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GHOSTBUSTERS: AFTERLIFE Starring: Mckenna Grace, Finn Wolfhard, Logan Kim, Celeste O’Connor, Carrie Coon, and Paul Rudd Director: Jason Reitman ADRIANO Despite the odds, Ghostbusters: Afterlife works. Director/co-writer Jason Reitman revives the franchise in a way that pays homage to the original while also making it feel fresh. It somehow maintains the magic of the 1984 version, feeling both fun and genuinely scary at times, and serves as a lovely tribute to Harold Ramis. The whole cast is amazing, but Mckenna Grace nails it as the lead. I had a few issues with the script and a couple nostalgia-driven moments made me roll my eyes, but that aside, this is a revival that sticks the landing. NICK With original director Ivan Reitman's son, Jason Reitman, stepping into the director’s chair, Ghostbusters: Afterlife is a love letter to the original films. The cast breathes new life into the series with Mckenna Grace having a breakout moment, while some key cameos will appease longtime fans of the series. There are laughs, scares, and even some tears. Reitman nailed it with this one. He has managed to make a film that fits firmly into the Ghostbusters universe that still works as a standalone film with the potential to relaunch the franchise. Well done. QUENTIN Ghostbusters: Afterlife doesn’t do anything “wrong” necessarily, but the only thing it does exceptionally “right” is the nostalgia porn. From the not-so-secret cameos to the general atmosphere, it genuinely feels like it could be an 80s movie as opposed to a movie trying to recapture 80s magic. However, it skews much younger, feeling more like Goosebumps than a Ghostbusters sequel. That’s not necessarily a bad thing, but it does come off a tad neutered. The jokes are vanilla, the emotional bits are wavetop, and it doesn’t expect much from its audience. Older fans should adjust expectations. JACOB Although Ghostbusters: Afterlife presents itself as a singular adventure, it eventually reveals itself to be two stories in one. However, neither story is completely fleshed out, as you only get the end of one and the beginning of another. That’s not to say it’s bad. It’s generally polished, but it spends more time trudging up nostalgic memories than it does telling its own tale. While the attempts at humor are admirable, they mostly fall flat. A lot of this movie seems to work on the surface, but unlike the film’s setting, there’s hardly anything lurking beneath.

DEATH OF A UNICORN Starring: Paul Rudd, Jenna Ortega, Will Poulter, Téa Leoni, Richard E. Grant, and Anthony Carrigan Director: Alex Scharfman NICK Death of a Unicorn should be a lot more fun than it is. Aside from the entertaining cast (Paul Rudd, Jenna Ortega, Richard E. Grant, Will Poulter), the writing isn't particularly clever nor does the story feel unique. At its core, this is another "eat the rich" movie, yet it never explores that message beyond surface level. Neither the violence or mayhem really hit because they're often utilized in visually dark scenes that take away the impact of the revenge. There was plenty of opportunity within this story, but the only impressive thing it truly accomplishes is making Paul Rudd unlikable. ADRIANO Yet another eat-the-rich satire, at least Death of a Unicorn has a funny concept. It's too bad it does nothing with it, though. The movie is almost entirely devoid of laughs, with the only exception coming from Will Poulter's delivery. Not even Paul Rudd's reliably lovable doofus schtick lands here. Admittedly, there's something there with the father-daughter storyline, but they don't develop it enough. Writer/director Alex Scharfman puts too much attention on the bare-bones commentary and less on the film's comedy and monster movie elements, making the film not nearly as fun as it should be. AMARÚ Death Of A Unicorn has all the makings of a quirky time spent with a perfect ensemble to pull off the weird, and Richard E. Grant and Will Poulter, in particular, do a fabulous job filling their archetypal characters. However, the film never truly commits to any one idea, moving on to the next thing before giving the current horror or comedic set piece time to breathe. Every individual scene has plenty of fun elements, especially everything involving Anthony Carrigan, but the shallow pacing stunts any cohesiveness the story or characters try to develop, resulting in a lot of lost potential. PAIGE Death of a Unicorn is merely another typical eat-the-rich movie, despite being a quirky and amusing, blood-soaked mythical tale. Although the film has some fun and compelling moments, its formulaic plot dilutes much of its ideas. Nevertheless, the ensemble seemed to be having a blast with what they were given, particularly Will Poulter, who ate up every scene he’s in. Sadly, however, Jenna Ortega and Paul Rudd were unable to establish a strong father-daughter dynamic. All in all, while slightly lackluster, Unicorn is still quite enjoyable and bloody entertaining. BRYAN Oh, look at that! We have another eat-the-rich satire in Alex Scharfman’s directorial debut Death of a Unicorn . While the fantastical element is a fascinating approach to the subgenre, the promise fades away early on when you realize what you're getting yourself into. It would've been refreshing had the film focused on one singular tone, instead of jarringly swifting from comedy to horror. Had it embraced the corniness, maybe this would have been a winner for me. Thankfully, the ensemble helped keep the film somewhat afloat, with Will Poulter hamming it up from start-to-finish. Serviceable, yet disappointing, A24.

GOOD BOY Starring: Indy, Shane Jensen, Arielle Friedman, and Larry Fessenden Director: Ben Leonberg QUENTIN Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy… AMARÚ While Indy the Dog is one of my favorite performances to watch this year, his work also happens alongside overly dramatic voice-overs from his human counterparts. Although the cute hook is enough for me to turn on this uniquely delivered horror film, it isn’t enough to make Good Boy a good movie. Watching a sick human slowly break down from Indy’s perspective is as mundane as it sounds, and typical horror tropes like sharp music cues, dark shadows, and distorted figures in the background only solidify that this is nothing more than a slowly paced, uninspired scary story with a fur-filled, glossy sugarcoat. NICK All the hype you’ve heard about Indy the Dog is justified, as he is absolutely the reason to watch Good Boy . Now, you could make the argument that strategic editing plays just as big a part, but let’s not take credit away from this good boy. Beyond Indy - and some great video game-style third-person camera shots - I wish there was more here. The human performances don’t match the canine, and despite feeling all of Indy’s emotions, Good Boy doesn’t exactly give you reason to feel your own. I love the creative swing (much like In A Violent Nature ), but it could’ve been better. KATIE Good Boy is an entertaining, emotionally engaging horror film with a refreshingly unique premise. The genuinely moving performance from Indy the Dog, who is incredibly expressive and compelling all impressively without the aid of CGI, is the heart and soul of the film. It excels at maintaining tension and building suspense with minimal dialogue, thanks to its simple premise, Indy’s performance, as well as effective editing and a tight 73-minute runtime. Director Ben Leonberg finds creative ways to solidify focus with Indy, and I really enjoyed this strangely sweet, but very spooky, tribute to man’s best friend. ROBERT When the premise of Good Boy was described to me, I immediately thought of Courage the Cowardly Dog . While the gesturing and talking are toned down, the terror and the need for protection bleed through in Indy the Dog’s inspiring performance. The thematic elements of the haunting, which coincide with the illness of Todd, Indy’s owner, are effective and chilling, and the technical wonder of using the cameras to see from Indy’s perspective keeps you invested. I wish, despite the job they do to make us understand Todd’s plight, that they had made him and his sister more sympathetic; however, overall, the whole is greater than the sum. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

WONKA Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Natasha Rothwell, Tom Davis, Olivia Colman, and Hugh Grant Director: Paul King ADRIANO I can't help but to like a movie that puts a smile on my face throughout. Wonka is not without its wasted characters and narrative squabbles, but director Paul King fills the film with so much heart and (pun fully intended) eye-candy for any viewer to enjoy, even if the original's darker undertones are mostly abandoned. And despite my initial reservations, Timothée Chalamet is funny and endearing, as is his young co-star, Calah Lane. The movie's intentions feel sincere enough to make the joyfulness feel real, and I was pleasantly surprised by this return to a world of pure imagination. CALEB Honestly, it took me a good 20 minutes to get past the fact that Timothée Chalamet was singing, but once I did, Wonka really won me over. There’s just so much to love about this movie. Chalamet is much better than I thought he might be, the songs are catchy, and the script is genuinely moving. While the film might be a little too sweet for some people, there’s no denying that director Paul King poured his heart into this project, and more children’s films deserve to be crafted with this level of passion and care. Wonka is a delightful surprise. PAIGE While Wonka is a whimsical and charming treat, the musical aspect of the film falls flat. It’s a full-blown musical that lacks powerful vocals from our lead, Timothée Chalamet, and has no memorable songs to go along with its journey of Willy Wonka trying to accomplish his dream of opening a chocolate factory. Plus, the film also plays it a little too safe, needing to be a wee bit more unhinged to satisfy my need for this prequel to Roald Dahl’s beloved character. All in all, this flick is a perfectly fine family-friendly film. PRESTON Wonka is director Paul King’s reimagined look at the life of Willy Wonka (Timothée Chalamet). The fantastical visuals are on full display with a competent cast, but despite its polished finish, I left the theater feeling unsatisfied. The overly saccharine nature of this somewhat forced musical had me feeling slightly queasy, and without any of the mystery or darkness of its predecessors, there was little incentive to emotionally invest in any of the characters, which caused many of Wonka’s antics to fall flat. The result is a decent, but excessively safe children’s story that leaves little for us older kids. KATIE Willy Wonka & the Chocolate Factory is one of my favourite films, and Gene Wilder's incarnation of the character is very close to my heart. So, I went into Wonka believing that I wouldn't be impressed; however, it won me over almost immediately. The musical set pieces are spectacular, the songs are catchy, Timothée Chalamet is charming and frankly adorable as Wonka, and the tone is perfect throughout. I also am pleased that it employs nostalgia effectively, yet sparingly. It's unapologetically wacky and extravagant, and whilst it may border on sickly sweet for some, it's everything I’d expect from a Wonka musical.

BETTER MAN Starring: Robbie Williams, Jonno Davies, Steve Pemberton, Alison Steadman, Kate Mulvany, Frazer Hadfield, Raechelle Banno, and Damon Herriman Director: Michael Gracey NICK I’ve long been a fan of Robbie Williams, so perhaps I enjoyed Better Man as much as I did because of my familiarity with everything. But, honestly, I just think it’s a great film. Whether it’s the stylistic decisions that realistically shouldn’t work but do, or the spectacle of all the musical numbers, everything succeeds because of Robbie. A supremely creative (and narcissistic) showman, the man shies away from nothing to tell his story, demons and all. It makes for a refreshing and relatable examination. I was thrilled, I was moved, and as Robbie would have wanted, I was entertained. Give this one a shot. ADRIANO My expectations for Better Man were really low, given that director/co-writer Michael Gracey's last film, The Greatest Showman , is one of my least favourite movies ever. So in that regard, I suppose Better Man surpassed my expectations. The CGI monkey looks amazing, and I do admire how unsanitized the approach to Robbie Williams’ life is. That said, while the movie tries throwing some flashing lights and gimmicks at us, it doesn't change the fact that it follows an uninteresting and basic biopic format. It certainly wasn't as bad as I feared, but I'll never see it again. AMARÚ Music biopics with unique deliveries are now two for two in 2024. Better Man is an unadulterated window into Robbie Williams’ soul, full of heart and heartbreaking emotional resonance. Williams and Jonno Davies’ joint mo-cap performance harnesses every inch of Robbie’s hardships and triumphs, with CGI matching Matt Reeves’ Planet of the Apes -level detail. Combined with Michael Gracey’s direction, which is as visually evocative as Williams is a cheeky bastard, you have a full-blown emotional knock out. It’s a bit long, but when you get to see that deep into someone’s heart, you’ll take the extra minutes of laughs, smiles, and tears. PAIGE Better Man is a traditional and ostentatious musical biopic, but despite its unique take on the genre, once you peel back the layers, it’s just another generic rags-to-riches story. Without the CGI monkey (which looks fantastic), the film doesn’t really make a compelling case for Robbie Williams to have his story told. Don’t get me wrong, the movie is certainly amusing, and director Michael Gracey directs some of the best musical sequences of the year, but the overall narrative feels drawn out at times. Maybe if I were a bigger fan of Williams, I’d value this outlandish story more. KATIE Better Man, a musical biopic about Robbie Williams, who is portrayed as a CGI ape amongst an otherwise human cast, is a creative gamble that pays off spectacularly. I didn’t expect to enjoy this as much as I did, and the addition of the CGI ape is wonderfully strange without distracting from the narrative, instead making it all the more captivating. Although it doesn’t stray from the usual rise-to-stardom biopic formula, the bold stylistic choices set it apart and enable a surprisingly emotionally engaging story that boasts immersive visuals and riotously entertaining musical setpieces. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

SHOTGUN WEDDING Starring: Jennifer Lopez, Josh Duhamel, Sônia Braga, Jennifer Coolidge, Lenny Kravitz, and Cheech Marin Director: Jason Moore AMARÚ Shotgun Wedding is supposed to be a fun watch. I mean, just look at Jennifer Coolidge, who knows exactly how to hack up its cheesiness. She commits. And that’s the main issue with the rest of the film: It never commits to the movie it wants to be. Is it a Rom-Com? Action Comedy? A mixture of both? The few scenes where Jennifer Lopez and Josh Duhamel’s chemistry flourishes is when there is a commitment to being an outlandish action rom-com, but most of the time, it feels like two separate run-of-the-mill movies clashing with each other for runtime minutes. It gave me whiplash. JOSEPH I hope action-driven romantic comedies are coming back because I had a blast with Shotgun Wedding . It’s no The Lost City , but I couldn't help but laugh at the ridiculousness of the film’s premise. The cast is vivacious, and the film is just so lighthearted and entertaining. The action scenes are exciting with great stunt work, but they still manage to infuse comedic elements amongst the adrenaline. Special shoutouts to Jennifer Coolidge, who is just a beacon of light in this film, and Josh Duhamel, who should have been the first choice for this role from the get-go (Ryan Reynolds and Armie Hammer were previously attached). PAIGE Fans of Jennifer Lopez may want to reconsider RSVPing to this rom-com because, unfortunately, Shotgun Wedding lacks both romance and comedy. Our two leads, Josh Duhamel and Lopez, don’t have an ounce of chemistry, and even with a supporting cast that includes Jennifer Coolidge (who, admittedly, delivers some zingers that will make you chuckle), that still isn't enough to save this disaster of a film. Shotgun Wedding could have easily been a fun ride, but it falls into the basic tropes of the genre and isn’t a memorable watch at all.

THE LUCKIEST MAN IN AMERICA Starring: Paul Walter Hauser, Walton Goggins, David Strathairn, Maisie Williams, Haley Bennett, Shamier Anderson, David Rysdahl, Johnny Knoxville, Brian Geraghty, Patti Harrison, Shaunette Renée Wilson, and James Wolk Director: Samir Oliveros NICK If you're yet to be convinced that Paul Walter Hauser deserves more leading roles, The Luckiest Man in America is here to change your mind. This throwback true story of Michael Larson (Hauser) and the Press Your Luck scandal peeks behind the curtain of the events to keep the uninitiated wondering what will happen next. Director Samir Oliveros transports you back to the 80s with a tight story and vibrant colour palette that makes you feel like you are in the studio audience. No bells and whistles, just an honest approach to the story, which is precisely what Luckiest Man calls for. ADRIANO The Luckiest Man in America is probably the best version of what a movie adaptation of this story could look like. The story of Michael Larson (Paul Walter Hauser) isn't anything that grand, and I kinda thought the movie's attempts to make him out to be some folk hero were a little misguided; however, I still had fun. Hauser gives yet another great, ego-less performance that's easy to root for, and I enjoyed the kinetic editing. The writing is serviceable enough too, with some effective laughs and heart thrown in there. The overall experience was pleasant but forgettable. PAIGE Based on a true event, The Luckiest Man in America is a stylish flick that vividly captures the aesthetic of a 1980s game show. Its sleek and breezy runtime is bolstered by a great supporting cast and, of course, another outstanding and underrated performance from Paul Walter Hauser. Despite this, the film is a bit restrained due to its story not diving deep enough into its characters or ideas. In the end, it may not stick the landing, but it’s at least an entertaining watch that puts you on the set to watch these stakes unfold. KATIE The Luckiest Man in America is a solidly entertaining and stylish drama based on the true story of a 1980s game show scandal. Paul Walter Hauser is fantastic in the leading role as Michael Larson, bringing an uncomfortable intensity that is simultaneously disarming and unnerving. Considering it's based on real life, the film does well at generating suspense, intrigue, and exploring Larson’s motivations, enhanced by the brisk pacing and energetic editing, and the TV studio setting and tight camerawork add an element of claustrophobic tension. It’s not groundbreaking, but The Luckiest Man in America is a fun watch. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

FINESTKIND Starring: Ben Foster, Toby Wallace, Jenna Ortega, Tim Daly, Lolita Davidovich, Aaron Stanford, Clayne Crawford, and Tommy Lee Jones Director: Brian Helgeland NICK What did I just watch? Finestkind begins as a fairly straightforward story about brotherhood and fishing boats that seems to be building into an indie-feeling family drama, anchored by strong performances from Ben Foster and Toby Wallace. Then, about halfway through, it evolves into… some attempt at a crime thriller, with the tone making a complete 180. Perhaps the second half would have worked if it started that way, and I think there is a chance the first half would have worked had it stayed on track; however, put it together, and all you have is a mess. QUENTIN Though not quite the crime thriller it’s marketed as, Finestkind is a decent enough experience due to its workman-like presentation and solid performances, particularly from Ben Foster, Clayne Crawford, and Tommy Lee Jones (who, thankfully, does not attempt a Boston accent). Tonally, it’s a bit inconsistent, with the first and second halves feeling like they come from two different scripts, but as an A-to-B story, the beats mostly make sense and are organic. Overall, I didn’t love it, but I didn’t hate it either. Mostly, I’m just disappointed that Ben Foster was once again relegated to a straight-to-streaming movie that few people will see. PAIGE Finestkind is a tonal and narrative mess, and it seems to have no idea what it wants to be. The first half functions as a family drama following two brothers, played by Ben Foster and Toby Wallace, who were raised on two completely different walks of life, while the second half transitions into a crime thriller. Despite that sounding intriguing and being something that could have worked, director Brian Helgeland can’t rope these two plot ideas together to flow narratively well. Honestly, what keeps this film afloat are its performances. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

NO TIME TO DIE Starring: Daniel Craig, Léa Seydoux, Rami Malek, Lashana Lynch, Ralph Fiennes, Ben Whishaw, Naomie Harris, Rory Kinnear, Jeffrey Wright, Billy Magnussen, Ana de Armas, and Christoph Waltz Director: Cary Joji Fukunaga NICK No Time to Die may not be the best film of the Daniel Craig-Bond era, but it’s easily his most layered performance as the titular character. After introducing connective tissue in Quantum of Solace , this film wraps up a five-film arc and does so with finesse and poise. Léa Seydoux, Ana de Armas and Lashana Lynch bring out each side of Bond, while there is no shortage of action beats, including some fantastic car chases. It's a fitting send off for Craig, who will go down as one of the best Bonds of all time, an accolade well earned. AMARÚ The connective tissue between Spectre and No Time to Die may lose you at the start given how forgettable Spectre is, but once it moves on, everything that is great about James Bond kicks into high gear. Slick action, the right amount of (corny) humor, and charisma dripping from every actor (Ana de Armas and Lashana Lynch, especially). The runtime flies with intense cat-and-mouse games between intelligence agencies until a more conventional third act can no longer hide its uninspired villain (Rami Malek is wasted) and unfathomably indestructible hero. Still, the odd-numbered Daniel Craig-Bonds are now 3-for-3. QUENTIN Daniel Craig’s time as James Bond has ranged from eh to excellent, but never because Craig made a great or terrible Bond. He's been perfectly fine, though somewhat uncharismatic. It really lived and died with the direction and writing. That said, the overlong Bond 25 is generally well directed, but falters with the writing. The opening action sequence is fantastic, but the plot gets super convoluted with unclear character motivations, while the action mostly devolves into uninspired gunfights. I appreciate that it gives a proper ending to Craig’s Bond era, but it's a distant third behind Casino Royale and Skyfall . JACOB Although No Time to Die never really gets around to justifying its length, there's never a moment that feels dull or too slow. Daniel Craig’s final outing as Bond is more emotional than one might expect, but also funnier than anticipated, even if not all the comic bits land. Linus Sandgren's excellent cinematography brings some beautiful imagery to the screen, and the fantastic action sequences really stand out. Rami Malek is a menacing villain, although he's not quite in the movie enough to count among the greats, but what this film really needed was more Ana de Armas. ADRIANO Daniel Craig’s send-off as James Bond is near perfection. Not only is it very stylish and badass, but also emotionally satisfying. The action is epic too, with director Cary Joji Fukunaga crushing every car chase and shootout. The story, featuring heavy global and personal stakes, as well as a wickedly good villain played by Rami Malek, more than justifies the film's lengthy runtime. My only gripe is that Ana de Armas is unfortunately very underused. That aside, No Time to Die is an excellent Bond movie.

NANNY Starring: Anna Diop, Michelle Monaghan, Sinqua Walls, Morgan Spector, Rose Decker, and Leslie Uggams Director: Nikyatu Jusu NICK As good as Anna Diop is in Nanny (and she is fantastic), the film feels like a missed opportunity. Ultimately, it is its own worst enemy because it presents the viewer with multiple interesting directions the story could go, yet never commits to any of them. Visually, the film is beautiful from the opening credits, but its final act really deflates a story that already requires a lot of patience from the viewer. It's just disappointing. Having said that, I’ll take a rom-com starring Ms. Diop and Sinqua Walls tomorrow. Their chemistry is off the charts. QUENTIN Despite being completely mismarketed as a horror movie, I understand and respect what Nanny is trying to do. I can’t get into specifics without entering spoiler territory, but the bones of the story have the potential to be interesting and effectively scary while also delivering a commentary on motherhood. However, this movie is the slowest of slow burns, piling unnecessary subplots onto the central tale to the point that it’s mostly a bore. There are several interesting directions it could have gone, but it never goes that way. Not even a couple of great performances and some good-looking cinematography could really hold my interest. AMARÚ For a quick 90-odd minute movie, Nanny takes its time to figure out what it’s doing. It’s supposed to be a psychological horror (I think), and while Anna Diop does a tremendous job bringing tense emotion to her role, the story crawls at such a lethargic pace that I’m not sure what is causing her anxiety. When the answer finally arrives, there is emotional weight to it, but the journey to get there feels confusing and uninteresting. The movie’s end tries to justify its means, but really, when does that saying ever actually come to fruition? PAIGE Nanny is an admirable, character-driven film held together by Anna Diop's strong lead performance. The film is sprinkled with quiet, atmospheric tones throughout to give it a horror vibe, but underneath its surface, it tries too hard to be a slow psychological film (and one that doesn’t quite stick the landing). I was honestly wondering what the hell was going on for half the time because things aren’t fully explored or paid off enough in the end to give a satisfying conclusion to the story. Still, it's a beautifully shot film and a promising debut for writer/director Nikyatu Jusu. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

BREAKUP SEASON Starring: Chandler Riggs, Samantha Isler, James Urbaniak, Brook Hogan, Carly Stewart, and Jacob Wysocki Director: H. Nelson Tracey NICK There’s an authenticity to Breakup Season that makes it more relatable than clichéd. From how frustrated I became with Ben (Chandler Riggs) and his inability to get out of his own way to the hectic and annoying family moments (and members) of the holiday season, everything feels like a lived experience. This approach works for what this film is: a grounded, cozy indie that plays things fairly safe. There are spots that call for a big dramatic moment, but director H. Nelson Tracey instead goes the route of subtlety, which left me wanting, but still works within the context of the film. KATIE Breakup Season is a simple and endearing, if slightly underwhelming, romantic comedy-drama that follows Ben (Chandler Riggs) and Cassie’s (Samantha Isler) sudden and inconvenient breakup during the Christmas holidays. The performances are not bad individually, but their relationship doesn’t feel very authentic and it lacks chemistry, which makes it difficult to believe they were madly in love only recently. I would have liked it better if it leaned more into the awkward moments and tension between the couple, but it meanders from conversation to conversation. Nonetheless, it looks very pretty, and it makes for an easy and cozy watch.

A HOUSE OF DYNAMITE Starring: Idris Elba, Rebecca Ferguson, Jared Harris, Gabriel Basso, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke Director: Kathryn Bigelow AMARÚ Kathryn Bigelow knows how to stress you the hell out. She’s masterful at directing subtle intensity out of commonly mundane happenings until, seemingly out of nowhere, that build up grabs you by the throat. A House of Dynamite does that three times over, with Rashomon -style storytelling retreading a ticking-clock political timeline, and a huge ensemble of game performers, especially standout Gabriel Basso. He alone saves act two from feeling redundant after an explosive first, and helps maintain enough tension to make up for a flat final act. Even with its soft landing, Dynamite is another successfully gripping anti-war introspective for Bigelow. ADRIANO I love seeing director Kathryn Bigelow back in her wheelhouse of tense political thrillers, but A House of Dynamite was depressingly pointless. As well-researched as it seemed in its dissection of the US Government's response to an attack, I was waiting for the film to reach a purpose beyond bleak doom. But the ending is so abrupt that the rest of the film is one big waste of time, especially considering the utter lack of characters to emotionally latch onto (aside from maybe Jared Harris). So, suffice to say, this was an intense but disappointing return for Bigelow. QUENTIN A House of Dynamite starts off with a bang, a perfectly constructed first act that is taut and tense in all the best ways. However, acts two and three are presented in a nesting-doll structure that repeats itself, which results in diminishing returns as you see several scenes multiple times. Even through that repetition, there is almost zero character development, including some characters that serve no purpose whatsoever. Furthermore, the ending is so unsatisfyingly abrupt that you might think director Kathryn Bigelow forgot to shoot the script’s final pages. That first act, though… It’s too bad the rest of the movie couldn’t match its greatness. NICK A House of Dynamite is a film that could desperately use tension, which makes it hard to believe that Kathryn Bigelow – who is typically great at creating tension – directed this. Aside from a lack of urgency, the film features fairly bland characters that don't warrant any attachment (save, perhaps, Idris Elba's President of the United States). Then there's the editing... content wise, this is practically a short film on a loop from different perspectives. It may have worked if not for the above issues, but instead, it magnifies the film’s shortcomings. As for the end… oh, it seems I’ve hit my word limit. ROBERT Kathryn Bigelow is at a place where every time she releases a movie, it is a huge deal, magnified by the eight years since her last directing effort. Unfortunately, the wait was met with a paper tiger in the form of A House of Dynamite . The cast, the story structure, the score, and sound are all reminiscent of a prestige titan seen in Bigelow’s history, but as the plot unfurls, it becomes a word soup of acronyms, safety protocols, and on-the-nose metaphors. In 2025, for films in which Idris Elba plays a world leader, it is a true toss-up which is more logical. KATIE A House of Dynamite begins with an excellent first act, full of tension and expertly built suspense, and introducing us to interesting characters and a compelling, dread-inducing scenario. I didn’t mind the second time it takes us through the same events from a different perspective, but by the third, I was slightly frustrated, noticing the repetitiveness and that many of the characters didn’t seem to matter. The score is fantastic, and the performances are solid, but not enough new information is revealed over the three perspectives. The ending, which I was looking forward to after very nearly losing interest, is abrupt and unsatisfying. BODE It’s clear that director Kathryn Bigelow will forever be committed to holding a mirror up to America’s political landscape. A House of Dynamite continues that very mission by bringing a Rashomon -style approach to a doomsday scenario. On a moment-to-moment basis, it’s certainly watchable, even though the structure doesn’t entirely work, Bigelow still knows how to create tension, and she has formed an undeniably strong ensemble; however, in its repetition, the film fails to make a larger point about the severity of the situation, which isn’t helped by its total non-ending. It's pretty frustrating all around.