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.

THE WRECKING CREW Starring: Jason Momoa, Dave Bautista, Temuera Morrison, Morena Baccarin, Jacob Batalon, Claes Bang, Frankie Adams, Stephen Root, and Roimata Fox Director: Ángel Manuel Soto NICK The buddy cop formula is tried and true, but it leads to more misfires than hits. That said, The Wrecking Crew is a hit. You have two leads in Dave Bautista and Jason Momoa who complement and play off each other wonderfully, paired with a director in Ángel Manuel Soto who builds on his Blue Beetle experience by finding the right tone of quippy comedy and surprisingly gnarly action. Yes, it can be a little trope heavy, and the villains could have been stronger, but in terms of enjoyment? I'll take this over the past few Fast & Furious films. ROBERT Never have I seen a movie co-opt the name from a classic and have absolutely none of its DNA as much as 2026’s The Wrecking Crew . I am all for actors finding other actors they collaborate well with and then producing films that feel like a vacation, but they aren’t often described as “well-constructed”; that is how I feel with this experience. Beyond some truly gnarly kills, I found everything super dumb: the conceit of the plot, the action and lack of consequences, character motivations, etc. Granted, it is designed to be bombastic, but it needs a tether, and clearly Dave Bautista and Jason Momoa don’t believe in tethers. AMARÚ The Wrecking Crew delivers on exactly the 90s R-rated buddy cop comedy fun you’d hope a Dave Bautista & Jason Momoa Hobbs and Shaw -esque action film would. Director Ángel Manuel Soto pushes all the right comedic tones while showcasing thrilling action, odd-couple chemistry and just enough believable drama to care about the family on screen in an entertaining manner. It has predictable tropes and stereotypical villains, but with Bautista and Momoa effortlessly employing their respective charms, a great ensemble who don’t feel like afterthoughts, and a killer pace with perfectly pulpy gore, this is a blast from front to back. BODE The Wrecking Crew may look like another disposable buddy cop action comedy that’s totally meant to be streamed, but in reality, director Ángel Manuel Soto’s riff on the formula is more deserving of a theatrical release than what Amazon has actually put out on the big screen lately. The script is relatively simple (familial tropes, predictable villains, etc), but it easily makes up for that with some wildly enthralling action sequences (shot with aplomb by cinematographer Matt Flannery), consistently funny banter between stars Dave Bautista and Jason Momoa, and an extended supporting cast whose presence adds more personality to its proceedings. Surprisingly fun!

PAST LIVES Starring: Greta Lee, Teo Yoo and John Magaro Director: Celine Song ADRIANO Past Lives made my jaw drop. This is a story about how we approach fate and the way human beings seek connection to one another, and it’s told through a very unique love triangle, with Teo Yoo and Greta Lee giving compelling performances. But it’s writer/director Celine Song that’s the real star, as she knocks it completely out of the park. She directs every scene with a deft hand and writes every scene with poignancy, comedy, and in the end, bittersweet heartbreak. I don’t say this often, but this was a perfect film. JACOB Truth be told, it’s difficult to define in precise terms what I feel about Celine Song’s Past Lives in the immediacy of its conclusion, but one thing about my feeling is certain: it is profound and inescapable. The pitch-perfect screenplay from debut writer/director Song is a ballet of longing – for a life one once knew, for the life one could have – and a delicate reckoning with what is. Greta Lee owns every minute of screentime she has, inviting your attention without demanding it, while Teo Yoo and John Magaro shine in their supporting parts. This one is a real knockout. PAIGE A24 may have another Best Picture winner on their hands with writer/director Celine Song’s phenomenal debut, Past Lives , a deeply impactful film that knows how to pull at your heart strings. The screenplay will give you a lot to ponder over, but it's the soulful and layered performances that will stick with you, especially Greta Lee as Nora. Furthermore, the film is a very subtle but thoughtful piece about the influence of soulmates and the "what ifs?" of life, something we can all relate to. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

HYPNOTIC Starring: Ben Affleck, Alice Braga, JD Pardo, Dayo Okeniyi, Jeff Fahey, Jackie Earle Haley, and William Fichtner Director: Robert Rodriguez QUENTIN While there is an interesting idea and a decent twist at its (only 90-minute) core, everything about Hypnotic feels dated. Between the procedural-meets-slight-sci-fi angle that was huge in the early 2000s (remember Déjà Vu and Next ?) to Ben Affleck’s surly, Max Payne -inspired line delivery, this movie might have been a hit during the actor’s Paycheck era. Still, I can’t say it’s boring, but it’s not particularly entertaining either since everything is so noirishly dark and dour. Mostly, I’m left wondering, 1. what happened to Robert Rodriguez, who used to be among my favorite directors?; and 2. why, in 2023, did Affleck sign on for this? NICK "Dated" doesn't even begin to describe how Hypnotic feels. It's the kind of movie you'd come across on TBS while channel-surfing in the late 90s (which makes sense as the script was written back in 2002). Not bad enough to be terrible, nor solid enough to be good, it just sits in mediocrity. The action, writing, and performances leave no lasting impression, and the fact that Ben Affleck spent time on this project is honestly perplexing. Hopefully, director Robert Rodriguez will stop wasting his time with films like this and turn his focus to the long delayed Alita: Battle Angel sequel instead. JACOB Hypnotic has a lot of promise in its base elements and grounded roots, but it does eventually fall victim to biting off more than it can chew. Conceptually, it’s an interesting (if somewhat predictable) watch, but in its execution, the story becomes so convoluted and messy that the audience doesn’t really have anything concrete to hang onto by the film’s end, making it feel ultimately fruitless. Even with Alice Braga and William Fichtner doing what they can to elevate the material, neither can save the viewer from noticing Ben Affleck’s boredom with a script that doesn’t give him much actual depth. AMARÚ One word I never thought I would connect with director Robert Rodriguez is “bland.” However, when it comes to his latest thriller, Hypnotic , even his stylized attempts at science-fiction can’t cover for the boring action, expositional conveniences, and… well… bland world-building. After about the 10th time Diana (Alice Braga) explained something to Danny (Ben Affleck) about the rules of Rodriguez’s super-powered world, I was checked out; Then, the line “What? I have powers all of a sudden?” was uttered and I couldn’t help but laugh incredulously at the rest of the film. Sorry, Rob, but this one ain’t it. PAIGE Hypnotic honestly feels like a Walmart-version of a Christopher Nolan film. While the concept of the movie is pretty cool, the imagery looks cheap and the script needs way more depth. The actors try their best to elevate it as much as possible, but the script leaves them all, especially Ben Affleck, with little to work with. The fact that Robert Rodriguez, a veteran director, made this is kind of mind-boggling because of how amateur it looks and feels. With all that said, Hypnotic is fast-paced and will keep viewers guessing throughout.

MILE END KICKS Starring: Barbie Ferreira, Devon Bostick, Juliette Gariépy, Stanley Simons, Isaiah Lehtinen, and Robert Naylor Director: Chandler Levack NICK Director Chandler Levack earned tons of recognition from her film I Like Movies, and much of the same directorial qualities are present in Mile End Kicks . It’s another grounded, indie story that is unabashedly Canadian and features an unlikeable protagonist (Grace played by Barbie Ferreira). This seems to be Levack's wheelhouse. Kicks covers all the difficulties of young love. Be it the hypnotism, the bad decisions, the blindness, the manipulation, and of course, the sex. I was increasingly frustrated with Grace's decision-making, but then again, that’s quite authentic to life in your early twenties. Mark Kicks as another lived-in film to add to Levack’s filmography. QUENTIN I’m learning that most coming-of-age movies aren’t for me anymore. Whether that’s because I’m too far removed from my own experiences, or I simply don’t relate to those of younger generations, I’m not always sure. With Mile End Kicks , it’s definitely the latter. My memories of being young, dumb, and in love (or lust) as an American guy whose 20s started in 2001 simply don’t mirror those of a Canadian girl whose 20s seem to start around 2011. I’m too separated from Grace (a terrific Barbie Ferreira) for this story to resonate, which mostly just left me frustrated by her bad decisions (the closing scene, especially). AMARÚ Mile End Kicks is a confusing and interesting film led by Barbie Ferreira’s just as confusing and interesting Grace. Her tenacity at the film’s fringes intrigues you, making the frustrating decisions she makes more of a layered character flaw than an inconsistent one. Kicks does well examining individual insecurities that hamper your better impulses. Yet and still, the ebbs and flows the film makes, between empowering and enraging, have you blankly staring at it, threatening to cut it off but wanting and hoping the characters figure their shit out. I guess that’s its charm… its somehow very annoying charm. PAIGE Mile End Kicks is a frustrating, but also charming coming-of-age film that feels familiar yet fresh and lived-in. Its story of self discovery and navigating the 2010s indie rock scene is anchored by a strong and angsty performance from Barbie Ferreira. The supporting cast is another highlight as they add a layer of authenticity to the film. However, the movie is a touch too long with a nearly two-hour runtime. It begins to overstay its welcome and drags in spots. As a result of this, the story can feel a bit thin, lacking the ambition needed to truly stand out. ADRIANO There’s a coming-of-age quality to Mile End Kicks that writer/director Chandler Levack was able to pull off in I Like Movies as well, but it's less compelling this time. Where her previous film used the lead's unlikability to show growth, this one accurately portrays the stress of being in your early 20s, whether it be financial troubles or fixation on bad impulses, but never to the point of emotional catharsis, at least not to the degree Levack’s aiming for. Nontheless, its slice-of-life nature and focus on the Montreal music scene is enough to latch onto for its runtime. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 International FilmFestival Mannheim-Heidelberg, respectively.

ANEMONE Starring: Daniel Day-Lewis, Sean Bean, and Samantha Morton Director: Ronan Day-Lewis ADRIANO It's nice to see Daniel Day-Lewis chewing up every single scene he's in for the first time since his supposed retirement, but he's pretty much the only thing holding Anemone together. In his directorial debut, Ronan Day-Lewis is trying too hard to show he's not just the son of a legend. In the process, as nice as it looks, he makes a movie that is stylistically all over the place (the mismatched score doesn't help), and an approach to generational trauma that's buried under vague symbolism and an unaware thesis. But hey, welcome back, Daniel, I suppose. NICK If you're wondering whether Daniel Day-Lewis has missed a step in his time away, he has not. His performance is the driving force of Anemone and the reason people shouldl watch it... Perhaps the only reason. Although there's something there with son Ronan's direction, it relies too heavily on its art styling and heavy-handed metaphors and symbolism. This creates an uneven film that would actually be quite boring without Daniel's magnetism. In the end, Ronan's current talent level doesn’t justify this film’s platform. Daniel’s return aside, this is a film with two memorable monologues (destined to be used in film schools) and not much else.

BARBIE Starring: Margot Robbie, Ryan Gosling, America Ferrera, Michael Cera, Issa Rae, Ariana Greenblatt, Simu Liu, Rhea Perlman, Will Ferrell, and Helen Mirren Director: Greta Gerwig PAIGE All hail Greta Gerwig! The writer/director is 4 for 4 in my book, as she continues to not put herself in a box. This magical gem is more than Kenough. In fact, Barbie is everything, and it genuinely exceeded my lofty expectations. It’s absolutely dazzling, a delightful film that is full of laughter, imagination, and heart. It manages to perfectly blend its campiness and honest social commentaries on fascism and sexism while also allowing Margot Robbie and Ryan Gosling to deliver show-stopping performances. This is the blockbuster film of the summer, and it deserves all the love this awards season. QUENTIN Full disclosure: I went into Barbie armed with low expectations and extreme Barbie fatigue from all the memes. That said, it mostly won me over. It’s fun, there is a good amount of humor (too much of which is in the trailers), and the production design of Barbie Land is impeccable. On the flip side, it’s very preachy, the “toy commercial” of it all isn’t subtle, and it’s essentially a mashup of Last Action Hero and The Lego Movie for those who grew up with Barbie…so, not terribly original. Is it worth seeing? Absolutely. Is it a masterpiece and one of the year’s best? Not quite. JACOB While it doesn’t quite reach the heights of her previous films, Greta Gerwig manages once more to establish herself as one of the best film directors working today with Barbie . As much a celebration of the doll’s iconography as it is an examination of that very idea and its many tendrils, the film manages to ride the line between corporate product and genuine artistic expression near perfectly. Margot Robbie and Ryan Gosling are expertly matched to each other’s energies, and all the design work – from production to costumes to stages – is outstanding, especially Barbie Land. It’s no masterpiece, but it’s a winner. ADRIANO Barbie has had a lot of hype surrounding it, and while I had some anticipation for it, I wasn’t super excited about it; maybe that helped because it is one of the best and boldest movies of the year. Greta Gerwig’s direction and script (which she co-wrote with Noah Baumbach) is imaginative and thought-provoking in ways I never thought a Barbie movie could be. On top of that, it’s colourful, fun, and easily the funniest movie I’ve seen all year. I truly can’t get Kenough of this one, and I’ll surely be rewatching this in theaters for as long as I am able. AMARÚ Satire works best when it has some semblance of subtlety and an airtight story, or at least has some funny jokes. Unfortunately, Barbie has none of these. Its belabored sarcasm stresses some very important messages at the expense of natural character development and a purposeful plot. The film succeeds when it drops the wit and just comes out to say what needs to be said (see: America Ferrera’s great monologue), but too often I found myself asking why I’m watching characters I don’t care about in this aimless story. I’ll just rewatch Toy Story 3 to see these characters again. NICK Before Barbie , I wasn’t enamoured with any of Greta Gerwig's features, but this is easily my favourite of her directorial efforts. Gerwig has crafted a film accessible to all in both its message and its comedy. To those who have viewed it as anti-male, you missed the point, as this is a pure tale of equality told through societal opinions and expectations. The consistently comedic Ryan Gosling and the perpetually underrated America Ferrara are my personal standouts, but there’s justification for many. Obviously, Barbie is an important film for young girls to see, but I think we can all take something away from it.

THE G Starring: Dale Dickey, Romane Denis, Jonathan Koensgen, Roc Lafortune, and Bruce Ramsay Director: Karl R. Hearne This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN If you come into The G looking for an action-packed, gender-swapped version of Taken , you are going to be very disappointed. Despite being billed as a “revenge thriller,” there are very few thrills and hardly any of the violence you would expect. Plus, the “revenge” aspect doesn’t come into play until very late in the movie. However, if you go in expecting something more in line with The Coens’ Blood Simple , you should walk away mostly satisfied. From that perspective, The G is a terrific showcase for renowned character actress Dale Dickey, and a slow-burn neo-noir that remains engaging despite being somehow both overwritten and underdeveloped. PAIGE Even though The G is a typical slow-burning revenge movie, director Karl R. Hearne does a solid job of telling this story as both a poignant family drama and a violent crime thriller. The film has the makings of being immensely interesting and original, but unfortunately, the underwritten screenplay is its demise, which is a bummer because it's a missed opportunity to deliver on an intriguing concept. Despite that, the movie keeps you engaged by Dale Dickey's prominent performance as a ruthless badass that should not be messed with.

NIRVANNA THE BAND THE SHOW THE MOVIE Starring: Matt Johnson and Jay McCarrol Director: Matt Johnson NICK As someone who’s never seen Nirvanna the Band the Show , I really had no idea what to expect going into this movie. But it’s incredible. Yes, the film is hilarious, as Matt Johnson and Jay McCarrol have clearly fine-tuned these characters. It’s the filmmaking, however, that kind of blew me away. Some of the things that Johnson attempts and succeeds at, be it editing or flat out risk-taking, is thoroughly impressive. On top of that, this thing is so authentically Torontonian, and that combined with a certain film’s integration to the story’s plot, made me feel like this was made for me. ADRIANO As a Torontonian, I acknowledge my bias for a film so littered with Toronto easter eggs, but Nirvanna the Band the Show the Movie is a blast I'd recommend to anyone. Yes, there are inside jokes not everyone will get, but there's still a lot to laugh at. From a sheer filmmaking standpoint, I wondered "how did they do this?" multiple times. The writing alone is truly brilliant, weaving in time travel, comedy, and a sincere friendship narrative all into one uniquely enjoyable package. At the risk of sounding hyperbolic, this movie is sort of a miracle. AMARÚ Watching such a Toronto film with such a Toronto audience definitely helped my viewing of Nirvanna the Band the Show the Movie. Now, don’t get me wrong, there were plenty of jokes that I laughed at all on my own, but the communal experience informing me when I missed a very specific joke allowed for director/star Matt Jones and Jay McCarrol’s charm to naturally grow on me. It’s silly and ridiculous in plenty of the right ways, and while it didn’t necessarily fully hit my funny bone, there was an endearing story of friendship to help boost the laughs I both caught and missed BODE The thing about Nirvanna the Band the Show the Movie is that you don’t necessarily need to have been familiar with Matt Johnson and Jay McCarrol’s previous web and television series to enjoy it, though it definitely doesn’t hurt if you are (I came into it already a fan). If you’re simply looking for a great comedy, this’ll scratch that itch in many ways - from its hilariously astounding leveraging of fair use (right down to its central homage), to its touching ode to friendship and to the city of Toronto itself. This is Canadian cinema at its finest. This film was reviewed by Nick, Adriano, and Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

THE SACRIFICE GAME Starring: Mena Massoud, Olivia Scott Welch, Chloë Levine, Madison Baines, Georgia Acken, Derek Johns, and Laurent Pitre Director: Jenn Wexler This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. NICK Don't get me wrong, I enjoyed The Sacrifice Game overall, but there was a tonal change director Jenn Wexler needed to make that would have greatly improved the film: she should have indulged the camp. It would have made Mena Massoud's over-the-top villain resonate more, and took better advantage of the child actors if it had just leaned into the ridiculous more. In not making that decision, the film is relegated to “just another film I saw at Fantasia” instead of one I care to revisit like The Mortuary Collection and Martyrs Lane . QUENTIN The Sacrifice Game starts strong enough, with a 1970s punk rock ambiance that I really dug. However, as the movie goes on, you realize that’s about all it has going for it. The acting is pedestrian to downright awful, with multiple actors giving “poor man’s [insert actor]” vibes (it’s near impossible to look at Olivia Scott Welch here and not be reminded of Sydney Sweeney). On top of that, the overall story and script, while offering plenty of bloody-soaked opportunities to generate true horror, feels very made-for-tv, which I guess will put it right at home when it premieres on Shudder this fall. PAIGE Jenn Wexler’s latest film, The Sacrifice Game , transports us back to the 1970s for a bloody holiday slasher. The moody, atmospheric horror flick throws a number of genre tropes into its story, but still manages to keep viewers mostly on their toes throughout. But, after a decent first half, I felt myself losing interest in the second half because of its predictability. While it’s not the hidden gem I had hoped it would be due to its subpar script, it is well-served by its performances and setting.

BLINK TWICE Starring: Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Liz Caribel, Levon Hawke, Kyle MacLachlan, and Geena Davis Director: Zoë Kravitz PAIGE Despite exploring some heavy themes, director Zoë Kravitz skillfully weaves and executes them to create a fresh and entertaining viewing experience, even if the concept may not be entirely original. Blink Twice does a fantastic job of showcasing a twisted nightmare that is both hilarious and disturbing. With its flawless editing, clever script, and outstanding cast, this movie may be one of the biggest surprises of the year. I am very much looking forward to seeing what Kravitz does next behind the camera because Blink Twice is a promising directorial debut. QUENTIN Reminiscent of both The Menu and Get Out , although not near as good, Blink Twice is a generally worthwhile “rich people suck” thriller. That said, the pacing isn’t great. If not for the trailer, you wouldn’t have any idea that this is a psychological mystery thriller for the first hour. There are very few idiosyncrasies, telltale signs, or tension-building moments hinting that something might be amiss until someone just randomly suggests it, at which point it suddenly becomes suspenseful for an excellent third act. On the plus side, director Zoë Kravitz has a terrific ear for great needle drops and a tremendous eye behind the camera. AMARÚ Blink Twice is an indulgent fever trip that held me at the edge of my seat, with writer/director Zoë Kravitz gripping hold and squeezing tighter with every passing minute. Add in brilliant sound design, pitch-perfect music, and award-worthy editing from Kathryn J. Schubert, and the striking overall direction becomes its own brilliant character standing tall amidst an absolutely stacked cast. Naomi Ackie, Adria Arjona, and Alia Shawkat lead the captivating ensemble through a whirlwind story that is intense, hilarious, thought-provoking, and keeps you constantly guessing for what is one of the most surprising and entertaining movies of the year. Whatever Kravitz does next, I’m in, sight unseen. PRESTON Blink Twice is a refreshing endeavor that takes advantage of a fantastic cast, including an always cool Channing Tatum (Slater) and Naomi Ackie (Frida), who wins me over by the end of the film with a solidly charismatic performance. Writer-director Zoë Kravitz uses dark humor (my favorite) in the larger context of championing feminine power within a recognizably predatory world. That said, the party phase of the film drags too long before finally revealing the more troublesome components, but this psychological thriller remains within the top class of films this year, especially given the relatively drab offerings so far. ADRIANO Blink Twice has way too much wasted potential. In the director's seat, Zoë Kravitz shows she has a knack behind the camera, delivering shot compositions that always look good, which helps in making the movie successfully intense. That said, its commentary on the uber-wealthy and weirdo islandmen is paper thin, resulting in the film's twists and reveals coming off as an attempt at being the next Get Out . It fails to understand what made that film so effective, so it winds up feeling like it was for all cheap shock value. There are nuggets of greatness here, but not enough.

SACRAMENTO Starring: Michael Cera, Michael Angarano, Maya Erskine, and Kristen Stewart Director: Michael Angarano PAIGE Although Michael Angarano’s second directorial feature, Sacramento , is a little rough around the edges, it's still a solid coming-of-age film. Its themes surrounding avoiding one’s problems and maturing are slightly one-dimensional, but its sweet and genuine character moments keep this movie afloat. Kristen Stewart and Maya Erskine make the most of the little screen time that they have, while Angarano and Michael Cera's friendship and banter shines throughout. All in all, this indie comedy is a decent, lighthearted story of adult friendships, fatherhood, and emotional maturity. KATIE On paper, Sacramento is a film I should have loved, with its fantastic cast and coming-of-age themes. However, although it's beautifully shot, it never made me care about the strained friendship between Rickey (Michael Angarano) and Glenn (Michael Cera). These men are so emotionally immature and resistant to responsibility that I couldn’t summon any empathy for them, especially since they seemed to just be suffering the consequences of their actions whilst the women in their lives pick up the pieces. Sacramento presents a surface-level exploration of its themes, and any resolutions feel unearned.