TeaBreakFilmReviews

We watch films, make tea & write reviews.
You make tea, read the reviews & maybe watch the films.

Writer: Michelle Karaivanov
Video Editor: Eriks Mickevics

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The Bikeriders delves into the subject of masculinity within a typically hypermasculine setting in a thought-provoking yet scattered manner. It presents Butler as the protagonist but he's immediately overshadowed by the other characters who present far more developed arcs.

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The Idea of You occasionally has something nuanced to say about attitudes to age and companionship in the modern age but defaults to being a predictable romcom. Still, it's a nice, lighthearted watch and certainly less uncanny valley than its awkward twin, A Family Affair.

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A popcorn film written by a powerhouse of cinema, Hit Man is by no means Linklater's most inspirational. However, I can't fault a film for being fun to watch, with reasonable plot logic and great performances.

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British comedy at its finest and most vulgar, Wicked Little Letters is expertly acted, directed and edited for perfect comedic timing and effortless enjoyment, made all the more impressive by the fact that it's a true story!

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Layer Cake is pure London gangster-core, which would make a great unit on a film studies syllabus. The features that made it fun on release now feel overused so it's worth taking with a pinch of salt if watching nowadays.

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Article 20 is a fascinating cinematic experience. Entertaining marital banter (led by the brilliant Li Ma) becomes incessant whilst the moral legal dilemmas get diluted by socialist ideals. A heavy handed finish doesn't spoil the film overall but wouldn't have been missed.

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A Time to Kill brilliantly manages to present one of the most thought-provoking moral dilemmas for its judge, jury and consequently, the audience watching. Can a guilty man be innocent? Can a crime of passion be justified?

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Joy Ride is essentially Bridesmaids but from a Chinese-American perspective with an appropriate change of inciting incident. It's entertaining but loses focus at times, which negatively affects the pace.

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Sister Act is an iconic Whoopi Goldberg film that perfectly blends crime and comedy with musical numbers to boot. The premise isn't overly complicated, instead banking on the humour of the situation with well-written dialogue and well-paced action.

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The Protégé is fun but forgettable, with an entertaining kick-ass protagonist whose character development is spoiled by a rather caricature-written antagonist.

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A Quiet Place: Day One movingly explores the topics of life and death within a still compelling if too familiar sci-fi world. It 's especially worthwhile for those who enjoyed Sarnoski’s previous work.
Watch our full review here! https://t.co/KWlq19io2M

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Disobedience looks at the aftermath of coming out in a tightly-knit religious community and what happens when family loss brings you back after years of exile. There's a fiery rapport between Weisz and McAdams, sparked by a war between logical adult minds and naïve young love.

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Extraction 2 regresses somewhat with its Eastern European gangster premise but succeeds in delivering more exhilarating action sequences with fancy camerawork to rival John Wick (minus the glorious neon). It's delightfully ambitious, if awkwardly written.

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John Wick: Chapter 4 has a less engaging narrative than a weather report and even that has more chance of a surprising twist. Bill Skarsgård tries to liven things up but it's still a mindless, long, neon-lit and expensive showreel for the stunt team.

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After Yang feels like a poem as it delicately progresses its simple premise whilst revealing details about the sci-fi world that feels quite possible. It investigates the potential way in which A.I. could add value to society in an emotional and distinctly human way.

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Dyad / Диада (2023) movingly explores womanhood through the eyes of a troubled yet determined teenager. It gives a thought-provoking perspective on the immigrant life in showing that the grass isn’t always greener on the other side.
Watch our full review! https://t.co/GHMcYBxVnh

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Road House feels as objectifying as Magic Mike but with less dancing and more muscle mass. Sun, sea and psychopaths make for a fun watch that needn't be taken too seriously.

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Comer continues to impress in The End We Start From, an understated disaster film that focuses on the individual experience of a young mother who's thrown in the deep end (literally) after England becomes more wet than usual. It's the little details that really give it heart.

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American Fiction is a metanarrative that succeeds where others have failed in exploring difficult stereotypes using well-written satire. Supremely uncomfortable but never feeling forced or like it's belittling the audience.

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In Bruges brilliantly presents the premise of two assassins stuck on vacation without feeling artificial or as if they're pretending to be normal (like in Mr and Mrs Smith). There's unexpected heart and humour, be it with a few questionable jokes for a contemporary audience.