina King, Delroy Lindo, and Idris Elba, he will be top billed for decades to come. I promise this will be, hands-down, one of the most bad-ass movies you've watched in years. QUENTIN I recently asked a friend that I just made up for this review, "What was the last great western?" In The Harder They Fall , Netflix has delivered the answer. The performances are stellar across the board, though Jonathan Majors and LaKeith Stanfield are especially great, and the confident direction of Jeymes Samuel (in his feature debut, no less) is astounding. He's clearly influenced by Quentin Tarantino, but it feels much fresher, dripping with the "Black swagger" that Tarantino is constantly trying to capture. It admittedly drags slightly in the middle, but Samuel has crafted one of the year's best movies. JACOB The first third of director Jeymes Samuel’s The Harder They Fall takes a while to find its balance. Ironically, the more stylized portions - the "Netflix movie" segments - are its less successful elements. However, once the story is established and the castmates are all together, it morphs into something that works, relying (to a fault) on good performances and entertaining, well-staged action sequences. Idris Elba and Jonathan Majors are dynamite, especially when sharing the screen, as are LaKeith Stanfield and Delroy Lindo. It all amounts to a pretty fun western, even if the sequel-bait ending did leave me a little annoyed. ADRIANO Do you want to have a good time watching a movie? If so, I can't recommend The Harder They Fall enough, an entertaining-as all-hell spaghetti western from first time feature director Jeymes Samuel. It doesn't veer too far from the tropes of the genre, but it has the style and dialogue of something much fresher. The large ensemble does not disappoint, with such amazing performances that it's hard to pick a true standout. It may not rank among 2021's best, but it's definitely some of the most fun I've had with a movie this year. NICK Director Jeymes Samuel kills it in his directorial debut with this film that has shades of Quentin Tarantino, but also stands out as its own thing. It’s violent, vibrant, and vindictive. It also boasts a stacked cast. Jonathan Majors gives a career best performance, solidifying his promise as a leading man, while LaKeith Stanfield oozes cool as the villainous Cherokee Bill. Not to mention Zazie Beetz, Regina King, and many more all adding to this beautiful chaos. The Harder They Fall is dripping with swagger at every point. Don’t let this one get by you.

WHAT YOU WISH FOR Starring: Nick Stahl, Tamsin Topolski, Penelope Mitchell, Randy Vasquez, Juan Carlos Messier, Brian Groh, and Ariel Sierra Director: Nicholas Tomnay QUENTIN All in all, What You Wish For has several flaws. It moves a little too slowly (especially at the start), some of the acting is extremely wooden, and it could have used a lot more tension and suspense once the second act hits. Having said all that, I still enjoyed it, even if it did often remind me of better movies like The Menu . Plus, and maybe this is just me, but it’s nice to see Nick Stahl working again. I wouldn’t call it necessary viewing, but it’s a decent indie thriller, and probably one of the more surprising offerings I saw at Fantastic Fest. NICK The Menu was one of my favourite films last year, and while What You Wish For doesn't live up to it, it’s still a serviceable addition to the underrated culinary horror genre. Although the darker storyline shows potential, it’s hurt by average performances and pacing issues throughout. The message (as alluded to in the title) of your wishes not being what you expected would likely have had more impact with a more likable lead, but that doesn’t fall on Nick Stahl. Combine this with the lack of suspense and intrigue, and you have a film that I unfortunately expect to forget before long. PRESTON Be careful What You Wish For, indeed. Conceptually, director Nicholas Tomnay’s streaming feature is extremely clever, but requires some forgiveness of its somewhat cut-rate execution. The car green-screening looks like 1970’s era technology, the dialogue is stilted, and overall editing could have been better. Having conceded those points, the story’s originality and amusing plot carries you along for a thoroughly enjoyable experience. It’s easy to see why comparison to The Menu is warranted and deserving, even considering its faults. I had no expectations going in and had a great time, which is probably the right approach. KATIE I knew very little about What You Wish For going into it, which is undoubtedly the best way to experience this taught indie thriller. The film is the latest addition to a growing genre of social satires targeting the rich, and it's solidly entertaining and fun, even if it lacks the satirical bite of films like The Menu. Although the dialogue leaves much to be desired and some of the performances fall flat, the concept is engaging, it's darkly funny, the setting is gorgeous, and there is some interesting camerawork. Whilst it doesn’t serve up the sharpest satire, it's still worth trying. This film was reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023.

CRUELLA Starring: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, John McCrea, and Mark Strong Director: Craig Gillespie AMARÚ The true stars of Cruella are its cinematography and music. The sweeping shots and superb soundtrack allow the style, fashion, and excellent performances to flourish. The Emmas (Thompson and Stone), Paul Walter Hauser, and Joel Fry more than match director Craig Gillespie’s cool aesthetic, which has tonal influences ranging from Guy Ritchie comedy to Ocean's Eleven caper, all mixed with a The Devil Wears Prada rivalry. It's Disney’s best live-action adaptation to date, and if it were 15-20 minutes shorter, it would be an early favorite for best movie of 2021. JACOB Cruella is wickedly fun. Its punk-inspired trappings yield an infectious energy the Disney live-action adaptations have sorely needed, thanks primarily to Emma Stone's committed performance as the titular villainess-to-be. Stone owns the part, chewing enough scenery that one could easily overlook (but shouldn't) how good Paul Walter Hauser is in it as well. Emma Thompson provides an apt foil for Cruella, with her stone-cold confidence as an actress never dropping even underneath her character's behaviors. Lastly, as they should be, the costumes are all sorts of fabulous. The film does run a bit long, but there's never a moment wasted. QUENTIN Cruella is not without its issues. Among them, it’s slow to start, very predictable, and a tad underwritten. Also, I can’t track the line from where this movie ends to the truly monstrous Cruella in the animated movies, which annoys me for some reason. That said, the gritty campiness, excellent soundtrack, and even better costume design do a lot of heavy lifting to keep the story moving along at an unexpectedly entertaining clip. Overall, I was pleasantly surprised by Cruella despite constantly thinking “of all the villains out there, why the Joker -fication of Cruella de Vil?”

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM Starring: Brian Cox, Gaia Wise, Miranda Otto, Luke Pasqualino, Lorraine Ashbourne, Shaun Dooley, Benjamin Wainwright, Yazdan Qafouri, Laurence Ubong Williams, Billy Boyd, and Dominic Monaghan Director: Kenji Kamiyama PRESTON If you will, imagine two children playing with some generic action figures. They oscillate the figure in their hand between the two stiff, plastic feet in order to pantomime the gesticulations that accompany human speech to emphasize emotion. That’s the best way I can describe the atrocious animation style in The Lord of the Rings: The War of the Rohirrim . There are odd pauses in speech where facial expressions would have really helped with audience connection to the characters. Instead, we get a bland and cliché storyline that drags for far too long, with only moments of interesting relief. AMARÚ My apathy for anime had a hard time reconciling with my love for all things Lord of the Rings , but the latter took over as The War of the Rohirrim delved deeper into its strong story. Director Kenji Kamiyama constructed an epic tale, taking cues from the best of the trilogy, The Two Towers , to build upon the lore of Helm’s Deep, with Brian Cox bringing its namesake, Helm Hammerhand, to life with beastly ferocity. While the rest of the characters are somewhat paint-by-numbers, and the animation vacillates from spectacle to spotty, there’s enough here to make fans happy with this return to Middle Earth. KATIE Despite its shortcomings, I really enjoyed The Lord of the Rings: The War of the Rohirrim. The plot is straightforward and some of the dialogue feels perfunctory, but it gripped me emotionally. I cared about the characters, and found it easy to invest in Héra’s (Gaia Wise) fight for her people and her autonomy. The animation is uneven but often beautiful, and the anime style lends itself well to the exciting fight sequences, which are really dynamic and impressive. Plus, Brian Cox is a standout, giving a rousing vocal performance as Helm Hammerhand. ADRIANO A rep for Warner Bros. outright confirmed that The Lord of the Rings: The War of the Rohirrim was rushed in order for them to maintain the rights to J.R.R. Tolkien's property. I gotta say… You can tell. There is nothing inherently wrong with the story, but it's so basic and unengaging. The movie does have nice visuals in its animation, but the overall vibe I walked away with was that I simply didn't care about the conflict, the characters, or really anything going on. I didn't hate anything about it, but it's just so lifeless.

GODZILLA X KONG: THE NEW EMPIRE Starring: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, and Fala Chen Director: Adam Wingard CALEB I mean this as both a compliment and a critique, but Godzilla x Kong: The New Empire is the cinematic equivalent of a little kid smashing action figures together. It’s two hours of fan-service with bright colors and big monsters performing wrestling moves on each-other. If that sounds appealing, then you’re probably a kaiju shill like me…and if you are a kaiju shill like me, then you’ll probably love this. As far as the cinematography, writing, and action goes, this is a noticeable downgrade from Godzilla vs. Kong , but it’s still an entertaining addition to the MonsterVerse. AMARÚ While Godzilla x Kong: The New Empire is very silly, it’s a fun time. Director Adam Wingard knows the MonsterVerse’s strengths, and he delivers action-packed Kaiju battles featuring the most interesting Titan of them all, Kong (who is 100% an old black man). The humans are there, with Bryan Tyree Henry being ridiculous in not the best ways, Dan Stevens being ridiculous in all the best ways, and Rebecca Hall and Kaylee Hottle’s relationship providing a small bit of emotion. But again, Kong is the reason to watch these films, and if he comes back to ride again with Godzilla, I’ll be back too. ADRIANO I'm just so unbelievably tired of movies like Godzilla x Kong: The New Empire . Films that suck the life out of what made the IP so beloved and iconic in exchange for an MCU-style slopfest and exposition machine. Now, you might be saying, "it's not that serious, I just want to see Godzilla and King Kong team up and fight." You don't get that for a full 90 minutes, and whatever kaiju stuff happens is too cartoonish and toothless to be entertaining. I want this style of blockbuster to go away so badly. QUENTIN Finally, they get it! Godzilla x Kong is exactly what I’ve been asking for with the MonsterVerse entries, in that it’s mostly a movie about giant monster fights with a small human story instead of the other way around. That said, is it good? Absolutely fucking not. It’s dumb as hell, but it’s fun as hell too. It doesn’t matter that none of it makes a lick of sense becau…wait, is Godzilla sleeping like a cat in the Roman Colosseum? Sold. As big turn-your-brain-off franchises go, this one has surpassed and supplanted the Fast franchise as the best one going. Give me more.

A THOUSAND AND ONE Starring: Teyana Taylor, William Catlett, Josiah Cross, Aven Courtney, and Aaron Kingsley Adetola Director: A.V. Rockwell ADRIANO In the beginning, this film felt overly familiar, but A Thousand And One wound up affecting me on a strong emotional level. The entire ensemble is great, with Teyana Taylor being exceptional from the start and Josiah Cross doing an astounding job in the film’s final act, which offers up an emotional gut punch as we follow this woman from one obstacle to the next. Sadly, there are a few moments when it’s clear that this is director A.V. Rockwell’s debut, namely in the editing, but I dare someone to watch this and not feel something. JACOB There has not been a more punishing watch this year, tonally speaking, than A.V. Rockwell’s devastating gentrification drama A Thousand and One . Although the film is certainly worth watching for the performances alone, especially that of Teyana Taylor, its bleakness throughout can be tough for audiences to want to sit through. It feels a bit long, there’s very little humor, and it could have used at least a few more wide shots instead of mediums. That said, the unique lensing style, as well as Josiah Cross and William Catlett’s truly great supporting turns, are worthwhile for those willing to endure. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

DEAD MAN'S WIRE Starring: Bill Skarsgård, Dacre Montgomery, Al Pacino, Cary Elwes, and Colman Domingo Director: Gus Van Sant AMARÚ Between Bill Skarsgård’s commitment, Danny Elfman’s soulful 1970s score, and director Gus Van Sant’s splicing of real-life audio-video footage, Dead Man’s Wire is Van Sant’s version of a Spike Lee Joint. It’s tonally and structurally reminiscent of some of Spike’s most socially prescient films, with surprisingly dark humor and a heavy anti-capitalist sentiment that creates a calmer-than-expected vibe; one that this atmospheric period thriller can attribute primarily to Skarsgård’s perfectly deranged performance. While there are some anti-climactic moments and pacing dips due to its dedication to noir elements, Skarsgård’s single-mindedness brings your full attention back to his charisma and to this thrilling film. QUENTIN Between the pitch-perfect 70s pastiche, excellent soundtrack, surprising sense of humor, and perhaps Bill Skarsgård’s best prosthetic-free performance yet, Dead Man’s Wire is a simple tonal shift from being amongst the best crime thrillers I’ve seen this decade. However, for whatever reason, it lacks the requisite suspenseful thrills. Gus Van Sant, directing his first movie since 2018, keeps it all a little too matter of fact. I suppose it was an attempt to not sensationalize the true events, but that results in a film that hews too closely to a dramatic documentary reenactment. Still, I generally enjoyed it, but it could have been so much better. KATIE Dead Man’s Wire sounded like a compelling and exciting story, but it unfortunately just didn’t work for me. Colman Domingo’s presence elevates the film, Dacre Montgomery is great, and I really enjoyed Bill Skarsgård’s jittery and intense performance with flashes of unnerving humour; however, the editing and stylistic choices took me out of it, exacerbated by the soundtrack that featured great songs used to a confusing effect. I hate to say it, but it lacks any sense of tension, suspense, or impact. I didn’t care much about the outcome, either, and I found it dragged, especially towards the end. ROBERT Despite the aesthetic and the performances, there seems to be something missing from Dead Man’s Wire to have it coalesce properly enough to reach real prestige. It could be the constant back-and-forth between 1970s stylistic television camera footage and the true visual storytelling of the film; or that everything happening outside of Tony Kiritsis’ (Bill Skarsgård) apartment wasn’t compelling enough to fill the gaps. Still, kudos to Skarsgård and composer Danny Elfman for stepping outside their comfort zones to bring some grounded realism to director Gus Van Sant’s efforts, and the humor and tension kept me moderately engaged. Expectations weren’t quite reached, though.