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THE LONG WALK Starring: Cooper Hoffman, David Jonsson, Ben Wang, Tut Nyuot, Garrett Wareing, Charlie Plummer, Joshua Odjick, Mark Hamill, and Judy Greer Director: Francis Lawrence NICK The Long Walk is the first novel Stephen King ever wrote, and it might be among the best and most visceral film adaptations of his work. A departure from some of King’s more traditional horror, this is a story about brotherhood, camaraderie, and war. The reason this film works so well is the way it’s steeped in honesty and humanity. You’re instantly invested in the lives of many of the walk’s participants, especially Cooper Hoffman and David Jonsson’s characters, and, most importantly, the killings are never glorified. Yes, Mark Hamill can be a little too cartoony, but otherwise this is a triumph. AMARÚ The Long Walk is a fever dream narrated by a voice you’d expect to hear in such a delirious state. Mark Hamill’s hyperbolic tones are a perfect sensationalistic backdrop to this darkly beautiful, if far from subtle, film about moments: heartfelt moments with friends, harrowing moments of death, and all those in between when confronted with the absurdist moments of fractured societies. Amongst it all are two of the best young actors working today, a warmly sincere Cooper Hoffman and the absolute powerhouse that is David Jonsson. Their performances, atop a killer ensemble, make the somewhat overdramatic, hammered-home messaging an afterthought to its genuinely dynamic emotion. PAIGE While The Long Walk is a bleak and daunting thrill ride (or shall I say thrill walk?), I walked away surprisingly moved and captivated by its sincerity and emotional depth. The story is a bit tedious and predictable, but the tender moments we get with this stellar ensemble, led by David Jonsson and Cooper Hoffman, elevate the experience to the next level. Director Francis Lawrence and writer JT Mollner clearly made every moment count, and despite the emotional journey these characters endure, it’s the bonds they make along the way that make this story stick with you. The Long Walk is yet another Stephen King adaptation worth seeing on the big screen. ROBERT When kids are battling for survival within a contest sponsored by a militaristic government in a dystopian future, who better to deliver it than the man responsible for helming most of the cinematic Hunger Games ? Francis Lawrence was made to bring The Long Walk to the big screen, doing so with a cast of boys hardened in a dreary world like Stand by Me or It . The standout is David Jonsson, who always seems in control yet never confident, but everyone coalesces well and exudes a great balance of push and pull with each other. Make sure you run, not walk, to catch this one. ADRIANO It's hard not to find parallels to Trump 2.0 in The Long Walk . And perhaps I'm putting that on the film even if it wasn't intentional, but it did give it an extra weight. It also made the ending feel off. Yet and still, it had me contemplating, which I think is a success in and of itself. Aside from the politics, I was swept up in the character writing and intense brotherly horror, reaffirming Cooper Hoffman and David Jonsson as two of our best young actors. This movie had no right to be as good as it was.

HEART EYES Starring: Olivia Holt, Mason Gooding, Gigi Zumbado, Michaela Watkins, Devon Sawa, and Jordana Brewster Director: Josh Ruben ADRIANO Somehow, Heart Eyes just works. Director Josh Ruben (of CollegeHumor fame, I might add) embraces the tropes of both slasher films and rom-coms and blends them well. You've got the fun thrills and gore (while never too excessive) of the slasher genre and the corny rom-com love story at the centre of a film that had me genuinely rooting for Olivia Holt and Mason Gooding's characters to get together. It's not perfect, as there are some unengaging storylines and the ending goes a little too deep into Scream territory, but I can't help it…I really had a blast. PAIGE Get ready to eat your heart out because Heart Eyes is a surprisingly fun holiday-themed slasher. It can certainly be difficult to mesh any two genres together, but director Josh Ruben does a great job here juggling the romance, the comedy, and the horror elements throughout. With its cheeky dialogue and gnarly kills, not to mention the amazing chemistry between Olivia Holt and Mason Gooding, the movie just has a lot going for it. Overall, this thing is a bloody good time, even though some of the side plots are pointless. BRYAN Heart Eyes has the heart, yet my eyes couldn’t fully stay invested. While a fairly enjoyable blend of slasher and romantic comedy, the storyline lacked much cohesion and suspense to leave me feeling on edge by the twists and turns. The ultimate saving grace is the chemistry between Olivia Holt and Mason Gooding. If their performances weren’t likable, the entire film would’ve fallen flat. Thankfully, there were plenty of well-staged kills, yet I wish the film had found a way of standing on its own. It felt like I was watching a Scream entry without the cleverness.

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES Starring: Tom Blyth, Rachel Zegler, Peter Dinklage, Hunter Schafer, Josh Andrés Rivers, Jason Schwartzman, and Viola Davis Director: Francis Lawrence AMARÚ The Hunger Games has always highlighted humans’ will to survive, and The Ballad of Songbirds & Snakes is an excellent franchise addition that exemplifies this ideal. Director Francis Lawrence unwaveringly showcases humanity’s bravery and brutality, fostering riveting performances from the entire cast, especially Viola Davis and Rachel Zegler. Breakneck pacing creates a thrilling, action-packed first two acts, but it slightly stifles act three’s emotional payoff due to, even at two-and-a-half hours, packing so much detail into a short amount of time. Yet and still, the exhilarating tension and outstanding cast make this a franchise best. I can’t wait to read the book. PAIGE While The Ballad of Songbirds & Snakes succeeds in the world-building of Panem, it stumbles with an uneven and bloated telling of the franchise villain's origin story. That said, the first two acts give us fascinating insight into the evolution of the games and Coriolanus Snow’s (Tom Blyth) journey to this point while throwing us back into the world of The Hunger Games we are fond of. All of this allows the outstanding cast to shine throughout. However, the film’s downfall is a rushed third act that leaves the story’s conclusion feeling somewhat unearned. QUENTIN The Hunger Games has always been just another franchise to me. Not bad, but nothing special either. The Ballad of Songbirds & Snakes , while admittedly an improvement over the two Mockingjay movies, hasn’t changed my mind. Despite being excellent when it’s in the arena (Act Two), the overall story is too much for one movie, even at more than 2.5 hours. The third act feels incredibly rushed, overstuffed, and tacked on, resulting in a deflating 45-minute stretch that comes after the film’s emotional climax in the tense second act. That aside, the world-building and performances are nice, especially from Viola Davis and Jason Schwartzman. ADRIANO The Ballad of Songbirds & Snakes is a tale of three acts. Its first act is a bit expository, but its production value and world-building interestingly expand on the original films. The second act is kind of amazing. It’s invigorating and intense, featuring some of the franchise's best moments while highlighting the phenomenal cast, namely Viola Davis and Rachel Zegler. Sadly, the final act is when it dips, dragging out a runtime that can quickly lose the audience’s interest. While it definitely lost me, it’s still an improvement over the past two installments. CALEB The Ballad of Songbirds & Snakes is ambitious to a fault, covering far too much ground for one film. The performances are great, but the character arcs are rushed, and the relationship between the leads doesn’t have enough time to breathe. Rachel Zegler also has a few too many musical numbers, most of which are kind of awkward. However, it is still pretty fun going back to Panem. The world-building and production design are the film's strongest elements, and franchise fans will certainly admire the attention to detail. Despite its uneven narrative, Songbirds & Snakes still makes for a worthy addition to this beloved series. KATIE Set across three acts spanning over two and a half hours, I was very underwhelmed by The Ballad of Songbirds & Snakes. It skims through one event after another, leaving many interesting aspects of this earlier version of Panem underdeveloped, but ensuring plenty of time for Rachel Zegler’s musical numbers. This left the central romance between Lucy Gray (Zegler) and Snow (Tom Blyth) under-explored and unconvincing, and made the film seem a little shy to really examine Snow as a villain. However, the production design is impressive and there are some fantastic performances, particularly from Jason Schwartzman and Viola Davis. PRESTON The Ballad of Songbirds & Snakes may be worthy of a trip to the theaters if you are a HUGE fan of The Hunger Games , but it fits better as a future late-night streaming option for most. While I have enjoyed the books and the movies, this prequel is just completely overstuffed. By the time the third act hits, much of the theater thought that emptying their bladder was time better spent before soldiering on. The production value and performances are highlights, but with a sickly-paced and unoriginal plot, there is little to inspire real commitment to this tragic love story.

WHITE NOISE Starring: Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Lars Eidinger, Jodie Turner-Smith, and André Benjamin Director: Noah Baumbach JACOB White Noise , Noah Baumbach’s first-ever adaptation, is one of his funniest films yet, chock full of great performances, but that doesn’t mean it completely works. Truthfully, its third act is where the film lost me a little bit. It’s not that it’s bad, or even disinteresting, but the film’s themes of death and fear of dying don’t quite coalesce completely. The film’s budget was certainly put to good use, and the “Airborne Toxic Event” sequence in particular is riveting filmmaking on a major scale, but nothing around it seems to work as much as that segment does. NICK I didn't love White Noise , but I also didn't hate it; however, unlike most films that garner that reaction, I don't feel apathy towards it either. It's ambitious for sure, and director Noah Baumbach likely did the best adaptation possible from the source material, but it just doesn't lend itself to film. The story structure spotlights both the strengths and weaknesses of the film - Part Two is the clear highlight – which makes everything a little disjointed. Adam Driver and Greta Gerwig's charm notwithstanding (at times, they reminded me of National Lampoon’s Griswolds), there just isn’t enough here for me to consider this film a success. ADRIANO I loved White Noise , a chaotic slice of existential dread. Director Noah Baumbach turns in his best directorial work yet, working from a script that is so entertaining with how far removed from reality it is. The entire cast is great, although I did have some mixed feelings about Greta Gerwig's performance. Best of all, this movie deals with a tough subject (the inevitability of death) with a bizarre dose of optimism and assuredness, which is an impressive thing to pull off. If the novel on which the film is based truly is unadaptable, then Baumbach pulled off the impossible. QUENTIN Frankly, I think Noah Baumbach’s films are too pretentious. While they usually feature terrific performances, they are like Wes Anderson films without the whimsy. White Noise , while still pretentious, is probably his first offering that I somewhat enjoyed. Still though, I only enjoyed Part Two (“Airborne Toxic Event”). The first act has a meanderingly pompous vibe that leaves you wondering what the movie is even about, while the third act is just kinda disconnectedly there. However, that genuinely great second act takes on pandemic hysteria with National Lampoon-level absurdity. So… I liked about 30% of it, which I guess is progress for me and Baumbach. PAIGE With White Noise being Noah Baumbach’s first ever adaptation, it’s definitely his most ambitious directorial effort yet. The film is a dry and cynical satire depicting how humanity deals with the thought and fear of life and death, making it feel like both a cautionary and a redemption tale. As absurd as the story is and how heightened the dialogue can feel at times, there is still a sense of dread that feels real, and the central family will at least have you laughing through its entirety! JOSEPH There is some hilarity and scary relevance within White Noise , especially seeing as how society is coming out of the Covid-19 pandemic. That being said, it’s too inconsistent and self-referential for its own good, falling into the realm of self-parody. Even solid performances from Adam Driver and Greta Gerwig can’t make the odd dialogue feel natural. However, White Noise does boast a colorful palette, and its second act, “Airborne Toxic Event,” is the film’s main highlight, capitalizing on the humor and horror of the story. This film was reviewed by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

THUNDERBOLTS Starring: Florence Pugh, David Harbour, Sebastian Stan, Hannah John-Kamen, Olga Kurylenko, Wyatt Russell, Lewis Pullman, Julia Louis-Dreyfus, Geraldine Viswanathan, and Wendell Pierce Director: Jake Schreier NICK I’m going to start off with the good stuff as I enjoyed a lot of Thunderbolts* . The subjects of trauma and belonging are deftly handled, both story-wise and cinematically. Florence Pugh and David Harbour both give their best MCU showings yet as Yelena and Alexei, respectively, while Lewis Pullman’s Bob makes for a welcome addition. The fights are engaging, and the comedy is organic and funny. The only thing negatively affecting my rating is the pacing of the final 30 minutes. There's a rush to the conclusion that feels claustrophobic compared to the rest of the film. Besides that, though, this exceeded my expectations. QUENTIN If you’ve seen the “Marvel is trash! – Marvel is back!” meme, Thunderbolts* puts extra emphasis on the positive side of that seesaw. Through a terrific cast, resonant character work, and surprisingly layered writing that touches on trauma, trust, mental health, and finding your tribe, this Guardians of the Galaxy -style team-up is the first MCU movie in a long while to feel like Infinity Saga-era Marvel. The action and humor are typically on point (feeling fresh, even), and the world building to set up future movies is more organic than it has been in recent efforts. Good job, Marvel; Thunderbolts* is a winner. Now, keep it up. AMARÚ If director Jack Schreier can successfully use an entire* ensemble with great action, effective comedy, and tremendous heart like this, maybe he should direct an Avengers film. Thunderbolts* is a more-than-solid MCU entry in every* aspect we’ve come to enjoy. Even Julia Louis-Dreyfus is a better version of her still-too-ham-fisted portrayal of Allegra Valentina de Fontaine. The script’s employment of her character boosts the emotional impact the titular group’s marred pasts provides, especially through Lewis Pullman and Florence Pugh’s outstanding chemistry. To find out how surprisingly impactful, and what my additional asterisks mean, you’re going to have to watch the movie. Which you should. ROBERT When I was projecting out my expectations and excitement of the three MCU projects for 2025, Thunderbolts* would’ve been a distant third on the list. Then, the movie drove up like Bucky Barnes on his motorcycle and blew up those preconceived notions as it unfolded before my eyes. Those eyes had to fight back tears of all kinds: of joy from laughing and of sadness from empathizing with characters as they struggled for purpose, for positive mental outlook, and for connection. Thunderbolts* managed to be cohesive, be surprising, and be mirthful, which are three adjectives Marvel has struggled to imprint on their films until now. ADRIANO I'll give the MCU half a point for making half a great movie because the first half of Thunderbolts* is unbearable at times. The structure and pacing are sloppy, and aside from the seeds of effective character writing they plant, everyone is relegated to "the quirky one." The second half, though, kicked my Marvel-hating ass a bit. Some characters are left in the dust, but I loved the mature and humanistic approach to mental health, even taking swings that were effective. It's rough around the edges, but I'll take stuff like Thunderbolts* over the other slop Marvel has been releasing any day. BODE Even by the low bar the MCU has recently set for itself, it says something that Thunderbolts* manages to clear it. By virtue of feeling more like a real movie and less like another branding exercise, it succeeds with a structure that puts actual emphasis on its characters, genuine thought into its visual look (decent colour grading, real locations, etc), humour that doesn’t undercut emotional beats, and even some fairly memorable music (courtesy of Son Lux). I won’t say Thunderbolts* is a massive step in the right direction (its best moments don’t come until the third act), but it’s at least a step. Want to hear even more of our thoughts? Nick, Amarú, and Shak join Matt to take A Bigger Bite out of Thunderbolts* HERE .

WINNIE THE POOH: BLOOD AND HONEY Starring: Maria Taylor, Craig David Dowsett, Chris Cordell, Natasha Tosini, Natasha Rose Mills, Amber Doig-Thorne, Danielle Ronald, Danielle Scott, and Nikolai Leon Director: Rhys Frake-Waterfield DARRYL Winnie the Pooh: Blood and Honey is not a good film by any stretch of the imagination. While there's some merit to the idea of creating a story in the same vein of a 1970s slasher film, the execution of said idea fails on nearly every level. Rhys Frake-Waterfield's direction is suspect, the sound mix is horrible, and the acting is atrocious from all parties involved. The only possible saving grace is Vince Knight's cinematography, which, while as spotty as the rest of the film, manages to show a few moments of brilliance. This is a film to be avoided at all costs. JACOB To no one’s surprise, Winnie the Pooh: Blood and Honey is a very bad movie with no actual characters, exquisitely bad performances, terribly designed sets, nonsensical cinematography, and a story and script that clearly didn’t make it past the outline stage. There’s not one choice made in this movie that’s not obscenely stupid, no moment that’s not way longer than it needs to be. This would all be kind of fun if that made it so the film treaded on “so bad it’s good” territory, but an overlong and repetitive third act squashes any notion of that being the case.

LURKER Starring: Théodore Pellerin, Archie Madekwe, Zack Fox, Havana Rose Liu, Wale Onayemi, Daniel Zolghadri, and Sunny Suljic Director: Alex Russell This film has been reviewed by Bode and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. QUENTIN Lurker is a hell of a film, thrillingly exploring the dynamics of celebrity (in both influencer culture and the music world), fandom, obsession, and the fame-driven, whatever-it-takes mentality of Gen Z in the internet age. Everything from Alex Russell’s direction to the performances of both Théodore Pellerin and Archie Madekwe are steeped in a genuine rawness that feels lived in. However, with that comes an incredible amount of palpable cringe that can make the viewing experience very uncomfortable, which is exacerbated by the incredibly unlikeable characters. You’re either Team Creep (Pellerin) or Team Douche (Madekwe), which provides a harsh barrier for entry while stifling “enjoyment.” BODE In our Fantasia preview HERE , I brought up Lurker as one of my most anticipated selections, especially given its early buzz out of Sundance. I’m happy to say that it lived up to the hype. Writer-director Alex Russell examines one’s proximity to fame and the obsession that can result from it with a sure hand, confidently balancing cringe-inducing hilarity, escalating tension, and unsettling nuance. It’s further boosted by a rich ensemble (Théodore Pellerin and Archie Madekwe certainly have engaging chemistry), Pat Scola’s 16mm cinematography, and a moody score from first-time composer Kenny Beats. Definitely seek this one out.

HOUSE OF GUCCI Starring: Lady Gaga, Adam Driver, Al Pacino, Jared Leto, Jeremy Irons, Salma Hayek, and Jack Huston Director: Ridley Scott QUENTIN House of Gucci is a mess. First, it’s overly serious, except when it veers into Showgirls -level campiness. Second, it’s very poorly edited, with character developments coming out of nowhere. It’s like they cut a 10-hour miniseries into a 2.5-hour movie. It does feature some excellent songs to evoke the era, but they don’t always mesh with the scenes with which they are paired. Then there is Jared Leto: I’m not sure his performance is “good,” but it’s certainly the most entertaining part of this barely average movie. Perhaps it would have been better if everyone else had matched his energy. JACOB House of Gucci may not be the disaster many have claimed, but it remains one of 2021’s biggest letdowns in terms of execution. The film is far too long, quite messy, and its script is stretched out in areas that don’t matter while being far too brief in places that do. The individual performances are mostly good, yet feel like they belong in completely different projects (especially Jared Leto’s). For a film primarily about a fashion dynasty, the whole affair possesses a distinct lack of flair. It may land a few Oscar nominations, but don’t count it amongst the frontrunners. ADRIANO House Of Gucci is one of the year's biggest disasters. While there are some campy moments that are somewhat enjoyable, it's an incredibly tone deaf and unbalanced mess for the most part. It is the one thing a movie should never be: boring, an agonizing 150 minutes that I felt every second of. The cast generally does a good job (mainly Adam Driver), but the actors can’t seem to agree on what type of movie they’re in. Add in an awful script, and you have one of 2021's worst movies.

HOW TO HAVE SEX Starring: Mia McKenna-Bruce, Laura Ambler, Enva Lewis, Samuel Bottomley, and Shaun Thomas Director: Molly Manning Walker ADRIANO In the beginning, How to Have Sex presents us with a lucid and fun coming-of-age sex comedy, and a very energetic one at that. Eventually, however, the film takes a drastic turn into a fascinating study of modern hook-up culture and the dynamic young women have when approaching it. In her feature debut, writer/director Molly Manning Walker announces her arrival to the scene with devastating nuance and astounding visuals. The film also features a performance that I hope turns Mia McKenna-Bruce into a star. How to Have Sex is a stomach-turning accomplishment that must be seen to believe. PAIGE How to Have Sex is one of the most honest and accurate depictions of young adult rebellion, the impacts of peer pressure, and the blurred lines of sexual consent that I’ve seen. This evocative coming-of-age tale surprised me by being incredibly relatable and genuine. I attribute this to director Molly Manning Walker and the cast's authentic performances, especially that of Mia McKenna-Bruce, who is definitely someone to watch. And while the film overall would have benefited from better writing, its realistic portrayal is what will draw you into this story. KATIE How to Have Sex is a powerfully raw film, driven by the extraordinary turns from its young cast. Director Molly Manning Walker explores the nature of consent, complicity, and societal pressures on young girls without ever treading into exploitative territory, and sensitively yet realistically tackles the issues from the protagonist Tara’s (Mia McKenna-Bruce) perspective. Despite Tara’s inability to articulate her experiences, her emotional battle is shown through her impeccable performance as well as the amazing use of sound, lighting, and poignant cinematography. After this triumph and having been the cinematographer for last year's Scrapper , I cannot wait to see what Walker does next. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

HORIZON: AN AMERICAN SAGA - CHAPTER ONE Starring: Kevin Costner, Sienna Miller, Sam Worthington, Giovanni Ribisi, Michael Rooker, Danny Huston, Jena Malone, Michael Angarano, Abbey Lee, Jamie Campbell Bower, Jon Beavers, Owen Crow Shoe, Tatanka Means, Luke Wilson, Ella Hunt, and Tom Payne Director: Kevin Costner QUENTIN Horizon - Chapter 1 is tough to review because, frankly, it’s not really a movie. Or at least it shouldn’t be. It’s like watching the first three episodes of a miniseries, which means it’s mostly just introducing a sprawling number of so-far-unrelated characters. There is very little development on any front, and nothing remotely resembling a typical multi-act story structure. The best way to describe it is “just western vibes,” so fair judgment probably should be reserved until after seeing Chapter 2 , if not Chapters 3-4 . Still, the acting, cinematography, and production design are very well done, and I’m invested enough to see the sequels through. PRESTON I can force myself to be a patient man when necessary. And I’m willing to invest three hours of my time to develop a complicated intertwining of characters, lay a solid foundation, and build necessary tension. The problem is that Horizon does very little of that in Chapter 1 of this American Saga . With a few obvious exceptions, the acting and script are only so-so, and the plotline is disjointed. There is still a subtle hint that this epic western film series will turn out to be a massive success, but it is too hard to tell from this single outing. ADRIANO I love the existence of Horizon - Chapter 1 much more than the movie itself. A multi-part western theatrical epic co-written, directed, and starring Kevin Costner sounds great, but although I can handle long, slow-burns, I struggled to stay awake for this. It feels like a History Channel movie, and the storytelling is nonexistent as it goes from one unrelated plotline to the next with no reason to care. I'm not as hostile at the prospect of watching Chapter 2 as I was with Rebel Moon , but I have no interest in the future of this saga.

DANGEROUS ANIMALS Starring: Hassie Harrison, Jai Courtney, Josh Hueston, and Ella Newton Director: Sean Byrne NICK Although the tone is different, Dangerous Animals has a lot of the same problems as The Meg . Both feature enigmatic leads (Jason Statham in the former and Jai Courtney here) but not near enough shark content. In fact, you could remove sharks from this film entirely and it would still work. Courtney provides some of his best work (no coincidence that it’s in his native accent) as he channels his inner Nicolas Cage, and Hassie Harrison does well in the lead role; however, the film surrounding them is plagued by rough effects and a cliché story. Fun moments, but not enough to sink your teeth into. ROBERT With it being the 50th anniversary of Jaws , it is appropriate timing for another summer killer shark movie. In this instance, with Dangerous Animals , the rub is that a psychotic water tour guide is feeding people to the killer sharks, and I emphasize the word “psychotic.” Everything working around the murderer is adequate, but the brilliance is in Jai Courtney’s performance as Tucker. He is like a new-age Buffalo Bill mixed with Captain Boomerang, and it just propels everything forward to make the movie entertaining and chilling, at least for the most part. Courtney needs five more of these in his natural Australian accent. KATIE Dangerous Animals is a decent B-movie, elevated by Jai Courtney’s incredible performance as a charming yet threatening shark-obsessed serial killer. When Courtney is on screen, he shines, and Hassie Harrison’s performance as the “final girl” matches his unwavering energy. However, the movie is slightly overlong and has too many fake-outs, which become slightly tedious, especially when they continuously push the limits of what's believable. Plus, the relationship between Zephyr (Harrison) and Moses (Josh Heuston) is so thinly conceived that it barely makes sense. It’s entertaining enough, and has great performances, but it loses its intrigue quite quickly. QUENTIN Outside of the reasonably unique premise and, of course, sharks, Dangerous Animals is kind of a B-movie dud. Billed as a survival horror thriller, it's surprisingly light on scares and thrills. There isn’t a ton of tension or shark carnage either, for that matter. So, why the passable rating? A menacingly deranged performance from Jai Courtney, that's why. He is oddly magnetic for reasons I can’t even describe, and you simply can't look away whenever he’s on screen. He, alone, covers for all the things the movie is lacking overall. I hope directors and producers take notice, leading to more roles for the underrated actor.

JOY RIDE Starring: Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu, and Ronny Chieng Director: Adele Lim NICK The trailers for Joy Ride showed me that I was in store for a comedy along the lines of Bridesmaids , The Hangover , and Girls Trip , so I was expecting laughs (which came often). What I wasn't expecting was the level of heart in this story. Its focus on culture, family, and what it means to belong elevates the material, as do the performances of the central cast. The group dynamic is great, but it's the individual relationships they have within that really shine. Comedy has had a rough go of things recently, so it’s a pleasure to see a film like this put it all together. JACOB A raunchy ride, through and through, with a sincere beating heart, Joy Ride is an absolute goddamn delight and easily one of the funniest movies of the year to date. It doesn’t always navigate the conversation of personal identity in terms of immigration, international adoption, or racism in the most nuanced terms, but apart from that, there’s very little to dislike here. The starring foursome have terrific chemistry, with Sabrina Wu’s Deadeye being a scene-stealing standout, and some of its more emotional moments really pack a punch. It plays out more or less how one would expect, but the journey is 100% worth it. ADRIANO Joy Ride is, pun intended, one hell of a ride. It made me laugh like most comedies aren’t able to these days, which is to say consistently. Part of what makes it so funny, beyond the sharp and raunchy writing, of course, is the unrelenting commitment from Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu. All four of them had me rolling for the longest time, until the film slows down and takes a turn to tug at the heartstrings as its themes of friendship and cultural identity come to fruition. Suffice to say, I loved this movie. AMARÚ Joy Ride is a breath of fresh air that uniquely carves its own lane amongst the slew of 21st century R-rated comedies. Director Adele Lim not only roots the story in Asian culture, but also in the reality that women are as raunchy as their male counterparts. Focusing on themes of identity and belonging while simultaneously delivering intelligently dirty humor lets the main foursome (Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu) play in a hilarious and heartfelt sandbox. They leave you laughing, crying, and hoping for more uproarious shenanigans with them in the future. QUENTIN While I can see why some will find Joy Ride hilariously raunchy, I spent my 20s enjoying arguably the heyday of the R-rated comedy. So, everything here feels done before: the athlete cameo and oddball tagalong (The Hangover ), the traveling plotline (Eurotrip , Road Trip ), the mismatched friends who blame each other for their problems (Superbad ), the women’s camaraderie (Bridesmaids , Girls Trip ), a “WAP” rap sequence (SNL Digital Shorts), and so on. The only fresh aspect is the Asian dynamic, but it mostly just allows for lazy racial jokes (white people like Friends ?! No way!). Maybe I’m just desensitized and have seen too many comedies, but meh… PAIGE Joy Ride is a brash, raunchy, and hilarious movie that very much has its own identity. While the film is definitely full of shock value moments and jokes that can be hit or miss, the majority of them land like a slap in the face, so you’ll be laughing your ass off the entire runtime. But where the film shines the most isn’t from its jokes, but from its heart, which comes from the beaming ensemble cast. Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu’s chemistry is exceptional, and I’d totally be down for a sequel with Brownie Tuesday.