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EBONY AND IVORY Starring: Sky Elobar and Gil Gex Director: Jim Hosking This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantastic Film Festival. NICK What the fuck did I just watch? I haven't seen a film as painfully unfunny as Ebony and Ivory in some time. I spent the entire runtime wanting to turn it off, but didn't because I needed to review this thing in all its idiocy. The cheap imitations of Paul McCartney (Sky Elobar) and Stevie Wonder (Gil Gex) neither personify the actual people, nor provide a lick of laughs. I think we're supposed to laugh at Wonder displaying the symptoms of Tourette's syndrome? Because that’s clearly funny… God I hated this. QUENTIN As divisive as they are, I really enjoyed Jim Hosking’s The Greasy Strangler and An Evening with Beverly Luff Linn , so I was committed to seeing whatever off-kilter nonsense Hosking had cooked up with Ebony and Ivory . Woo, boy, is this some nonsense. It’s not so much a plotted movie as it is a collection of conversational anti-comedy skits, and despite a few quick-hitter moments that came ever-so-close to winning me over, they eventually undermine themselves for going on way too long. One almost needs to see it to believe how dumb and outlandish it is, but also, please don’t do that to yourself.

TILL Starring: Danielle Deadwyler, Jalyn Hall, Frankie Faison, Whoopi Goldberg, Sean Patrick Thomas, John Douglas Thompson, Haley Bennett, and Marc Collins Director: Chinonye Chukwu ADRIANO There was a very fine line that writer/director Chinonye Chukwu had to walk for Till , given how disturbingly tragic the subject matter is, and thankfully, that line was walked wonderfully. This film isn’t an easy watch in the slightest, but Chukwu did a wonderful job of making it digestible for audiences by focusing not only on the incident itself, but also the good that can come from horrific tragedy. Mamie Till’s story is incredibly powerful, and Danielle Deadwyler delivered her story with an earth-shattering and breathtaking performance that shook me to my very core. Overall, a tough but worthwhile experience. JACOB The scripting of Till may feel rather conventional, but sometimes, all a good story needs is to be well-told, and the legacy of Mamie Till-Mobley as portrayed in this film is a sacred one to tell. Deftly handled with careful direction from Chinonye Chukwu, not to mention starring a best-yet Danielle Deadwyler, the film wisely refuses to indulge the white brutality of its central event, yet still confronts the audience with the consequence of it. The score and sound editing are its biggest strengths in that respect, and while those awards chances are tentative, Deadwyler is a surefire contender for a Best Actress Oscar.

CIVIL WAR Starring: Kirsten Dunst, Cailee Spaeny, Wagner Moura, Stephen McKinley Henderson, and Nick Offerman Director: Alex Garland ADRIANO With a number of people calling Civil War a masterpiece while others call it an utter disaster, I was expecting something much more challenging. That said, I'm a little confused by the divisiveness because I found Civil War a little too safe, at least politically. However, as an action-thriller, I was enthralled. Writer/director Alex Garland's epic on how desensitized to war we've become is thrilling as we follow our protagonist across this baron, smartly developed hellscape. What surprised me most, though, was the amount of emotional depth found within the characters. Watch this on an IMAX screen, it's worth it. NICK Alex Garland was showcasing “event director” potential until the mixed and divisive Men . Well, consider that film a blip because he's back in full force with Civil War . I'm not typically a fan of war films, but this thing is pretty impressive. It's beautifully shot, featuring some flat-out breathtaking moments and unorthodox yet perfectly placed music, but its real triumph is just how immersive it feels. Be it fear, tension, or adrenaline…if the characters feel it, so does the viewer; that’s due to Garland's approach. It’s a spectacular feat by the director, and one that has me once again anticipating his next project. AMARÚ Even before frame one, Civil War is extravagantly disorienting, using stunning imagery and outstanding performances (especially the always brilliant Stephen McKinley Henderson) to immerse you in every aspect of war. From nerve-wracking silence before the harrowing atrocities of battle, to the calm of humanitarian work and complacency of ignorance, director Alex Garland masterfully puts you in the passenger seat to witness unbiased truth through a journalistic lens. But it’s his use of humor and sound, contrasting an upbeat soundtrack and authentic levity with a haunting score and shocking sound design, that truly uplifts this to the best film of 2024. QUENTIN Civil War is the first movie of 2024 that you’ll likely see on my “Best Of…” list come year’s end. It’s incredibly immersive, from the way it’s shot to the sound design, featuring a palpable undercurrent of tension running throughout. It genuinely captures what a modern-day American civil war might look and feel like, which is maybe the highest compliment I can deliver — it’s so frighteningly plausible, possible, and realistic. I have a few minor quibbles…Cailee Spaeny looks too young for her role, and the ambiguity and lack of context in the world-building is ever-so-slightly frustrating at times…but the movie remains a winner. PAIGE Civil War is a nerve-wracking experience with a distinctive and potent quality derived from its unclear storyline. The thing I most valued is that it's not overbearing in the slightest. It's about experiencing the civil war through the lens of photojournalists, not about the reasons behind it or which side you should support. Director Alex Garland manages to fully submerge you in this tense environment despite the film's absence of an overarching motivation, and this is made possible by the film's stunning cinematography, great sound design, and exceptional performances, especially from Kirsten Dunst and Cailee Spaeny. KATIE Civil War is not as politically charged as I expected, avoiding contemporary political tensions or taking sides while instead focusing on the extraordinary role journalists play in our world today. The result is incredible. Every moment is permeated by a menacing tone and unbearable sense of tension, and the intense scenes of senseless violence paired with the unconventional soundtrack are equally as terrifying as they are exhilarating. The performances are gripping, particularly Kirsten Dunst as the stony-faced photojournalist, and the emotional bonds between the characters are the beating heart of a film set in a world where brutality and death become commonplace. PRESTON Just so you know, Civil War happened to be one of my most anticipated films of the first half of 2024. I must admit that my enthusiasm was initially tempered as I was expecting a full-on dystopian war epic that foretells the impending fall of western civilization, something closer to Red Dawn than a movie about war correspondents. In the end, though, it matters little as the haunting cinematography, next-level acting, and pulse-quickening sound tell a story that is well worth reflecting on. If you know what you are in for, this may qualify as one of the best offerings of the year so far. CALEB Civil War is a visceral, terrifying exploration of societal collapse. Director Alex Garland paints a bleak portrait of an America that’s well past the point of political discourse — left and right, good and evil. This film isn’t trying to lecture you, pat you on the back, or shove an ideology down your throat. Instead, Civil War makes the case that no matter what side of the political spectrum you’re on, we’re all headed in the wrong direction. It’s an extremely effective cautionary tale with stellar visual effects, breathtaking cinematography, and outstanding sound design. This may just be Garland’s magnum opus.

YOUR PLACE OR MINE Starring: Ashton Kutcher, Reese Witherspoon, Jesse Williams, Zoe Chao, Tig Notaro, Wesley Kimmel, and Steve Zahn Director: Aline Brosh McKenna NICK Don't get me wrong, Netflix has released some gems, but they've also made a bunch of movies I've seen and forgotten very soon after watching. Your Place or Mine is destined to join that list. This thing is supremely average, generic, and painfully predictable. Aside from reinforcing my opinion that Tig Notaro needs to be given more roles, it really had no effect on me. It’s the same movie you’ve seen a million times over, and you get exactly what you’d expect from Ashton Kutcher and Reese Witherspoon. That said, it’s inoffensive and easy to follow, so it would make a serviceable “background watch.” PAIGE Your Place Or Mine attempts to be a new version of Sleepless in Seattle , but fails royally in that regard. With two veteran rom-com actors (Ashton Kutcher and Reese Witherspoon) in the lead roles, I was expecting much more, and unfortunately, I’m here to report that they have absolutely zero chemistry. The film lacks charm and is another forgettable Netflix flick, which stinks because the premise offers plenty of opportunities to be something decent; however, it ends up falling flat due to its bland script and mediocre performances. JOSEPH I love Reese Witherspoon and Ashton Kutcher, and the premise of Your Place or Mine should make for a more interesting film, but it’s disappointing. The attempts at humor are lazy and unfunny, and the romance aspect takes a bit of a backseat to the rest of the story. Worse off, the story is actually good - the film would have worked if it was more about self-realization and coming of age - but it chose romance first, which it mostly fails at. Everyone involved deserved better, but it is a tolerable, cute, and mostly forgettable watch. AMARÚ There’s a weird middle place with Your Place or Mine , where there isn’t anything special about it, yet nothing about it is bad either. It often lost my attention, but I wanted to keep watching. It’s a cookie-cutter romantic comedy, but then Tig Notaro throws a hilarious curveball through its tropes. And, seriously, Zoe Chao’s stereotypical intrusive “best friend” should not be as interesting as she is. I’ve seen this movie millions of times before, but I guess there’s a reason they keep getting made, and I enjoyed this one enough. Also… Steve Zahn is always a welcome sight.

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

ORPHAN: FIRST KILL Starring: Isabelle Fuhrmann, Julia Stiles, Rossif Sutherland, Matthew Finlan, and Hiro Kanagawa Director: William Brent Bell NICK When you have a moderately well-received film that is memorable mostly for its twist ending, it’s a no-brainer to release a prequel to that film 13 years later, right? Yes, it’s fun to watch Isabelle Fuhrman step back into the role of Esther (which she does seamlessly), and director William Brent Bell doesn’t shy away from the camp; however, the problem is that once the nostalgia wears off, you’re left with an overlong film featuring a miscast Julia Stiles that doesn’t add much to the Orphan mythos. "Unnecessary" seems to be the best word to describe Orphan: First Kill . JOSEPH It’s a bold move to follow up a film like Orphan with a prequel 13 years later, so, honestly, Orphan: First Kill shouldn’t work. It surprisingly does though, even incorporating new twists to deepen Esther’s (Isabelle Fuhrman) lore. Fuhrman does a great job reprising the character, while Julia Stiles gets to show a side rarely seen from her. Overall, it’s a wild and tense ride that is more about the journey than the destination, yet every bit as messed up as its predecessor. Orphan: First Kill is sure to please fans of the original.

WINDFALL Starring: Jesse Plemons, Jason Segel, and Lily Collins Director: Charlie McDowell QUENTIN Given its minimalist approach and confined setting, Windfall feels very much like a “made during COVID” movie. That vibe actually works really well for the film, which plays out like a Hitchcockian stage play (the excellent score does some heavy lifting towards that end too). The three leads are varying levels of good, but it’s Jesse Plemons who shines the most, finally getting away from the sad sack characters he most often portrays. Although the story could have gone deeper in a few places and it drags ever-so-slightly in the middle, Windfall kept me engaged throughout (mostly) on the back of Plemons’ performance. NICK When you’re releasing original films as often as Netflix does, you’re bound to get some misses. That’s exactly what Windfall is, a miss. This under-the-radar release has some good things going for it: an intriguing premise, a notable cast… but, instead, it flounders. The comedy isn’t funny, the thrills aren’t thrilling, and the whole thing just kind of happens. It’s nice seeing Jesse Plemons have fun in his role, but Jason Segel and Lily Collins especially feel miscast. Windfall had a chance to tell a story that built tension and intrigue throughout, but all it did was make me look at my watch. JOSEPH Everything about Windfall is bizarrely captivating. The jazzy score is perfect for the offbeat humor that is tied to the story, while the clever script and dialogue maintain your interest. It’s nice to see Jason Segel play a slightly more serious role, although Jesse Plemons and Lily Collins stand out a bit more. In lesser hands, I think this film could have totally failed, but at the same time, I feel that it could have been better too. Even so, Windfall keeps your interest because of the talented performances, and it will have you chuckling in disbelief.

THE GOOD NURSE Starring: Jessica Chastain, Eddie Redmayne, Nnamdi Asomugha, Kim Dickens, and Noah Emmerich Director: Tobias Lindholm QUENTIN Despite being hamstrung by the trappings of the true story on which it’s based, The Good Nurse features a great performance from Jessica Chastain (and even a decent one from Eddie Redmayne). The problem is the synopsis, trailer, and actual history kill any semblance of suspense. We know who the killer is, so there is zero mystery to be found even though the film wants to be a mystery so very badly. The details of the story are eye-opening, but they would have played better in a straight drama. Still though, it’s one of the better Netflix Originals, especially for true crime fans. NICK The real life story of a nurse suspected of killing patients, starring Academy darlings Eddie Redmayne and Jessica Chastain, what could go wrong? A lot, apparently. This dreary offering from Netflix moves at a snail's pace, and fails to build tension in a film that desperately needs it. Even Chastain and Redmayne give fairly pedestrian performances by their standards. This film had the potential to be really good, but instead, it’s another dour effort from Netflix. The true story of one of America's most notorious serial killers deserved a better adaptation. ADRIANO I’ll be honest, I wasn’t expecting a good movie in The Good Nurse , but it surprised me. That is not to say it’s flawless. The pacing is not great, and it didn’t have too much to keep me engaged. Not that the true story at its core isn’t interesting, but it’s obvious who the killer is (I’m not sure if that was intentional or not, but why do it that way?). Jessica Chastain is good, and I never thought I’d say this, but Eddie Redmayne is actually great. Overall, while it isn’t perfect, it’s not the trainwreck I expected either. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

RED, WHITE & ROYAL BLUE Starring: Nicholas Galitzine, Taylor Zakhar Perez, Uma Thurman, and Stephen Fry Director: Matthew López KATIE Red, White & Royal Blue is perfect viewing if you’re looking for an easy-to-watch, cliché rom-com ending with a “happily ever after.” It’s fun, glossy, and cheesy while still touching on some meaningful themes and offering timely critiques on traditional values in modern Britain. It was much funnier than I expected too, and it didn’t take itself too seriously either. While it’s predictable and some parts of the plot are underdeveloped, the central performances are really enjoyable. Plus, it’s refreshing to see such a sweet and joyful queer love story. ADRIANO I’m not heartless. When a cheesy rom-com comes around, even when it’s not amazing, I’ll most likely still fall for it. That said, there is too much missing from Red, White & Royal Blue for me to give it a pass. It’s not horrible by any means. There’s some fun to be had, including a standout performance from Uma Thurman, but the movie just isn’t very funny, and the chemistry between Nicholas Galitzine and Taylor Zakhar Perez is lacking. It does succeed when it goes for the tender moments, but I was not nearly invested enough to fully enjoy myself. PHILL Sweet, cheesy, and borderline saccharine: These are the things that make good rom-coms worth watching, and something that Red, White & Royal Blue achieves extremely well. Also, though…the fact that it’s centered on two men adds the complication of a self-identity story since Prince Henry (Nicholas Galitzine) keeps his true self and royal heritage hidden from the world, an aspect that truly elevates the film. It’s incredibly easy to root for Henry and Alex Claremont-Diaz’s (Taylor Zakhar Perez) love story since they’re very likeable characters, and the film is full of so much charm, fun, and sentiment that it simply works. PAIGE While Red, White & Royal Blue is a cute, cheesy little rom-com that is very reminiscent of What a Girl Wants and The Prince & Me , the streaming movie is kind of cliché. It very much plays out like a Hallmark romance flick, just with more sex appeal to make it hot and steamy. With that said, our leads try their best to sell the relationship, but their performances are very much a mixed bag. Overall, despite its stumbles, it’s nice to see a queer movie with a happy ending. CALEB Hallmark-esque melodrama usually isn’t my cup of tea, but I’ll admit that Red, White & Royal Blue has some admirable qualities. The dialogue is unsurprisingly schmaltzy, but the romance at the heart of the film is mostly well-realized. The on-screen chemistry between Prince Henry (Nicholas Galitzine) and Alex (Taylor Zakhar Perez) elevates the stereotypical material and gives the film its beating heart. Unfortunately, what lets this Prime Original down is the painfully sloppy visual delivery. Rushed, sitcom-grade cinematography hinders Royal Blue at nearly every turn, transforming what could have been a beautiful love story into something undeniably ugly.

INFINITY POOL Starring: Alexander Skarsgård, Mia Goth, Cleopatra Coleman, Jalil Lespert, and Thomas Kretschmann Director: Brandon Cronenberg NICK Director Brandon Cronenberg has similar film sensibilities to his father, so you have an idea what you’re in for with his features. However, with Infinity Pool , the director’s more experimental aspects tend to work against the flow of an otherwise intriguing film. I’m all for shocking your audience, but such scenes work best when they advance the story. Some of the ones here feel like they were made solely to provide shock value, making them unnecessary. Besides that, Mia Goth provides another powerhouse showing - her third in a row - and although the film struggles to maintain its early momentum, it did enough to keep me invested. JACOB Infinity Pool is delightfully asymmetrical and weird right up to the point that it isn’t, and that’s where it ultimately lost me. For about 88% of the runtime, I was on board, ready for whatever director Brandon Cronenberg had in store for me and the film’s stars, especially the beautifully unhinged Mia Goth, who owns the whole movie. Unfortunately, it never really becomes anything more than surface-level intrigue, leaving the audience with a sense of interest but no ultimate satisfaction. Perhaps that is the point of the whole enterprise, but it’s a point best alluded to rather than experienced. PAIGE Infinity Pool is a film that could only possibly come from someone with the last name Cronenberg, as it delivers twisted originality and disturbing nightmarish imagery. With its underlying themes of privilege, the first half of the film immerses you in an intriguing story that eventually goes off the rails with a bonkers second half that will leave you pondering, “what the fuck did I just witness?” It’s a wild ride that won’t sit right with everyone, but there is no denying that it allows Mia Goth to once again prove she is a force to be reckoned with. DARRYL Infinity Pool is a mess of a movie. Now, within that mess are hints at something good, possibly great, but director Brandon Cronenberg seems to be more in love with the idea of creating something off-kilter than telling an actual story. Alexander Skarsgård's performance is passable as a man lost in hedonism, while Mia Goth's unhinged insanity somehow fluctuates between amazing and downright lousy. Lacking the usual amount of body horror that audiences have come to expect from the name Cronenberg, this film instead chooses to skate by on its ambience, which doesn't always work in its favor.

AMSTERDAM Starring: Christian Bale, John David Washington, Margot Robbie, Zoe Saldana, Anya Taylor-Joy, Chris Rock, Robert De Niro, Rami Malek, Michael Shannon, Mike Myers, Timothy Olyphant, Taylor Swift, Alessandro Nivola, Andrea Riseborough, and Matthias Schoenaerts Director: David O. Russell AMARÚ The stacked cast does all it can to elevate a screenplay that feels empty, but Amsterdam does nothing more than squander its tremendous talent. I’m not sure what director David O. Russell was trying to accomplish in departing from his usually serious forays, but this experimentation with the outlandish falls flat. The mystery lacks tension, the love lacks heart, and the quirk lacks spark. It’s like Russell tried (and failed) to make a Wes Anderson film. At least in Anderson’s films you believe what’s on screen. It’s hard to believe much of anything in Amsterdam , even if its story is partially true. JACOB Setting director controversy aside, Amsterdam is a colossal misfire from David O. Russell. Even with a cast as stacked as this, no fun or humor can be pulled out of an overly convoluted script that seems to care more about explaining itself than crafting characters we care about. Legendary cinematographer Emmanual Lubezki’s signature style feels entirely at odds with Russell’s directorial sensibilities too, and one can feel the performers stretching to make something out of this where nothing really exists. I suppose one could compliment Christian Bale’s performance and the production design, but even combined, they can’t hold this film together. QUENTIN Director David O. Russell’s Amsterdam isn’t without some slightly quirky delights, but the interesting story at its core is so convolutedly told that the only feeling one truly comes away with is boredom. It attempts many things…humor, mystery, twists, emotion, preachy messaging…but none of them resonate, making the 134-minute movie feel much longer. The performances of the cast, an embarrassment of riches if there ever was one, are as great as they can be given the material (John David Washington notwithstanding - Hot Take: a terrible actor); however, like the story, they don’t leave a lasting impression. Ultimately, it’s one of 2022’s biggest misfires. ADRIANO Even if you can get past the real-world actions of writer/director David O. Russell, Amsterdam is truly terrible despite an all-star cast that ranges from fully committed (Christian Bale, Anya Taylor-Joy) to outright sleepwalking (John David Washington). Some production values are pretty to look at, but this movie’s attempt at wacky dramedy fails horrifically, leaving an unfunny and dull affair. The result is a tonal disaster and muddled mess that bored and confused me with its increasingly convoluted plot. I truly hope Russell doesn’t work again after this, for many reasons.

EMILY THE CRIMINAL Starring: Aubrey Plaza, Theo Rossi, Megalyn Echikunwoke, Jonathan Avigdori, and Gina Gershon Director: John Patton Ford PAIGE Emily the Criminal is a tight little 90-minute noir crime film that turns Aubrey Plaza into a badass. She shines by taking an offer she can’t refuse (making easy money through credit card fraud), but even with this side of her we haven’t seen before, it’s just a mediocre flick. It’s a shame too because the concept is there for a good story, but with the film lacking character development and feeling dry due to not enough depth or tension, it falls shy of being a decent thriller. JACOB Aubrey Plaza is an unwieldy talent and one of the most remarkable actresses working today, so it’s a shame that Emily the Criminal doesn’t quite match her natural energy. That’s not to say the film is bad by any means, only that it looks and sounds like every other small indie film of its kind. There’s not a whole lot to hold onto here, and the film doesn’t put forth a lot of effort in ensuring the story is as gripping as Plaza can often be. That said, it’s worth watching for her performance alone, just not for much else. QUENTIN Emily the Criminal features several of the more superficial aspects I look for in indie crime flicks, to include being shot in a grimy patina befitting the scumbag element at the story’s core. That said, be it the muddled stakes or the dispassionate social commentary, I just didn’t connect with it. Admittedly, Aubrey Plaza is like Kristin Wiig, in that it’s hard for me to take her seriously, which I’m sure didn’t help me to buy in completely since I kept expecting her to deadpan towards the camera like The Office . Whatever the reason, it simply didn’t work for me.