QUEER Starring: Daniel Craig, Drew Starkey, Lesley Manville, Jason Schwartzman, and Henry Zaga Director: Luca Guadagnino ADRIANO Queer is easily director Luca Guadagnino's most out-there film to date, which comes with some downfalls. The movie can be very slight for a lot of people, and some of the more experimental stuff will not be everyone's cup of tea; however, even though the film was close to losing me a couple of times, it never did. I was into Guadagnino's psychedelic and loose portrayal of desire and the dream-like atmosphere throughout, as well as Daniel Craig's outstanding lead performance. This is certainly not the director's best, but Queer is still another win for the filmmaker. NICK Luca Guadagnino's latest film, Queer , is a trip in every sense of the word. A film that had me hooked and lost me completely on multiple occasions, this is definitely not what I expected. Gone are the awards hopes for Daniel Craig – he's EXCELLENT here, it's just not that kind of film – since Guadagnino's decision to abandon the more traditional love story he sets up does more harm than good. As the story goes on, what was once cohesive becomes confusing and unfocused. Maybe the film is better on rewatch, knowing the story path, but that should never be part of the watch requirements. QUENTIN Full disclosure: I have been coming to the realization that I’m just not a fan of director Luca Guadagnino. With Queer , that notion is solidified because I have almost nothing positive to say about the film. There are some terrific needle drops, and I’ll give Daniel Craig credit for a daring performance (I didn’t say a “great” performance. I truly don’t get the hype.). Otherwise, this is a 135-minute slog with nothing to say despite insisting on saying it in increasingly hallucinatory ways. With its lack of character development, unfocused and incoherent story, sleep-inducing pacing, and fake-looking production design, Queer is pretentious and self-indulgent trash. PAIGE Queer is certainly director Luca Guadagnino’s most ambitious film to date. The first half of the film has a stunning, postcard-like appeal to it as it tells a nuanced story about loneliness and longing for love. However, as the second half progresses, the narrative starts to lose grip on how it wants to convey its themes. It evolves into a chic, dream-state atmosphere with no emotional anchor. The score and soundtrack from Trent Reznor and Atticus Ross is intoxicating throughout, and Daniel Craig delivers a career-best performance, but it seems Guadagnino prioritized style over substance in this hopeless romantic tale. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

FATHER STU Starring: Mark Wahlberg, Jacki Weaver, Mel Gibson, Teresa Ruiz, Alain Uy, Carlos Leal, Aaron Moten, Cody Fern, and Malcolm McDowell Director: Rosalind Ross JACOB Though it’s not a total misfire, Father Stu feels misguided in its approach to telling the story within its average-at-best framework. A miscast Mark Wahlberg gives what he can to a ham-fisted, two-dimensional narrative about redemption and faith without the movie ever bothering to truly challenge its central character. There are teases at genuine conflict, but no commitments. The film wants to have it both ways by making its main character flawed and relatable but somehow also infallible in the narrative; never perfect, but never at fault either. Unfortunately, the supporting cast is of little help in elevating this C-grade material. QUENTIN As a non-believer, I’m always skeptical of faith-based movies because, by design, they usually favor sermon over story. Father Stu , to its credit, exercises some restraint on the preachiness, but it doesn’t have much else to say either. It’s oddly too long while also being completely devoid of nuance. Fact is, you don’t learn much from the movie that can’t be gleaned from the trailer. Mark Wahlberg is fully committed as the shaggy ne'er-do-well, but once he finds Jesus, the shallowness of the "Jesus Saves!" plot becomes more apparent. That said, it’s one of the more watchable faith-based movies I’ve seen (admittedly, a low bar).

SILENT NIGHT Starring: Joel Kinnaman, Scott Mescudi, Harold Torres, and Catalina Sandino Moreno Director: John Woo NICK Upon exiting the screening for Silent Night , it was evident my reaction was more negative than my colleagues, because I hated this film. Save for the impressive shots from director John Woo (which I can count on one hand) and a committed showing from Joel Kinnaman, this thing just has no teeth. The action sequences are lackluster, the story feels more like a parody than an actual plot, and there are some baffling directorial and script decisions. I can’t even credit any creative risks taken or innovative action set pieces because there are none. Silent Night is a misfire on all counts. AMARÚ Joel Kinnaman is such an underrated actor, and he is the only thing keeping Silent Night from being nothing more than one long training montage followed by a straight-to-TV, B-movie parody. His gritty performance carries the proper weight to balance director John Woo’s pulp excess, and it creates surprisingly effective early emotional beats. That should’ve allowed the film’s over-the-top violence to feel earned, but it couldn’t save the subsequent devolution into laughably bad CGI, story, and stunts. I never thought I would say this, but it’s the action that sinks this legendary director’s first film in six years. ADRIANO I'm a massive fan of legendary director John Woo, which makes it especially disheartening to say that his latest action film, Silent Night , is a big disappointment. While the action is pretty cool, and there are enough awesome shots throughout the film to enjoy, it takes way too long to get to those enjoyable parts. Most of the film is dedicated to uninteresting melodrama and establishing the (mostly) no dialogue gimmick that it doesn't even fully commit to. In the end, Silent Night is an overall fun enough experience, though not a great one.

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.

BODIES BODIES BODIES Starring: Amandla Stenberg, Rachel Sennott, Maria Bakalova, Myha’la Herrold, Chase Sui Wonders, Lee Pace, and Pete Davidson Director: Halina Reijn JACOB Once more, A24 adds a win to their all-timer 2022 slate. Bodies Bodies Bodies doesn’t break much new ground for slasher flicks or murder mysteries, but it’s hard to recall the last time a film like it was this much fun and full of energy. Every new victim sends the delightfully messy cast of characters on a roller coaster ride of allegiances, betrayals, and mistrust, complete with hyper-Gen Z panic and brilliant improvisation. Each member of this terrific ensemble cast has pitch-perfect chemistry with the entire group, though it’s Rachel Sennott who emerges as the film’s ultimate MVP. ADRIANO I definitely wanna play Bodies Bodies Bodies because this Gen-Z murder mystery is packed for one hell of a fun time. It’s ridiculously funny and unnervingly tense at the same time. The movie constantly has us guessing, and the cast is perfectly suited to the craziness that ensues on screen, especially Rachel Sennott, who steals every scene she’s in. Where the film really succeeds, though, is in its satire, showing off the faux care and inherent narcissism of Gen Z a little too accurately. Bodies Bodies Bodies continues A24’s 2022 winning streak. PAIGE A24 is fucking killing it this year! Bodies Bodies Bodies is a bloody bloody bloody good time and a summer essential that should be on your must-watch list. It’s a hilarious, top-notch whodunnit that is phenomenally written and directed, not to mention the spectacular cast that portrays their characters perfectly. Plus, the best part is that the film maintains tension from start to finish. Overall, this is another great movie to add to A24’s successes in 2022, and I honestly think this movie was made just for me!

ETERNITY Starring: Miles Teller, Elizabeth Olsen, Callum Turner, John Early, Olga Merediz, and Da’Vine Joy Randolph Director: David Freyne NICK If you’re in love with two people at different points in your life, how is that handled in the afterlife? That’s something I’ve wondered, and something Eternity sets out to answer. It’s an interesting premise that works, thanks to the charm of Miles Teller and Elizabeth Olsen as they embody their younger selves. However, Eternity fails to reach the depth its thesis deserves. Although it creates suspense by exploring every avenue for Joan (Olsen), when the time comes for a decision, you can't help but wonder if the outcome was the right one. It’s fine, but it feels like it could’ve been something more. ADRIANO The question of how and who to spend post-life with is a tough one, and yet, Eternity confronted that idea pretty safely. At least it was sincere, giving real weight to some of the more powerful moments. The world-building is interesting, and Elizabeth Olsen, Miles Teller, and Callum Turner all deliver great performances. My issue is that the movie clearly was winding up for a bittersweet tearjerker, but it spent too much of the third act creating diversions to hide the inevitable finale. That's not to say Eternity is not emotional; it's just nothing special. AMARÚ Eternity is a crowd pleaser that balances not falling too far into its serious themes nor leaning too much into tragic dark humor. Joan's (Elizabeth Olsen) difficult choice on which husband to spend eternity with hit me in the heart, primarily due to Olsen’s endearing performance. The amusing dynamic between her, Miles Teller, Callum Turner, and Da’Vine Joy Randolph brings an old-school comedic timing that, at times, hits the right tone, and, at others, is a little hollow. Ultimately, though, director David Freyne brings a complicated realism to how we think about love, life, death, and soulmates. It’s real, it’s messy, and it’s entertainingly sweet. PAIGE A24 continues to prove they have a handle on all genres. Eternity may not be the most romantic or surprising movie, as the writing is pretty much on the wall with where you think the story is going, but that doesn’t take away from the fact that this flick is a total delight. Its clever concept focused on love and the afterlife is both charming and unexpectedly quite funny. Our leads, Elizabeth Olsen, Miles Teller, and Callum Turner, bring so much charm, while the supporting cast, Da’Vine Joy Randolph and John Early, add the humor.

LIFT Starring: Kevin Hart, Gugu Mbatha-Raw, Vincent D’Onofrio, Billy Magnussen, Jacob Batalon, and Jean Reno Director: F. Gary Gray QUENTIN You know, it doesn’t take a lot for a heist movie to get a passing grade from me, but goodness gracious, it’s not like Lift even tried. Between the terrible CGI, uninspired characters, flat humor, and poorly done trope after poorly done trope, not even my unashamed bias for all things heisty could get me to engage with this thing. If this movie is good for anything, it’s as something to be shown at Kevin Hart’s Netflix intervention: “Look, Kev, we respect your hustle and work ethic, but stop making these terrible Netflix movies. You’re hurting yourself and those around you. Have some respect for yourself.” AMARÚ You have Vincent D’Onofrio, Gugu Mbatha-Raw, Billy Magnussen, Jacob Batalon, Jean Reno, and Kevin Hart in a heist film directed by F. Gary Gray. That is the biggest layup ever for a fun-ass time; all you gotta do is write some semblance of coherence. But noooooo, Lift was apparently written for TikTok. It throws every single heist trope (both comedic and dramatic) at the wall with no logical progression, and tries to cover it up with cool music, flashy action, “lovable” characters, and fast-paced direction. Lift is just a poorly constructed shell enclosing the cast and crew’s obvious paychecks. PRESTON Lift is director F. Gary Gray’s latest release, and Kevin Hart’s most recent Netflix offering. How else can I describe Lift ? Well… imagine watching The Italian Job , but instead of being good…it isn’t. Don’t get me wrong, the cinematography and style are decent, and reminiscent of many good heist movies. The problem seems to lie in writing that produces utterly flat dialogue that the actors don’t even know how to deal with. Any attempt at injected charm falls short, the jokes don’t land, and the “tense” moments are the only times you want to laugh. To quote Liar, Liar , “I’ve had better.”

WATCHER Starring: Maika Monroe, Karl Glusman, Burn Gorman, and Madalina Anea Director: Chloe Okuno PAIGE In her feature debut, director Chloe Okuno does a spectacular job of creating an eerie gaslighting whodunit in Watcher . One thing to love is that the film feels as real and ambiguous as possible, putting us in the main character’s shoes as we see what she sees and suspect what she suspects. Furthermore, Maika Monroe delivers a gripping performance as the film’s lead, and Okuno turns up the heat in the last few minutes for a radical ending. It’s a stellar reminder to watch out... because you never know who’s watching you! JACOB Watcher may not be doing a lot that’s new for the stalker horror subgenre, but it is one of the more affecting offerings to be released in quite some time. The Shudder-backed indie features a stellar leading performance from Maika Monroe and an equally captivating (though brief) supporting turn by Madalina Anea. Some of the cat-and-mouse moments from director Chloe Okuno are so thoroughly tense that I was actively gripping my seat. The film’s imperfections – namely, a one-note boyfriend and the occasional logic lapse – pervade its successes enough to bring it down, but not enough to stain it significantly.

MUFASA: THE LION KING Starring: Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Kagiso Lediga, Blue Ivy Carter, Preston Nyman, Mads Mikkelsen, Lennie James, Thandiwe Newton, Seth Rogen, Billy Eichner, and John Kani Director: Barry Jenkins NICK Although 2019’s The Lion King set a low bar, I still wasn’t expecting much from Mufasa . In that sense, it was a pleasant surprise. Overall, it's an improvement in literally every way, and I thoroughly enjoyed the opening 45 minutes. But that’s when the flaws started creeping in. Some of the visuals are genuinely jaw-dropping, but many others fall victim to the limitations of the current technology. It’s the writing, however, that deteriorates enroute to a rushed conclusion. It diminishes all the positives, including Braelyn Rankins’ “I Always Wanted A Brother.” Having said that, your kids are going to love it. AMARÚ Mufasa is a clear example of the difference top-tier directors can make. Barry Jenkins overcomes 2019’s The Lion King ’s heavy baggage by imbuing this prequel with tons of emotional range, from humor and hope to terror and courage. It, of course, helps having veteran voice talents like John Kani and Keith David to enhance the CGI animals’ emotionality, but Jenkins’ visual choices give audiences more opportunity to really see the characters’ hearts. The writing does lack depth, which isn’t helped by rushed pacing, but similar to Lin-Manuel Miranda’s songwriting, even though nothing is left to the imagination, the end product leaves an affecting impact. ADRIANO After the disastrous 2019 “live-action” remake of The Lion King , director Barry Jenkins is here to make… slight improvements. The mere existence of a soul in Mufasa gives it a leg over its predecessor, and the voice acting is really good for the most part. However, this is a visual downgrade because it looks much murkier with animal faces that go into uncanny valley territory. On top of the cringe humour, forgettable music, and prequel-baiting, the story ultimately is just flat and unengaging. This could've been much worse, but it's still a miss.

MR. CROCKET Starring: Jerrika Hinton, Alex Akpobome, Ayden Gavin, Kristolyn Lloyd, and Elvis Nolasco Director: Brandon Espy NICK As a huge fan of Channel Zero 's Candle Cove season, I love the idea of children's television turning sinister. Mr. Crocket is the latest film to attempt this idea, and it succeeds for what it is. The practical effects are fun and (mostly) make up for a seemingly low budget, but its performances - which sit firmly at "adequate" - aren’t truly able to elevate the material. A couple stand-out showings could have taken Mr. Crocket to new heights, but as is, it’s just a good/not great horror film that has a chance at a small cult following. QUENTIN Given that Mr. Crocket is a six-minute short expanded to nearly 90 minutes, it’s understandable that the story is a bit thin. That said, director Brandon Espy has created a sure-to-be cult classic in his feature debut, as well as an initial calling card for, hopefully, a long career behind the horror camera. His enthusiastic use of practical effects, 80s-inspired puppetry, and fun gore are a refreshing change of pace from the dispassionate schlock typically peddled by studios like Blumhouse. On top of that, an unrecognizable Elvis Nolasco is delightfully sinister as an amalgamation of Mr. Rogers and Freddy Krueger. It’s a nice Halloween surprise. PAIGE Mr. Crocket is a kooky horror movie that honestly feels like Mr. Rogers met Freddy Krueger in an alleyway and became friends. While there’s a lot to appreciate here, such as the impressive practical effects, its gnarly gore, and Elvis Nolasco's eerie, yet playful performance as the titular character, the story needed stronger writing to feel more fleshed out. Additionally, even though its runtime is only about 90 minutes long, it becomes less engaging as it goes on. Overall, though, it’s a decent flick to check out this Halloween season. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2024.

THE SEA BEAST Starring: Karl Urban, Zaris-Angel Hator, Jared Harris, Marianne Jean-Baptiste, Jim Carter, Doon Mackichan, and Dan Stevens Director: Chris Williams JOSEPH The Sea Beast is a film split in two. The first half is a bit generic, borrowing heavily from other stories, namely How to Train Your Dragon , but the second half is great! It’s so great, in fact, that even the visuals seem to improve with the storytelling. While the color palette is brilliant, some of the textures are lacking; that doesn’t stop some scenes from being truly beautiful, though. The characters are likable, the world is intriguing, and the ultimate message is bold and relevant. I only wish the first half felt more interesting and necessary to the plot. QUENTIN As far as story and vocal performances go, The Sea Beast isn’t anything special. It’s basically a variation of King Kong , with a smidge too much sappiness and a very preachy ending. That said, it’s still a swashbuckling good time, and it’s worth watching if for no other reason than the animation. It looks absolutely incredible, putting Pixar to shame with sequences so realistic that they genuinely look live action. It might be the best animation I’ve seen since Into the Spider-verse , and it’s wild to me that no one is really talking about it. Netflix Animation took a major step forward with this one.

TO CATCH A KILLER Starring: Shailene Woodley, Ben Mendelsohn, Jovan Adepo, and Ralph Ineson Director: Damián Szifron QUENTIN Just because a movie is nothing more than a genre formula doesn’t mean it can’t be watchable, and To Catch a Killer is content to live by that ideal. Yeah, it’s generic and feels like a movie Ashley Judd would have starred in 25 years ago, but it hits all the buttons for people who enjoy movies like Kiss the Girls . The acting is serviceable, and the direction offers a few standout shots, but otherwise, this is like watching Law & Order reruns: a disposable manhunt story that will come and go with little fanfare, but still be enough to distract on a lazy afternoon. PAIGE To Catch a Killer is an above average psychological thriller that will keep its audience alert while they learn the true nature of what it might be like to catch a murderer. The film becomes so much more than its overall premise, even though it admittedly goes a little off the rails in the third act. Still, while it may not break any new ground in the genre, it manages to hold its own. Overall, it’s a simple yet compelling story, built on high tension and underrated performances from Shailene Woodley and Ben Mendelsohn. JACOB Ben Mendelsohn brings what he can to the table, but the simple fact is To Catch a Killer ’s script is far too underbaked to rise to his or Shailene Woodley’s level. The film has intrigue, but doesn’t seem especially interested in getting to know its characters beyond their basic story functions. Frankly, Woodley’s performance may be one of her most underrated, as she manages to keep viewers watching even when she really has nothing to bite into in terms of depth. All told, this film isn’t boring, per se, but it does ultimately feel pretty empty by its conclusion.