HALLOWEEN ENDS Starring: Jamie Lee Curtis, Andi Matichak, James Jude Courtney, Rohan Campbell and Will Patton Director: David Gordon Green NICK After getting things off to an excellent start with 2018’s Halloween , it's clear that film is the exception, not the rule. These three films have the disconnect of the Star Wars sequel trilogy without the excuse of different directors, and as they’ve gone on, they have strayed further and further from what Michael Myers is. This final installment introduces some interesting ideas, but fails to execute them well. It’s not scary, there is no suspense, and the kills are lackluster. All said and done, David Gordon Green's Halloween trilogy will be remembered for one thing: wasted opportunity. It came. It killed. It ended… with a whimper. JACOB While there is certainly an improvement on its predecessor's overwrought writing, Halloween Ends is nonetheless a middling conclusion to a steadily-moving-downhill trilogy. It’s tough to describe the film’s premise without spoiling it, but it features fewer of the franchise's strengths than the previous two entries, and the ones present don't last long. Once more, the focus is largely on characters we don’t know or care enough about, and the film’s themes are sloppily explored. Perhaps this isn’t the worst ending the franchise could have had, but frankly, I’m just glad it’s over (for now). JTE Halloween Ends alright, but definitely not in the way you thought it would. Director David Gordon Green waited until the end to take his biggest swing yet, when most fans probably wanted another a-typical Halloween film. Reactions to the film have been very divided, and while the direction worked for me, I also understand people leaving the experience scratching their heads. As someone who grew up watching many 80s & 90s horror films, the concept wasn't new to me and I mostly enjoyed it. In many ways, this new trilogy follows a similar road map to the original three Halloween films. QUENTIN If Halloween Ends had been made as a non-franchise horror movie…like, if it was a random thriller called Murder Man …it might have been alright. However, as the Halloween franchise capper, it makes the baffling choice to sideline Michael Myers for most of the movie. In fact, this movie feels like Murder Man , but with forced studio notes of “can we add a Michael v. Laurie Strode (Jamie Lee Curtis) showdown to tie it to known IP?” I can see (and respect) the overarching story that this new trilogy was going for, but man… it was so poorly executed that they should be embarrassed. PAIGE Halloween Ends is ambitious as hell, and I admit I was intrigued with its new ideas and themes, but they just weren’t executed well enough. As a Halloween -adjacent film, it’s great; but not as an end all for the Halloween franchise. It just doesn’t slash its way to a satisfying conclusion. This final chapter feels more like an anthology film like Halloween III: Season of the Witch than a Michael Myers film. If it didn't have to wrap up the Laurie Strode (Jamie Lee Curtis) story, giving it more time to develop these new ideas sooner, it could've been great. ADRIANO I enjoyed Halloween Ends , but there are some glaring issues - mostly, the script isn’t great, and the film is aggressively misadvertised. We do get Laurie (Jamie Lee Curtis) vs. Michael Myers, but it feels tacked on. Instead, we mostly get a romance/serial killer origin story that completely sidelines Michael. This will likely piss some fans off, but I was into the approach. However, while I like the idea more than the execution, showing the effect Michael has had on the town was great, especially after Halloween Kills portrayed a similar theme. It won’t work for everybody, but it worked for me.

PRETTY LETHAL Starring: Maddie Ziegler, Lana Condor, Lydia Leonard, Avantika, Millicent Simmonds, Iris Apatow, Kate Freund, Michael Culkin, and Uma Thurman Director: Vicky Jewson ROBERT Not since Abigail have ballet dancers killed with such impunity! Pretty Lethal plays on the idea that a dancer’s inner strength to endure all manners of hardship for their art can translate to mass murder (in the name of self-defense). It tries to give off a Green Room vibe, and while Uma Thurman is game to play a heavy, that film had better writing, staging, and acting in comparison to this. For its runtime, it is decent, but its execution is downright stupid. This did, however, reinforce that the kids from Dance Moms could be one bad day away from this level of violence as adults. BODE In Pretty Lethal , a group of young ballerinas have to fight their way out of a seedy remote inn filled with hired guns. You’d think this sort of premise would be tough to mess up, but somehow, director Vicky Jewson and screenwriter Kate Freund found ways to do so. Each character is a thinly-scripted archetype, which leaves great performers like an accented Uma Thurman stranded. Even the action sequences - the main attraction of any 87North production like this one - are shockingly uninspired, with lazy camerawork and rhythmless editing that fails to remotely excite. It’s lethal alright, and it ain’t pretty.

MY OLD ASS Starring: Maisy Stella, Aubrey Plaza, Percy Hynes White, Maddie Ziegler, Kerrice Brooks, Maria Dizzia, Al Goulem, Seth Isaac Johnson, and Carter Trozzolo Director: Megan Park PAIGE My Old Ass shamelessly wears its heart on its sleeve. It’s such a charming and tender flick about cherishing the moments and people we have while we have them, and its themes truly struck a chord with me. I laughed. I cried. I laughed some more. The entire ensemble is beaming with charisma and has such incredible chemistry, but it’s writer/director Megan Park, who, no pun intended, hit it out of the park with this film. She once again demonstrates her ability to convey subtleties in a compelling and powerful manner. Regardless of age, anyone can appreciate this coming-of-age film. AMARÚ My Old Ass doesn’t feel like a movie. It, instead, is like hanging out with close friends and family, lounging through unscripted situations, especially during the visibly improvised scenes between Aubrey Plaza and Maisy Stella. So, my feelings are as hard to explain as the feasibility of the film’s main premise. It stands firmly on vibes, with much of its dialogue seeming awkward and non-cinematic. However, the emotions it evokes, encapsulating how important it is to live in moments and treasure time, are so powerfully relatable and incredibly sweet that chilling with these old asses ironically turned into one of my favorite movies this year. QUENTIN Although not without its charms, My Old Ass is a rote coming-of-age indie movie; the kind of movie that comes and goes without leaving much of a lasting impression, belonging in the same tier as somewhat forgettable (but not necessarily bad) options like Wildflower and Suncoast as opposed to the tier with real staying power like Eighth Grade or Lady Bird . Plus, fair warning, if you’re here for the sci-fi gimmick and Aubrey Plaza, both are almost an afterthought, with Plaza even being miscast a bit. Still, if this style of breezy story about finding yourself and youthful romance is your jam, it’ll serve its purpose. NICK Imagine you had a chance to speak to your older self… What would you ask them? What would you want to know? My Old Ass explores this idea, but unfortunately, it's a much smaller part of the film than you'd hope. The majority of the time is spent simply telling what is an admittedly sweet love story - one of familial love, romantic love, and self love, all told through the breakout performance of Maisy Stella. Had the initial concept made for a larger part of the film, it would have been better, but as it is, you only have a sweet (albeit formulaic) coming-of-age tale.

SHAZAM! FURY OF THE GODS Starring: Zachary Levi, Asher Angel, Jack Dylan Glazer, Rachel Zegler, Adam Brody, Ross Butler, Meagan Good, Lucy Liu, Djimon Hounsou, and Helen Mirren Director: David F. Sandberg AMARÚ In Fury of the Gods , director David F. Sandberg immediately reminds everyone that he’s a horror guy by showcasing the Daughters of Atlas’ (Helen Mirren and Lucy Liu) horrific power to open the film. More of their menacing presence is needed because everything else is exactly what detractors said of the first film: it’s nonsensical and overly childish. While co-stars like Meagan Good (Darla) recapture the original’s balance of wonder and adventure, stars Zachary Levi (Shazam) and Jack Dylan Grazer (Freddy Freeman) fill the majority of their screen time with corny dialogue and cheesy moments that wastes the goodwill of Sandberg’s horror sensibilities. QUENTIN For a person who enjoyed Shazam! , Fury of the Gods is a silly disappointment. The story is wavetop boring with character development seemingly an afterthought, especially for Rachel Zegler’s character, and the green-screening isn’t much better. Plus, the jokes don’t generally land; one sequence that plays like a crossover commercial for Skittles and Budweiser elicited audible groans. Lastly, the ending and post-credits scenes set up a future that carries zero weight given what we know about DC movies going forward. Overall, Djimon Hounsou is excellent (the film’s MVP), Lucy Liu is downright atrocious, and the film isn’t even as good as the middling Black Adam . JACOB Fury of the Gods continues to build on the characters’ charm and some of the fun from the first film, but there is no denying that it has a bit of a tonal crisis on its hands. The scenes with Jack Dylan Grazer and Rachel Zegler work best as individual moments, and the actual superhero material works well enough, but the film is unable to reconcile wanting to be a big, dramatic sequel with what ultimately works about its central character: the fun of it all. It’s hardly a disaster by most estimations, but there are diminishing returns to the Shazam! idea. ADRIANO Fury of the Gods is not a movie I would classify as either good or bad, just aggressively fine. There’s certainly fun to be had, especially courtesy of the loveable cast (the duo of Lucy Liu and Helen Mirren are a very funny addition); however, the childlike wonder and charm of the first film have been mostly stripped away, and while the silliness and wink-to-the-camera lines can be appealing, the script feels like it’s on autopilot this time around, causing it to come off as more of a run-of-the-mill superhero flick. It’s not something I’m mad about, but it’s nothing I’ll ever revisit either.

CAN I GET A WITNESS? Starring: Keira Jang, Joel Oulette, and Sandra Oh Director: Ann Marie Fleming NICK I’m not being hyperbolic when I say the concept of Can I Get a Witness? is excellent. A live-action animated hybrid about a world devoid of electricity, where people are only allowed to live until the age of 50, is fascinating. Unfortunately, the film completely wastes that concept by delivering a meandering plot without anything interesting to say until halfway through the film, at which point I'd already checked out. Even the animation is sorely underused, making me question the decision to include it. An idea this cool shouldn’t lead to a film so boring. It was easily one of my bigger disappointments of TIFF 2024. KATIE Can I Get a Witness presents some interesting ideas, but didn’t quite work for me. It explores a post-climate-disaster world where people must take their own lives at age 50, and how this impacts a mother and daughter, but I couldn’t get on board with the idea that average people are the ones who must make huge sacrifices to preserve the environment. There are hand-drawn looking animations that are lovely, but don’t add anything, and by the time it had explained the ins and outs of the dystopian society, it had lost my interest, before ending quite suddenly. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

RICKY STANICKY Starring: Zac Efron, John Cena, Jermaine Fowler, Andrew Santino, Lex Scott Davis, Anja Savcic, and William H. Macy Director: Peter Farrelly QUENTIN Ricky Stanicky is a throwback to the second-tier offerings from the circa-2000 heyday of the Farrelly Brothers, conjuring memories of Shallow Hal and Stuck on You . What that ultimately means is that while there are some laughs to be found in the moment, the movie as a whole is mostly forgettable (although, I’m sure I’ll add “air dicker” to my vernacular going forward, and I would absolutely bop to Rock Hard Rod’s (John Cena) Jack-Off Jams). That said, if nothing else, it proves Cena, who is fully committed here, can be a comedy powerhouse when given the right material. He just needs to pick better scripts. PRESTON Ricky Stanicky is what you would get if you asked a 14-year-old aspiring film writer to create an over-the-top (no holds barred, kid!), comedic screenplay, but even then, I think the result would have been better. I could never be accused of being a John Cena mega-fan, but to his credit, he does everything he can to hoist this lackluster script out of the muck. I admit that there are a few jokes that land, but most are full-on misses that had me cringing for all the wrong reasons. So, at almost two hours in length, the joke’s on you, as they say. NICK Fresh off his Bitesize Award for Best Actor in The Iron Claw (check that out HERE ), Zac Efron is back…but with a disappointing follow-up. Ricky Stanicky - which was somehow once on The Black List of best unproduced screenplays - boasts a relatively generic script filled with lame and lazy jokes. The lone bright spot is John Cena, who saves this flick from obscurity as he dives all-in to make the most of the wacky material he’s given. Unfortunately, it’s not enough to save Ricky Stanicky . Look, it's been almost 20 years since director Peter Farrelly has made a good comedy; maybe it’s time for him to give it up.

MURDER MYSTERY 2 Starring: Adam Sandler, Jennifer Aniston, Mark Strong, Mélanie Laurent, Jodie Turner-Smith, Zurin Villanueva, Enrique Arce, Adeel Akhtar, Kuhoo Verma, John Kani, and Dany Boon Director: Jeremy Garelick NICK Comedy-wise, the Adam Sandler/Netflix experiment has not garnered very good results. In saying that, 2019's Murder Mystery (an average comedy in and of itself) is likely the best of that crop so far. So, even though it didn’t really need a sequel, Murder Mystery 2 is here, and it's basically a notch worse in every way. The comedy is a little more "miss," the supporting cast is a little less interesting, and the twists are a little more telegraphed. It’s a franchise that need not continue, and it’s time to see Sandler continue full steam ahead with his dramatic roles and Oscar push. QUENTIN Murder Mystery 2 isn’t a sequel that needs to exist, nor is it good enough to justify its own existence. Still, even as you acknowledge that it’s just an algorithm-driven money grab that granted Adam Sandler a paid vacation to an exotic locale, there is something inherently watchable about The Sandman. Despite hit and (mostly) miss jokes and pedestrian action sequences, there is just enough charm to keep it from being a total waste of time. The 80-minute runtime doesn’t hurt either. It’s not exactly “good,” per se, but it’s better than some other Netflix Originals (looking at you, The Man from Toronto ). JOSEPH Murder Mystery 2 in no way revitalizes the Happy Madison brand, nor does it deviate from Adam Sandler’s typical fare. That being said, it is a film that is fun enough to be entertaining. The jokes are mostly duds, unable to elicit even a chuckle, but there are several clever visual gags worth a laugh. As for the actual mystery, it's fun trying to figure out who the guilty party is, and it’s crafted well enough that I expect many to be bamboozled. All in all, Murder Mystery 2 is the type of film you watch while doing chores.

ABIGAIL Starring: Melissa Barrera, Dan Stevens, Alisha Weir, William Catlett, Kathryn Newton, Kevin Durand, Angus Cloud, and Giancarlo Esposito Director: Matt Bettinelli-Olpin and Tyler Gillett ADRIANO A word of advice: it might be best to go into Abigail without the mindset that it's a horror film because the overbearing score and overall tone make the film seem more like a heist thriller, for better and for worse. That said, while some of the rules in the writing are nonsensical and the third act goes too far off the rails, I had way too much fun with Abigail . The entire ensemble works off each other amazingly, and once the shit hits the fan, it's an ultra-gory blast that made me forgive its obvious shortcomings. AMARÚ Sometimes, I wish Giancarlo Esposito just wasn’t in a movie because he’s the sole reason I decided to see Abigail . While I don’t regret watching, it did nothing to sway me towards liking horror. The Radio Silence directorial team brings flashes of Clue and Murder by Death to this horror comedy, but it’s nowhere near funny enough or clever enough to reach those heights. People still make dumb decisions, characters are still cliché, and even though Melissa Barrera, Dan Stevens, and a stand-out Kevin Durand try to bring some nuance, they don’t bring quite enough to say it’s anything more than fine. PAIGE While Abigail may get off to a slow start, once the game of cat and mouse begins, the movie really picks up steam and takes off. It becomes a bloody blast! Directing team Radio Silence succeeds in crafting an excellent blend of horror and comedy with this vampire flick. If you’ve seen the trailers, you know what to expect from the movie, and while it may not reinvent the wheel in any way, it’s an utter delight. This campy gore fest is a hell of a ride, thanks to its charismatic cast, who elevate the story with their performances. KATIE Abigail is a ridiculously fun time that had me both laughing out loud and wincing at the gore. It's unashamedly camp and excessive, and Alisha Weir is amazing in the titular role, moving effortlessly between adorable and menacing. Despite the stale dialogue, the ensemble cast each make the most of their roles and have great chemistry. My only issue is that it's slightly overlong, not knowing when to end its finale. I imagine I would not have been as impressed had I seen the trailer and known the premise, but going in blind made this a bloody and fun surprise. PRESTON Abigail may be a victim of its own trailer, as what would have otherwise been a spine-tingling revelation serves as a mundane step in the plot marching forward. Instead, this gory vampire flick proceeds with a predictable unfolding of events that doesn’t break any known molds. While not self-serious, it still doesn’t come close to the campy cleverness of Matt Bettinelli-Olpin and Tyler Gillett’s previously directed Ready or Not. One highlight is a dance scene set to the awesomely chilling sounds of Danzig's “Blood and Tears” (I won’t mention the stupidly conflicting effects of the exposure to the sunlight, though…oh, oops). CALEB When Alisha Weir gets to do her thing, Abigail is a blast. The movie is at its best when the tiny vampire queen is running amok, but there just isn’t enough of her doing that. The other cast members dominate the runtime, and they aren’t nearly as entertaining as she is. By the third act, Abigail (Weir) gets sidelined by another, much lamer antagonist, and it results in a convoluted, unsatisfying conclusion that caps off the movie on a low note. I still had a good time with Abigail , but I wish it played to its strengths and let lil’ Abby have a bit more fun.

BONES AND ALL Starring: Taylor Russell, Timothée Chalamet, Mark Rylance, Michael Stuhlbarg and Chloë Sevigny Director: Luca Guadagnino ADRIANO Bones And All made me say something that I never thought I’d say: “This movie about cannibals is beautiful.” Director Luca Guadagnino and writer David Kajganich have pulled off a magic trick because the line between gory horror and poignant love is drawn seamlessly. Timothée Chalamet and Taylor Russell’s chemistry adds to this being one of the most romantic things I’ve seen in ages, while Mark Rylance’s creepy performance adds new layers of frightening. The film’s allegory of repressed urges and societal outcasts may get lost on some viewers, but nonetheless, I am infatuated with this freaky and lovely film. JACOB Certainly not for the faint of heart, Luca Guadagnino’s Bones and All lets the audience know what kind of movie it is right up front, and for some, that will be an immediate turn-off. That said, for those who stick around, great things await. The surprisingly gory cannibal romance, led by an unbelievable Taylor Russell and an assured (but secondary) Timothée Chalamet, manages to find as much humor and depth in a story like this as anything likely could. Guadagnino’s direction is simultaneously wary but never judgmental, and Mark Rylance nearly steals the whole movie every time he is on screen. JTE Bones and All re-teams director Luca Guadagnino and star Timothée Chalamet for another tale of young romance, but this time, with more bite... pun intended. That's right, we have a teenage love story, but the lovebirds are cannibals; much like the director’s previous film, Suspiria , Guadagnino doesn't shy away from the gruesome stuff either. Bones is elevated by its cast, especially Mark Rylance, who is literally chewing up the scenery (amongst other things) in his juicy role. The film never lost my attention, even if the third act isn't as strong as the first two. PAIGE Director Luca Guadagnino is back with another appetizing film that touches on themes of discovering who you truly are and accepting it. This film may not be for everyone, but if you're looking for something unique and different, then it’s a must watch. Bones And All is bloody remarkable due to the strong chemistry between its two leads, Taylor Russell and Timothée Chalamet, while Mark Rylance will have you terrified throughout. It’s a gory love story that will rip your heart out…then eat it! Add it to this year’s list of great horror gems. This film was reviewed by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

BEETLEJUICE BEETLEJUICE Starring: Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, and Willem Dafoe Director: Tim Burton ADRIANO Warts and all, I will take the unflinching mayhem of Beetlejuice Beetlejuice over the majority of careless blockbusters we get nowadays. Yes, the script is overpacked, and a lot of what is set up is left in the wastebasket. However, director Tim Burton ditches any type of lame nostalgia baiting and pandering (Deadpool & Wolverine , cough cough) to go full sicko mode with wonderful practical effects and an on-brand insanity that had me laughing. You'd swear he and Michael Keaton never left the set in 1988 with their faithfulness to the original. QUENTIN I’m extremely divided on Beetlejuice Beetlejuice , which, frankly, isn’t a sequel I wanted or needed since Beetlejuice is such a stone-cold classic. With that in mind, Michael Keaton hasn’t missed a beat as “The Ghost with the Most,” and stepping back into director Tim Burton's visionary afterlife tickled all my nostalgia bones (Danny Elfman's score too!). However, the story is borderline trash, taking way too long to get going and having way too many moving parts. Plus, there are some flourishes and directorial choices that I really hated (some I loved too), resulting in an attempt that I formally appreciate, but a movie I’ll never revisit. PRESTON Beetlejuice …*sigh*…Beetlejuic e. After 36 years, the highly anticipated sequel only served to trample my meager hopes for something close to worthy of the original. Mostly, the pain I feel is a result of the shallow production that I had to witness. The chaotic plotline and numerous subplots are haphazardly shoved together in order to advance a shameless reliance on nostalgic pandering, with the nonsensical “Bobs” acting as a Minion -esque marketing ploy. Even the couple in front of me, who burst out in outrageous laughter during the Red One trailer, had difficulty mustering more than a faint chuckle during the film! Sad Trombone. PAIGE Though the plot is a bit overstuffed with story threads that are undercooked, there’s no denying that Beetlejuice Beetlejuice has heart, or that it brings us back into the surreal world Tim Burton created back in 1988. This sequel feels like a return to form for Burton, and the whimsical practical effects and vibrant production design in the afterlife are astounding. The returning ensemble, especially Catherine O'Hara and Michael Keaton, are fantastic, not to mention that Jenna Ortega fits right in with the madness. All in all, Beetlejuice Beetlejuice may be messy, but it’s a ghoulish good time! AMARÚ Nostalgia is working overtime to find much enjoyment in Beetlejuice Beetlejuice . While it looks beautiful, with Tim Burton putting his whole foot in the direction, the entire film treads through unfunny and overlong comedic set pieces to juggle fifty million storylines that never have enough time to delve deeper than made-for-TV story depth. One specific plotline, if focused on, would’ve been interesting if it wasn’t resolved in two-point-WTF-thats-all-it-took-to-figure-that-shit-out seconds. Every non-makeup or visual effect aspect of the film is treated with that modicum of care, and damn was it a waste of time. KATIE Beetlejuice Beetlejuice is one of the strongest legacy sequels I’ve seen, and I left the cinema refreshingly impressed with director Tim Burton’s darkly funny return to his 80s classic. Danny Elfman’s energetic score sets the tone for the film’s gleefully ghoulish energy, and Michael Keaton faultlessly reprises his titular role, bringing an infectious sense of eerie exuberance that made it impossible not to have a good time. Whilst the film cannot quite support the increasing weight of side characters and subplots, the practical effects are fantastic, the performances are strong, and, most importantly, it stays true to the anarchic spirit of the original.

THE FIRE INSIDE Starring: Ryan Destiny and Brian Tyree Henry Director: Rachel Morrison NICK The Fire Inside is a typical sports biopic (albeit with above average cinematography) until it becomes so much more. It’s about the struggle female athletes have to manage alongside their male counterparts. It’s about self worth. It’s about another great supporting turn from Brian Tyree Henry (it’s about time someone lets this man lead his own film). That said, it’s newcomer Ryan Destiny who truly takes center stage, telling Claressa Shields’ story with authenticity and poise. It seems director Rachel Morrison’s career change was a good call (originally a cinematographer) because The Fire Inside surpassed all expectations. ADRIANO I didn't think I'd dig The Fire Inside , but I did. In her debut, Rachel Morrison shows she has a great directorial eye, as the film is excellently shot, especially the fantastic and kinetic boxing sequences. Ryan Destiny and Brian Tyree Henry are both incredible, too. In the first half, while some beats were familiar, it felt more realized than your average Coach Carter ripoff; then the back half made me remember that this was written by Barry Jenkins. Its position shifts to become an engaging and interesting film. The Fire Inside isn't groundbreaking, but I was pleasantly surprised. AMARÚ The Fire Inside reminded me that there is always space for inspirational sports movies. Rousing performances from Ryan Destiny and Brian Tyree Henry drive recognizable beats to a well-choreographed main event from director Rachel Morrison, but it’s what comes next that’s really special. We never actually see what happens after the final fight, and the financial and social realities outside the ring that are spotlighted give powerful insight on what’s really important - money isn’t everything, but money is recognition, and recognition is deserved for those who earn it. Destiny, Henry, and Morrison prove that point with nuance, honesty, and earned emotion. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

GOOD GRIEF Starring: Daniel Levy, Ruth Negga, Himesh Patel, Luke Evans, Arnaud Valois, David Bradley, and Celia Imrie Director: Daniel Levy KATIE Good Grief is a stylish and cozy, if slightly forgettable, comedy-drama that is surprisingly light-hearted despite its emotional themes. Firmly planted in rom-com territory, the luxurious interiors and warm lighting channel the affluent sets of Nancy Meyers, and the friendship dynamics and glossy city locations reminded me of Richard Curtis films. Combined with heartfelt and convincing performances, Good Grief is a comforting and easy watch since it avoids delving too deep into the heavier ideas it presents. Whilst it falls short of delivering a satisfying emotional impact, it is a solid debut feature for Daniel Levy. ADRIANO Between this and Schitt's Creek , it seems like Daniel Levy has a real knack for authentic feel-good sentimentality. However, unlike that show, Good Grief lacks compelling charm outside of its sweetness. Levy's direction is, at worst, competent, and at best, well-thought-out. It's the writing that's the real problem here. It really feels like the message of finding true love after death is kind of an excuse to make people get some cheap feels in a rather wonky film. When the film hits its highs, you do feel something special, but the highs are very few and far between. PAIGE While Good Grief is a respectable feature directorial debut from the charming writer/director Daniel Levy, this bittersweet drama falls short of its potential. It succeeds in painting an honest picture of friendship and loss, but at times, it feels underwritten as it struggles to tie those two ideas together. In a way, it has a lot to say and little to feel, but its heart is in the right place. It just tries a little too hard to wrestle with the heavy topics at hand. All in all, it is a whimsical, heartfelt affair despite being far from perfect.