THE BOYS IN THE BOAT Starring: Joel Edgerton, Callum Turner, Peter Guinness, Sam Strike, Luke Slattery, Hadley Robinson, Jack Mulhern, Thomas Elms, and James Wolk Director: George Clooney PRESTON I’m an unashamed lover of underdog sports stories, movies based on true events, and movies based on books. Check, check, and check. The Boys in the Boat is quite a successful film translation by director George Clooney, even if the written form is more capable of developing characters and telling a satisfyingly complete tale. The only distracting note was an odd focus on the oar lock clamps, which had me predicting inevitable disaster, but definitely added to the racing scenes’ intensity. Even so, this is simply a feel-good sports drama with steady pacing that allows for an easily enjoyable ride. ADRIANO I don't know what it is with George Clooney choosing to direct only the most forgettable scripts imaginable, but here we are again with The Boys in the Boat . The movie plays it aggressively by the numbers in terms of its presentation and its writing, and it’s as predictable as can be to a comedic degree. Some of the writing is particularly nonsensical too, especially towards the end. On top of that, even as an underdog story, I didn't feel anything . Clooney has better directing chops than this, and this is just another embarrassment for the director.

BEAST OF WAR Starring: Mark Coles Smith, Joel Nankervis, Sam Delich, Lee Tiger Halley, Sam Parsonson, Maximillian Johnann, and Tristan McKinnon Director: Kiah Roache-Turner This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2025. NICK Much like Overlord did with the undead, director Kiah Roache-Turner attempts to rejuvenate shark films by having Beast of War take place during World War II. It’s a smart way to work around having the shark on screen as the crew works within a seemingly limited budget. The other workaround is the surprisingly well fleshed-out characters in this. With only an 87 minute runtime, it’s impressive how invested I became in them. It’s not without its issues (it can be a touch repetitive, and it’s visually underwhelming) but considering the constraints, it’s hard to complain too much. QUENTIN There are several reasons why Beast of War absolutely shouldn’t work, but it might be the best movie I saw at Fantastic Fest this year. Writer-director Kiah Roache-Turner makes the most of his seemingly limited resources to craft a tense and gory survival film that works both as a World War II movie and a shark movie. By deftly balancing typical tropes with subverted expectations, all with Australia’s twisted sense of humor, Roache-Turner keeps the audience fully invested. Most impressive, though, is the way he successfully develops multiple characters to carry a complete, no-nonsense story in just 87 minutes. This is a lean and mean surprise.

THE EQUALIZER 3 Starring: Denzel Washington, Dakota Fanning, Eugenio Mastrandrea, David Denman, Gaia Scodellaro, Remo Girone, and Andrea Scarduzio Director: Antoine Fuqua KATIE The Equalizer 3 is an efficient and satisfying film that stands out from the recent trend of action-thriller sequels and reboots. Set in an idyllic Sicilian town rather than Boston, it balances, in a pleasantly jarring kind of way, picturesque sequences of Robert (Denzel Washington) exploring the village with some of the most graphic and gory violence seen in the franchise yet. Washington is heroic and charismatic despite committing many heinous acts, and to be honest, if the film was just two hours of Robert drinking tea in outdoor cafes, I still would have enjoyed it. AMARÚ I guess director Antoine Fuqua and Denzel Washington were tired of The Equalizer getting forgotten in the recent action renaissance discussion. This third entry starts out so intensely that, when it returns to what the franchise does so well, meaning slowly connecting Robert McCall (Washington) to the people who gain his friendship and protection, there’s true weight in the slow yet thrilling build-up to the rest of the film’s brutality. Wherein the previous entries’ deliberate progression caused pacing issues, this one steadily escalates to a suspenseful crescendo, creating the most thematically satisfying entry in the series. ADRIANO There is something much more endearing about The Equalizer 3 than the previous two entries, even if I feel about the same as I did its predecessors…meaning mostly disinterested. The idea of our lead settling down to use his resources to protect his new community is done well, but between the “new life” plotline and the hyper violence, the movie is rather dull. If it weren't for Denzel Washington’s natural charm, I’d have been pretty bored. It’s a fitting end to the trilogy since I never cared for these movies in the first place. PHILL Robert McCall (Denzel Washington) returns in the most violent offering of The Equalizer yet, abandoning Boston for the beautiful backdrop of a small coastal town in Italy. Unlike its two predecessors, The Equalizer 3 is not constant all-guns-blazing action, but instead takes the time to really admire the gorgeous setting and the community that live there. In fact, this third entry excels at the slow, methodical bursts of action that deliver while continuing to play extremely well to Washington’s strengths and age, upping the gore substantially in a safe, befitting finale. PRESTON The Equalizer 3 plays out a narrative that is not new: a retired operative tries to reset and live the quiet life, but is reluctantly drawn back into the fight by his environment’s charms and a disdain for exploitative bullies. Director Antoine Fuqua takes a regrettably long time to develop the audience’s sympathies for the oppressed, which results in a story that slowburns for far too long but thankfully hits hard when it's finally time. Denzel Washington puts this entire production onto his capable shoulders, and is 100% the vigilante bad-ass I was hoping for.

LAST NIGHT IN SOHO Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg, and Terence Stamp Director: Edgar Wright NICK Last Night in Soho is a beautiful and haunting tale. Director Edgar Wright's ability to transport the viewer back to the 1960s is sublime, especially when paired with such wondrous visuals. On the technical side, this should be an awards juggernaut. On the performance side, ladies and gentlemen, Thomasin McKenzie. The actor's recent work has been good, but this is one of those performances that will make you seek out her next project. This is another triumph for Wright, who is on the shortlist of directors that can sell a film on name alone, an accolade the man has earned. ADRIANO It's hard to express how much I loved Last Night in Soho in under 100 words. Edgar Wright's time-bending psychological horror shows he's in full control of his unique and beyond-entertaining style. The writing has laughs, twists, and remarkable characters that balance incredibly well with the film's themes of exploitation and nostalgia. The two headlining actresses are the best they've ever been, but it's Thomasin McKenzie that blew me away. As for the film's technical aspects, everything is firing on all cylinders, especially the costumes and cinematography. The final 15 minutes goes a little overboard, but this movie floored me. QUENTIN Aside from most of his Cornetto trilogy (loved The World’s End , not so much the other two), I’m generally a fan of filmmaker Edgar Wright, which makes it all the more disappointing that I didn’t care for Last Night in Soho . Long story, short: this movie is the epitome of lipstick on a pig. Every bit of production design, from the sets to the costumes, is a beauty to behold, while the soundtrack is the absolute tits. However, all the goodwill that those things generate is wasted as they support a boring mess of a story full of uninteresting characters.

NIMRODS Starring: Mason Thames, Kylr Coffman, Ryan Foust, Keen Ruffalo, Jenna Fischer, McKenna Grace, Sean Gunn, Billy Joe Armstrong, Tré Cool, Mike Dirnt, Bobby Lee, and Fred Armisen Director: Lee Kirk AMARÚ Nimrods has all the essentials of a rock-and-roll road trip film, and it’s a pretty damn good time. Mason Thames, Kylr Coffman, and Ryan Foust are hilariously relatable even if you’re not an avid punk rock patron, and their high school angst, peer-pressure-fueled-but-still-authentic friendship, and idiotic decisions take me back to my own teenage years. I would never do any of the things they do, but watching them meet new (and more famous) people while getting into shenanigans on the way to Los Angeles for their musical dreams was full of all the hope and determination of underground bands everywhere. PAIGE Nimrods is a punk rock-fueled coming-of-age movie that does a great job of utilizing Green Day’s music catalog. Although it’s a bit messy at times and not every joke lands, there’s a sweet story underneath it all about friendship, taking chances, and being young and dumb. It may not reinvent the genre’s formula, but it knows exactly what kind of movie it is. It’s packed with fun shenanigans and its cast has killer chemistry. Overall, it’s an entertaining, rocking good time for fans and non-fans of Green Day. QUENTIN Had I seen Nimrods in the early 2000s, I suspect it would have entered my regular rotation of rewatchable scrappy comedies like Slackers and Grandma’s Boy ; however, at this point, it’s nothing more than a collection of ideas, scenes, and characters that all feel like things I’ve seen before. That doesn’t make the movie inherently bad, of course, but why not watch the much better and very similar Road Trip or Superbad instead? Either way, everything in Nimrods is forgettably fine, from the mildly amusing jokes to its sweet-natured sentimentality; it’s just nothing special unless you are a major fan of Green Day. KATIE Nimrods is a very sweet and likeable teen road comedy about friendship, following your dreams, and being true to yourself. The plot is quite generic and the script is straightforward, but the endearing young cast is great, with the dynamic between Mason Thames, Kylr Coffman, and Ryan Foust’s characters coming across as heartwarming and authentic. Plus, it features a lovely performance by Jenna Fischer as Tommy’s (Thames) mother, and a couple of the more tender scenes brought a tear to my eye. Obviously, it naturally has a fantastic soundtrack too. NICK If you’re checking out Nimrods for a showcase of throwback Green Day music, you’ll be satisfied. If you’re expecting anything more than a cookie cutter teen road trip film, you’ll be left wanting. All the hallmarks are here: running out of gas, angry parents, a love interest who pops up along the way, and odd cameos. Beyond those clichés, there’s no rooting interest as the focal group of friends are rather unlikable. I didn’t want to see them succeed and that’s kind of a key component missing here. Unless you’re a massive Green Day fan, you probably don’t need to see this.

BLACK WIDOW Starring: Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz, O-T Fagbenle, Ray Winstone, and William Hurt Director: Cate Shortland QUENTIN Black Widow is basically the MCU meets Red Sparrow , with a hint of the Bourne movies. It generally follows the Marvel formula, which leads it to be decently entertaining, but also gives it a "going through the motions" vibe: The action scenes are well-done, but not super exciting; The one-liners are amusing, but not funny; and Taskmaster is kinda cool, but just a henchman. It drags a little in the middle too. Florence Pugh is a highlight, but overall, it’s a little paint by-numbers. As a standalone MCU entry, it's better than Captain Marvel , but not as good as Ant-Man . AMARÚ Black Widow shines when it's a spy thriller with emotional stakes. When leaning into these aspects of Natasha Romanoff’s (Scarlett Johansson) life, it feels less like an MCU flick and more like a solid Bourne sequel. Florence Pugh shines every second she's on screen, to the point where Johansson, David Harbour, and Rachel Weisz seem like they're supporting her movie. Still, with Johansson leading, Black Widow is a good time, if a bit predictable. But with Pugh next to her, it’s the movie we've been dying to see for two years. JACOB Black Widow can't help but feel a bit like a placeholder due to its setting. Plus, it has a balancing issue that makes it difficult for the film to fully succeed. In the beginning, the action is too frequent; in the middle, there's not enough. It also falls prey to a lack of character development, as Taskmaster isn't particularly compelling as an antagonist. That said, most other things, such as the action, performances, and visual effects, are pretty well in line with Marvel standards, reinforcing that even lesser Marvel is still a damn good time at the movies.

CAUGHT STEALING Starring: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, and Carol Kane Director: Darren Aronofsky ADRIANO I don't know what happened to Darren Aronofsky, but this is not the guy who directed Requiem for a Dream . With Caught Stealing , Aronofsky ditches his typical dourness for a wild crime comedy akin to After Hours . I wish the story wasn't as messy as it is and that it didn't try to juggle so much, but the camera and sound work give this a unique kind of energy. Meanwhile, Austin Butler shows a new and interesting side to his leading-man abilities. Caught Stealing kept me on my toes for the most part, and that's the mark of any good thriller. AMARÚ Caught Stealing is a quick and dirty chaos cluster. It's quick with energetic pacing, not in its slightly overwrought runtime, but in the tenor and editing that paints the film as director Darren Aronofsky’s version of a Guy Ritchie crime caper. While Ritchie’s romps are fun and rewatchable, Aronofsky’s dark overtones rapidly turn the string of unfortunate events that intertwine the multitude of players surrounding Austin Butler’s Hank into a hard look into the mistakes people try to outrun. So, while the largely talented ensemble is great to watch, the story’s harsh realities make its 107 minutes play like a harrowing, yet entertaining, one-time 2+ hour watch. PAIGE Caught Stealing certainly feels like a throwback to 90s crime thrillers, in that it's occasionally gripping and fun but oddly lacking in stakes. This movie is director Darren Aronofsky’s most accessible and conventional to date, but it’s weightless and uneven, at its best when it drops both the audience and Austin Butler’s (who is great in this, delivering my favorite performance of his yet) character into a tangled web of screwball characters. Overall, Aronofsky’s film delivers when it comes to the entertainment factor, but falls short of having a compelling script. ROBERT The main focus on Caught Stealing is how unlike a typical Darren Aronofsky movie it is; however, while the packaging is different, the heart of it still resembles the core experience: chaos, turmoil, and a sense that everyone’s lives have reached their lowest point. Plus, setting it as a late 1990s caper creates a rich environment of nostalgia without it feeling out-of-time. I have never been an Austin Butler fan, but this film showcases a vulnerability and every man quality that I wasn’t aware was in his arsenal. The cast, while underutilized on occasion, shaded a very colorful world worth exploring. QUENTIN Caught Stealing , easily director Darren Aronofsky’s most fun film, is a shaggy dog crime thriller that falls in line with True Romance , Inherent Vice , and (to a lesser extent) The Big Lebowski . Austin Butler and the sprawling supporting cast do excellent work, and their performances are only enhanced by Aronofsky’s proven eye and high-energy editing. Admittedly, the broad brushes of the story are predictable, but there are smaller, almost superficial twists that are unexpected, which helps to keep viewers on their toes amidst the bloody violence, exciting action, and effective drama. Overall, this is just a damn good time, rooted in rowdy griminess and punk-rock swagger. BODE It seemed shocking that the Guy Ritchie-esque crime caper Caught Stealing would come from Darren Aronofsky, a very different kind of filmmaker. However, looks can be deceiving, and what should be as fun as one of Ritchie’s romps is anything but. Unfortunately, it's never convincingly fun, and the energy is almost non-existent. And since Aronofsky can’t fully escape his dour tendencies, its heavier moments only create tonal whiplash. Austin Butler carries the material as best he can, and the score from composers Rob Simonsen and Idles is a highlight, but otherwise, this is a poor man’s After Hours . KATIE Caught Stealing is an unexpectedly fun crime-thriller that doesn’t pull its punches. It’s exciting, darkly comedic, and full of dynamic camerawork, with a grungy 90s setting that adds a nostalgic vibe. It has a fantastic cast, especially a magnetic central performance from Austin Butler, whose star power shines. However, although it's fast-paced and entertaining, the plot is initially too busy, and later skims over some events a little too quickly without addressing them. I also found some of the violence a little too gratuitous. But, overall, Caught Stealing is easy-to-enjoy entertainment.

PEOPLE WE MEET ON VACATION Starring: Emily Bader, Tom Blyth, Sarah Catherine Hook, Jameela Jamil, Lucien Laviscount, Alan Ruck, and Molly Shannon Director: Brett Haley PAIGE People We Meet on Vacation is a light and pretty cliché romantic comedy that lacks genuine comedy. While it’s full of tropes, it’s at least cute and has some sweet moments sprinkled within it. The movie’s saving grace is its two leads, Emily Bader and Tom Blyth, whose chemistry carries much of the film. However, with such a bland script, many of the movie’s emotional beats are prevented from shining through. This story would’ve fared far better as a limited series to allow more time to flesh out its characters’ relationship, but instead it’s lackluster due to its limited runtime. KATIE People We Meet on Vacation is a ridiculously superficial, predictable enemies-to-lovers rom-com that I only enjoyed thanks to Emily Bader and Tom Blyth’s convincing chemistry. Their connection just about makes up for Bader’s character Poppy lacking authenticity, and the unimaginative pairing of the uptight one with the messy, carefree one. Like One Day , the pair meet once a year, but in gorgeous, sun-drenched, expensive-looking settings that emphasise the film’s glossy sheen and make for very easy, if not always engaging, watching. It’s not quite terrible, but it’s basically pretty people in beautiful places with no character development. ROBERT If it’s not going to be prestige cinema, a modern romantic comedy doesn’t have to reinvent the wheel. However, it does need something to set itself apart, and People We Meet on Vacation is as tropey as can be. I couldn’t believe that young Coriolanus Snow (Tom Blyth) was tapped to lead a movie like this, but he and Emily Bader drove this lemon as far as it could. It was cute and inoffensive, but beyond one truthful conversation near the end, it lacked any sense of realism with chosen dialogue and progression of plot. Functional brain cells aren’t needed for this one.

THE NAKED GUN Starring: Liam Neeson, Pamela Anderson, Danny Huston, Paul Walter Hauser, CCH Pounder, Liza Koshy and Kevin Durand Director: Akiva Schaffer NICK By my account, the original The Naked Gun is one of the greatest comedies of all time, so needless to say, this had big shoes to fill. Well, we ended up with probably the best modern version of this film you could make. The spirit of the original is there, but Liam Neeson (Frank Drebin Jr.) has added a hint of anger to the aloofness Leslie Nielsen brought as Drebin Sr. Although some jokes are overplayed or don’t hit, the ones that work outweigh the ones that don’t, including a few that brought on tears. It’s not perfect, but I’ll gladly take more of Neeson’s Drebin Jr. ADRIANO Going into The Naked Gun , I only wanted to laugh at utter stupidity, which I got in spades. Director/co-writer Akiva Schaffer delivers on the type of satirical humour that would make the spoof comedy legends The Zucker Brothers blush, with all the ridiculous visual gags, bits, and misinterpretations you could ask for. Liam Neeson fills the large shoes of Leslie Nielsen's deadpan delivery flawlessly, complete with hilarious chemistry with an equally funny Pamela Anderson. The entire crew's commitment to this bizarro universe made this a film I regularly cried laughing at. I don't know what else to say: it's perfect. AMARÚ The Naked Gun remake has the right cast for the job. Liam Neeson, Pamela Anderson, and Danny Huston understood the balance of serious and silly to deliver on what director Akiva Schaffer wanted to do. It’s too bad that whatever it is he wanted to do isn’t remotely funny. Even in the tremendously short 85-minute runtime, I was ready to escape the half-hearted pity chuckles heard throughout my theater within 15 minutes. Now, the jokes may land for some, and I’m happy for you if that’s the case, but aside from three references I personally smiled at, this remake beat their comedy to an unfunny death. QUENTIN I’ll be the first to admit that trailers for The Naked Gun have been painfully unfunny. That said, once you’re in it, and you’ve recalibrated your sense of humor to the wavelength at play, it surprisingly works. Gun delivers jokes at breakneck speed, and while they don’t all hit, even a 50 percent success rate provides enough legit giggles to make this rebootquel worth a watch. I admit this is a bold comparison, but Gun could easily be the next Anchorman or Zoolander , where every initially dumb joke gets funnier during every rewatch. This was genuinely a pleasant surprise (pre-show beers helped, to be fair). ROBERT In the realm of internet comedy clips, Liam Neeson’s stint on Life’s Too Short is legendary; he blends absurdity with stoicism as well as anyone. As such, it wasn’t overly shocking to hear him be tapped for the lead in The Naked Gun reboot. When you combine that with the comedy instincts of Akiva Schaffer and Seth MacFarlane, the design was there for a rare success in the laughter department. I was chuckling more than not, especially at sight gags and long-running joke bits, but I was expecting more consistency. Pamela Anderson, at least, was a real shot of caffeine that kept the film energized. BODE Perhaps it’s ironic to root for a reboot of The Naked Gun to revive theatrical comedies, but when the state is so dire, you take what you can get. It certainly helps that this new edition is very funny. Director Akiva Schaffer gets close to the absurdist spirit of the original movies without being overly referential, with plenty of jokes and gags that had me consistently laughing (or chuckling, at least). Liam Neeson fills Leslie Nielsen’s deadpan shoes quite comfortably, and Pamela Anderson, Danny Huston, and Paul Walter Hauser are game scene partners. It’s a genuine delight from start to finish. KATIE I love the kind of humour typified in the original Naked Gun films, and I was worried this new reboot wouldn't do it justice. Like other recent comedies, I was concerned it’d rely too heavily on nostalgia and modern references, but my worries were quickly quelled as I was able to sit back and enjoy one of the funniest films I’ve seen in ages. Director and co-writer Akiva Schaffer clearly understood the absurd, spoofy tone he needed to emulate, providing gags that never let up, whilst Liam Neeson is completely perfect in the leading role, masterfully balancing silliness with deadpan delivery. Want to hear even more of our thoughts? Nick, Amarú, and guest Harrison Martin join Matt to take A Bigger Bite out of The Naked Gun HERE .

GUARDIANS OF THE GALAXY VOL. 3 Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel, Bradley Cooper, Sean Gunn, Chukwudi Iwuji, Will Poulter, Elizabeth Debicki, Maria Bakalova, and Sylvester Stallone Director: James Gunn NICK Guardians of the Galaxy Vol. 3 made me laugh, cry, then laugh again, and it features an exhilarating opening action sequence. This film had my heart. My mind, however, is a little less forgiving. The film relies heavily on Rocket (Sean Gunn/Bradley Cooper) flashbacks, which would have worked better as a prologue than being interspersed throughout, and as much as I enjoyed the opening scene, Adam Warlock (Will Poulter) isn’t needed, nor does he leave a lasting impression. Still, the trademarks are here, and it’s a fitting end to the trilogy, but not without some bumps along the way. That said, bring tissues. ADRIANO Guardians Of The Galaxy Vol. 3 had a lot of heavy lifting to do, not just as a send off for the title misfits, but as a lifeline for a post-Endgame MCU; I’m delighted to say that it succeeds. Writer/director James Gunn proves he’s the perfect comic book director, not afraid to get silly while never losing sight of the characters, and he gives the team a fun adventure to go with their proper and beautiful finale. It’s a visual spectacle that, while not always structurally sound, features the MCU’s heaviest and most heartfelt moments. I’ll really miss these characters. QUENTIN Though not flawless, Guardians of the Galaxy Vol. 3 works well enough to rank amongst the best post-Endgame MCU offerings. Everything you love about the Guardians franchise is here, but it’s overlong to the point that I felt the dreaded “superhero fatigue” mid-movie, Adam Warlock (Will Poulter) is completely wasted (he’s on screen for maybe 15 minutes), and the music feels shoehorned in at times even if the song themselves are fantastic. Still, it’s better than Vol. 2 , but not as good as Vol. 1 ; however, the gap between Vol. 3 and Vol. 2 is closer than the gap between Vol. 3 and Vol. 1 . DARRYL The concluding volume of what has been a mostly solid trilogy ends the only way it could: with plenty of heart and humor. Writer/director James Gunn manages to expertly close multiple narrative arcs while still delivering plenty of laughs along the way. Eschewing a sappy Hollywood ending for the series, the story instead provides a more realistic approach that feels true for each character, showing once again that Gunn is intimately familiar with them. A mix between great action and an incredibly dour plot (not to mention the MCU's best villain in years), Vol. 3 is emotionally taxing but ultimately satisfying. PAIGE O-O-H Child, Guardians of the Galaxy Vol. 3 is filled to the brim with James Gunn trademarks. This series has to be the wackiest and most heartfelt MCU franchise ever…it’s certainly my favorite…but like its characters, this flick is a little bit of a mess. Don’t get me wrong, it’s certainly a fun and lovable mess, but a mess nonetheless. Honestly, its strongest attributes are the emotional beats throughout the film, and while overall I’m a big GOTG fan, I walked away with some mixed feelings. While you’ll surely laugh and smile, you’ll most likely ball your eyes out too, like I did. So, fair warning: bring tissues. AMARÚ From the first scene, director James Gunn goes for straight gut-punches in Volume 3 . Emotion is the heart of this finale, and while Volume 1 necessitated set-up and Volume 2 leaned too heavily on comedy, this trilogy capper excellently balances everything that makes Guardians great. The action, humor, music, and ensemble are all pitch perfect, but its biggest strength is the realization of each team member’s best version, with Rocket (Sean Gunn/Bradley Cooper) leading Drax (Dave Bautista), Mantis (Pom Klementieff), and Nebula (Karen Gillan) as standouts. Everything you’ve ever wanted this franchise to be is beautifully fulfilled in this kinda perfect finale. JACOB While the final film in James Gunn’s charmingly off-beat Guardians of the Galaxy trilogy certainly succeeds in what it sets out to do, calling it anything more than “very good” would feel hyperbolic. Many things about it work, such as the emotional core of the film, the high-tone villain performance from Chukwudi Iwuji, and – expectedly – the killer soundtrack. That said, the structure of the film does occasionally work against the flow of the story, and there are a few moments where the humor doesn’t land quite right. Still, it’s a fun time, and a fitting end to Gunn’s MCU days.

MARCEL THE SHELL WITH SHOES ON Starring: Jenny Slate, Dean Fleischer-Camp, and Isabella Rossellini Director: Dean Fleischer-Camp AMARÚ Director/co-writer Dean Fleischer-Camp and co-writer/lead Jenny Slate have created something honest, moving, and introspective with Marcel the Shell with Shoes On . It prudently demonstrates that no matter how small we may feel within the grand scheme, our community and courage allows us the capacity to persevere through change, grief, and growth. Slate breathes energetic life into the hilariously sassy and delightful Marcel, a character deserving of consideration amongst movie history’s upper echelon. His relationship with Dean (portraying himself) and Grandma Connie (the remarkable Isabella Rossellini) taught life lessons I’ll carry with me for quite some time. NICK A24's stop-motion venture Marcel the Shell with Shoes On is a delight. It’s got the feel good energy of an episode of Ted Lasso and charm coming from every corner. It’s also surprisingly funny…like, laugh-out-loud-in-the-theatre funny. A big reason the film works so well is Jenny Slate. Her portrayal of Marcel is innocent and childlike, yet oddly mature in the way he views daily life. It’s the kind of film that sets an example, and the world would be a better place if more people looked at it through the lens of Marcel. What a treat. JACOB One of the year’s purest delights, Marcel the Shell with Shoes On finds A24 continuing their 2022 streak of pushing their most outlandish films to their absolute creative limit. Adapted from his own YouTube short films of the same name, Dean Fleischer-Camp’s narrative feature debut is a triumph of ingenuity, making great use of its premise to tell a story full of laughs and brimming with heart. Jenny Slate once more excels as the voice of the titular shell, and while the film may not blow one away, the emotional undercurrent of it makes for an unusually serene experience. PAIGE Creators Dean Fleischer-Camp and Jenny Slate have cracked the code of making this early 2010s sensation into one of the sweetest, most endearing movies of the year. Simply put, A24 has struck gold with Marcel the Shell with Shoes On . This film will remind you to appreciate all the little things in life, to love big, and to inhale a bit of fresh air. Good things really do come in small packages because this gem is heartwarming and entertaining for all. I hope you all are ready for a talking shell with shoes on to make you cry.

A DIFFERENT MAN Starring: Sebastian Stan, Renate Reinsve, and Adam Pearson Director: Aaron Schimberg QUENTIN A Different Man is the type of not-great oddball movie that A24 Stans will champion anyway just because it’s from A24. Granted, it has a lot on its mind, asking thought-provoking questions about beauty, vanity, and self-esteem. It also features strong performances, particularly from Adam Pearson. However, the characters, especially Sebastian Stan’s Edward, make too many questionable decisions, which ultimately results in a very frustrating viewing experience. On top of that, it’s a bit of a slog, and the ending provides no catharsis or satisfaction. I appreciate what writer-director Aaron Schimberg wants to do, but he doesn’t do it well enough to make the movie recommendable. ADRIANO Even with the obvious narrative issues, especially with its unclear final 5 minutes, there's something so fascinating about A Different Man . The darkly comedic surrealist thriller tone helped keep my interest piqued for the entire movie, alongside an incredible performance from Sebastian Stan. Beyond that, the movie's self-image story could've easily just stuck to a basic "it's what's on the inside that counts" message, but I was really into how it decided to go beyond that, showing what a blunted self-image can do to someone. As weird and unsure of itself as it can be at times, I admired most of A Different Man . NICK A Different Man is an interesting case study. It's a film that doesn't shy away from taking risks, and it features some very good performances, which usually bodes well for me. Not so much here, though. The film feels as if it is split into two parts, with neither being given the time to establish itself. Meanwhile, the tone of everything is as if it's constantly in flux. It all just feels a little disconnected, which is a shame because both Sebastian Stan and Adam Pearson came to play. Too bad A Different Man doesn't do what it needs to do to provide them a worthy playground. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasy Filmfest.