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SPEAK NO EVIL Starring: James McAvoy, Mackenzie Davis, Scoot McNairy, Aisling Franciosi, Alix West Lefler, and Dan Hough Director: James Watkins KATIE Had I not seen the trailer for Speak No Evil countless times, the slow deterioration of the increasingly sinister situation would have been more impactful. That said, it's still brimming with awkward tension, sometimes unbearably so. My patience eventually wore thin with the characters’ stupid decisions, but this effectively highlighted the extent to which they would go to preserve social etiquette and expose the weaknesses in the couple’s relationship. Above all else, James McAvoy is incredible, and it's worth seeing for his powerful performance alone, which veers from endearing and warm to sinister and malicious with a subtle flash of a sickeningly menacing grin. PAIGE The Speak No Evil remake never pushes its own boundaries, which is odd for a movie all about pushing boundaries. Though it is a solid thriller with a strong ensemble, especially James McAvoy's amazingly unhinged performance, it lacks suspense and doesn't really offer anything new. It’s essentially a shot-for-shot recreation of the Danish version, which has more to say about its subjects. The original also leaves a longer lasting impression on its audience than what we are left with here. It's by no means a terrible movie, and my criticism probably would be less if I hadn't just watched the original film so recently. AMARÚ You may not think it, but Speak No Evil is a banger of a crowd pleaser that is simultaneously hilarious and terrifying. Spurred by a “how the fuck do we keep forgetting how amazing this man is” performance from James McAvoy, I haven’t had this much fun in the theater all year. Combined with its sparing use of music, it’s a steadily increasing ball of unnerving squirms and nervous laughter that had me continuously guffawing and exclaiming with my fellow moviegoers. The climax isn’t as tense as its creepy build up, but sometimes it’s about the journey isn’t it? This journey had me dying! PRESTON This is not entirely the fault of the writer-director James Watkins, but I hated the protagonists. The incapable, sniveling husband and over-righteous, hypocritical wife made me glad for their comeuppance. Plus, given the spoiler of a trailer, the film is just too damn predictable. James McAvoy is as creepy as you might expect, but any tension that is built is quickly deflated by the tame violence and pure stupidity of the victims’ actions. Overall, an entertaining film that doesn’t live up to its own hype or potential. QUENTIN Had I gone into Speak No Evil completely blind, it likely would have ended up with a higher rating. The movie is built on a delightfully unhinged, “keep ‘em guessing” performance from James McAvoy, except if you’ve seen any of the trailers, which (in Germany, at least) were shown nonstop, there isn’t much to guess. The marketing pretty much lays out the entire movie for you. So, the first hour, which should be a slow-burn of simmering tension blandly exists before lazily heading into a finale filled with generic and standard home invasion tropes. McAvoy is great, but the trailers shot this movie in the foot.

BARBER Starring: Aidan Gillen, Aisling Kearns, Liam Carney, David Herlihy, and Simone Collins Director: Fintan Connolly AMARÚ Barber feels like it would fit right alongside BBC’s Sherlock , delivering weekly investigations as a TV show. Coupled with an interestingly personal character storyline for the always fantastic Aidan Gillen, I wasn’t too mad at it. While it feels longer than its 90-minute runtime, focusing on a slow and simmering pace rather than the flash-bang intensity of other private investigator content, Gillen is able to chew up the pensive moments with his grizzled demeanor and gravelly tone. Barber isn’t anything new, but Gillen carries the titular private-eye role like he’s known this character intimately for more than a few decades. PRESTON Barber neatly fits into a style of film that I particularly enjoy. It is a thoughtful and (somewhat excessively) slow-developing whodunit that wields the tools of dialogue and subtlety with journeyman-like effectiveness. Aiden Gillen performs the role of complicated private investigator perfectly, and one can imagine a successful TV series spinoff. The editing is rarely clunky, but it still suffers slightly in execution as director Fintan Connolly rushes to fit a confusing myriad of characters into the film’s denouement. Incidentally, the timing of its filming highlights the more annoying aspects of the pandemic, which is never fun to relive.

JULES Starring: Ben Kingsley, Harriet Harris, Zoë Winters, Jane Curtin, Jade Quon, and Anna George Director: Marc Turtletaub AMARÚ I’m not sure how to feel about Jules except to say that I liked it. I think. It’s a weird little tale that feels longer than its runtime, yet still ends before fully committing to the movie it wants to be. It slowly creeps along as a slice-of-life drama, dabbles into a character-driven look into aging’s devastating effects, then adds a dash of quirky sci-fi thriller. While those meandering tones provide bits of laughter and heart tugs along the way, the story’s throughline barely holds the plot together, being just interesting enough to keep me connected through the end credits. PRESTON Watching Jules is like visiting your grandparents to have a chat on an otherwise busy weekend. Everyday comings and goings are accentuated and, except for giggling at your quirky grandpa’s occasional F-bomb, it is rather mundane. Jules makes you feel warm inside the same way grandma’s lasagna does, even though it will never be mistaken for one crafted by expert chef Thomas Keller. The acting is well performed, and nonsensical CGI effects are avoided. Mostly, the simple storytelling gives us an opportunity to sympathize and empathize over the inevitable decline we all face as life pushes forward. JACOB I wouldn’t blame you for never having heard of Jules – I hadn’t until it released – but in the midst of a timid August release schedule, it’s nice to have a charming little indie like it floating around. There’s not much that’s especially novel about it, and most of the jokes don’t land, but the sweetness of the narrative ended up winning me over, nonetheless. That said, most things on the fringes of the narrative – like Ben Kingsley’s family connection subplot – don’t really work as well as they could, becoming the unfortunate collateral damage lost in the story’s telling.

THE IDEA OF YOU Starring: Anne Hathaway and Nicholas Galitzine Director: Michael Showalter ADRIANO The Idea of You has greatly grown on me. It certainly has its pitfalls, as it follows familiar beats and director Michael Showalter seemingly has no directorial vision for any of his movies, including this one. However, while the rom-com stuff is endearing and Anne Hathaway and Nicholas Galitzine are great together, the movie is very mature in its handling of the subject, doing a great job in its sincere approach to age-gap relationships and tabloid culture. Dare I say it, I got pretty emotional towards the end, making this a successful rom-com. KATIE The Idea of You is a fun and appropriately unrealistic fan-fiction-inspired rom-com that is elevated by Anne Hathaway’s undeniable star power. Playing 40-year-old mother Solène, there is a searing chemistry with 24-year-old Hayes Campbell, played by Nicholas Galitzine, although her glamour and beauty make it hard to believe anyone would question his attraction to her. Nonetheless, I was pleasantly surprised that the film touched on some interesting points about age-gap relationships and the unique type of misogyny that affects women in the public eye, but it would have been more satisfying if it interrogated these issues further. CALEB I’m not above a schmaltzy, feel-good romance, but there’s no fun to be had with The Idea of You . There’s no romantic chemistry or sexual tension between Anne Hathaway or Nicholas Galitzine, and the whole narrative feels overwhelmingly sad (but not in the right way). The sincere attempt to explore aging is occasionally effective, but it is hard to take it seriously amidst all the boy-band melodrama. The cinematography reminded me of a bad Hallmark movie too, and it's surprising Hathaway would attach herself to something so cheap. I know she’s rom-com royalty, but The Idea of You is well below her usual standards. PAIGE The Idea of You turned out to be a more thoughtful and sophisticated romantic movie than I had anticipated. While the story is predictable and feels like fan-fiction at times, it strikes a decent balance between its light and heavy moments fairly well. Plus, the chemistry between Anne Hathaway and Nicholas Galitzine keeps this film ticking along. You can't take your eyes off of them as they radiate through the screen, producing an intense passion. Overall, despite being cheesy and cliché, this movie is easy to swoon over because of its warmth and lightheartedness.

THE UNION Starring: Mark Wahlberg, Halle Berry, J.K. Simmons, Adewale Akinnuoye-Agbaje, Alice Lee, Jackie Earle Haley, Jessica De Gouw, Stephen Campbell Moore, Mike Colter, Dana Delany, and Lorraine Bracco Director: Julian Farino QUENTIN It seems like 2024 has had a never-ending string of mediocre buddy comedies, and The Union is just another entry on the pile. Honestly, my reviews of this, The Instigators , Axel F , Jackpot!, and several more are all pretty similar. The acting is fine, the plot is predictable, there are a few chuckles to be had, and the action, though generic, is entertaining enough. That said, of all the recent offerings in this genre, I guess this is one of the better ones, but that’s a low bar and it’s really splitting hairs. It’s a decent yet disposable distraction on Netflix – no more, no less. PRESTON Perfectly unlikely, but predictable events unfold in a cliché spy action-comedy that is the Netflix-iest movie to ever movie on Netflix. Halle Berry (Roxanne), Mark Wahlberg (Mike McKenna), J.K. Simmons (Tom Brennan), and Mike Colter (Nick Faraday) form a pleasurable enough cast that suits the format just fine, and they are able to inject enough charm to make the film an ok watch. No need to overcomplicate things here, this is after-work fodder for the masses that you may enjoy if you want to just shut down the old thinker for a couple of hours.

BUGONIA Starring: Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, and Alicia Silverstone Director: Yorgos Lanthimos QUENTIN As a director, it must be tough when your adherence to being weirdly unpredictable leads to being the total opposite. While I understand it’s a remake, that is the problem director Yorgos Lanthimos faces with Bugonia . Had this black comedy been made by any other filmmaker, I likely would have enjoyed the ride a bit more. However, I knew exactly where this story was going from jump street, which hurt my experience a bit. That aside, the performances are as excellent as you’d assume, and Lanthimos’ delightfully oddball tone permeates every corner of the film. For better or worse, it’s exactly what I expected. ADRIANO Yorgos Lanthimos must be enjoying his recent success with Poor Things and The Favourite , and while Bugonia isn't at that tier, I do think he found an interesting angle to flesh out his signature cynicism. Anchored by two magnificent performances from Emma Stone and a career-best Jesse Plemons, Bugonia takes a wild stab at the potential failure of the human experiment, with wild filmmaking that takes a non-judgmental yet scathing dive into the minds of conspiracy theorists at the bottom and the powerful CEOs at the top. It's the type of Lanthimos magnetism that makes a film unforgettable. BODE I admittedly haven’t truly liked a Yorgos Lanthimos flick since The Favourite . I wasn’t as hot on Poor Things as everyone else, and I was even more mixed on Kinds of Kindness . But Bugonia managed to get me back on board. Though a tad overlong, there’s still enough that makes its deeply sad (but still absurd) damnation of humanity entirely engaging. Emma Stone and Jesse Plemons are expectedly great, newcomer Aidan Delbis is a real find, composer Jerskin Fendrix delivers a career-best score, and Robbie Ryan’s camerawork is as wild as ever. It’s a mostly solid turn for the Greek freak. PAIGE Bugonia is one of those movies that truly keeps you on your toes. Just when you think you’ve figured out where it’s headed, director Yorgos Lanthimos throws another wrench into the story and keeps you guessing. It’s a disturbing and dark comedy, yet also a strange, gripping thriller that is elevated by Jerskin Fendrix’s grand score which keeps the tension high throughout. While I found it to be a profound and captivating watch, there are a few undercooked subplots that if fleshed out could’ve added more layers to the story. As expected, Emma Stone is excellent, but it’s Jesse Plemons who steals the show, delivering his best performance to date. AMARÚ Bugonia is director Yorgos Lanthimos’ complete undressing of today’s society in his uniquely bonkers fashion. From corporate greed to the double speak, vague buzzwords, and emotional manipulation of our social climate, Lanthimos presents our current culture’s frustrating ideological battles in a way that’s depressingly outlandish yet surprisingly straightforward. Both Emma Stone and Jesse Plemons are riveting, and composer Jerskin Fendrix’s harrowing score adds to the paranoid insanity that steadily has you questioning how this will end (being a Yorgos project, anything is plausible). Your enjoyment will hinge on your willingness to accept Yorgos’ crazy, and if you’re willing, then there isn’t much to objectively dislike. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2 025 Zurich Film Festival.

TÁR Starring: Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong Director: Todd Field NICK One minimalist description of film is "a series of conversations," which may be the most apt way to describe Tár . The early portions work like acts in a play, consisting of Cate Blanchett performing some expertly written dialogue in extended scenes. It's odd to consider recent work from someone with as storied a career as Blanchett to be her best work, but it's certainly in the conversation. Her performance is so airtight that it was enough to make me search out whether Lydia Tár was a real person. Sadly, her showing here wasn’t enough to warrant the near three-hour runtime. It’s so unnecessary. JACOB A ferocious return to theaters for director Todd Field, Tár is a magnificent rendering of speech, atmosphere, performance, and power…and what happens to all of them in the face of a public scandal. Cate Blanchett commands the screen in a career-best performance as Lydia Tár, and a pin-sharp script pokes at precisely who she is, both as a larger-than-life artist and citizen of the world, if the two can even be separated. Every shot is meticulously composed, every edit near-expertly placed, and classical music fans especially will have a field day with all the film’s many references and revisitations. ADRIANO I couldn’t get enough of Tár . I already loved how writer/director Todd Field writes, and the dialogue in this movie is just so snappy and engaging. There is a brilliant tracking shot early on that is so well done that I was in awe. The whole movie is well done, to be honest. It’s extremely dialogue heavy, yet the almost 3-hour runtime zooms by because Cate Blanchett is so absurdly fantastic. She imbues the character with amazing nuance, leading to a captivating performance. Admittedly, the ending is abrupt, so it felt kinda anticlimactic, but it still nailed the film's themes of fame and power masterfully. JTE I'll give you three good reasons to see Tár : Cate Blanchett, Cate Blanchett, and Cate Blanchett. Tár dives into the dynamics of power and the psychological tendencies of someone who is at the peak of their profession, and Todd Field hasn’t missed a beat as he returns to the director’s chair for the first time in over a decade. But at the center of his story is Blanchett, and this is her film from the opening scene to when the credits finally roll. While some may find the film to be too long, it's never dull thanks to Blanchett's Oscar-worthy performance. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

CHRISTY Starring: Sydney Sweeney, Ben Foster, Merritt Wever, Jess Gabor, Ethan Embry, Katy O'Brian, and Chad Coleman Director: David Michôd NICK As someone who has remained unconvinced of Sydney Sweeney's dramatic lead potential, Christy is without a doubt her strongest case yet. Sweeney and co-star Ben Foster are both excellent in this, and when the focus is on the relationship of their characters, it's engaging. Unfortunately, the boxing aspect is where things fall short. For as much boxing as there is in the film, the in-ring scenes aren't dynamic in any way, and it leads to weightless fights. A career-best performance for Sweeney, no doubt. But the portrayal of Christy Martin's boxing career deserved more effort. ADRIANO I acknowledge these movies are not for me, but still, I despised Christy . Sydney Sweeney's fine, mostly doing the cry face she often does, but she has some strong moments towards the end. Beyond the fact that this goes lazily through the typical sports biopic tropes, Christy mainly exists to prop-up Christy Martin's abuse from her husband and mother (played admittedly great by Ben Foster and visibly horrible by Merritt Wever). I know these were terrible people, but the complete lack of nuance assures my stance that this is trauma porn masquerading as inspiration. QUENTIN There isn’t anything particularly ground-breaking about Christy , as it follows most of the usual sports biopic tropes, especially those centered on queer women athletes. But for someone who had no idea about Christy Martin’s (a committed Sydney Sweeney, giving a career best performance) story, I was engaged through all the standard sex, drugs, abuse, and mother-daughter friction. Granted, it helps when the performances are this good (the perpetually underrated and chameleonic Ben Foster also is great), but there is a reason these stories keep getting told. Simply put, they make for good drama. Yeah, it’s somewhat familiar, but that’s not always a bad thing. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

WEAPONS Starring: Julia Garner, Josh Brolin, Alden Ehrenreich, Cary Christopher, Austin Abrams, Benedict Wong, and Amy Madigan Director: Zach Cregger ADRIANO It doesn't reach the highs of writer/director Zach Cregger's previous horror outing, Barbarian , but Weapons shows that his knack for absurd horror-comedy wasn't a fluke. I don't know if everything that's bubbling under the surface is quite realized beyond its portrayal of community hysteria; however, even if you ignore the subtext, you still have a fun movie that keeps turning up the dial in obscene ways with genuinely shocking reveals that enhance the evolving plot. I certainly need to sit with Weapons longer, but I recognize how much of a unique thrill ride it was, and maybe that's enough. NICK Although I enjoyed parts of Zach Cregger's Barbarian , I was ultimately underwhelmed. The same is true of his latest film, Weapons . Much like Barbarian , there's some greatness (an intriguing story and dynamic camerawork), but once again, my issue is with the sum of its parts. The spooky story is undone by out-of-place (though funny) comedy that undermines the eeriness of the film. Even the well-built mystery stutters a little as the film transitions into its bonkers final act – an act I enjoyed, but with some serious tonal whiplash. Now that I know what it is, perhaps a revisiting is necessary. ROBERT A big debate recently has been about the lack of true comedy lighting up silver screens, but what has been apparent is that a number of funny voices opt for genre filmmaking. Such filmmakers have extensive comedy backgrounds, and that is true of Zach Cregger and Weapons . I am one for tonal shifts if they don’t inspire dissonance, and I think there is a juxtaposed realness with wackiness that Weapons hops to and from expertly. The same is true of its parallel seriousness and comical ridiculousness. Cregger blends a powerful cast with smart pacing and vibrant cinematography; run towards it at all costs. PAIGE Weapons is a thrilling and memorable rollercoaster of a ride that will have you gripping the edge of your seat throughout. The film’s atmosphere is certainly tense and moody, but it also isn’t afraid to have a fun sense of humor. Its episodic storytelling structure allows each of the characters to shine and enhances the film’s overall approach to the narrative. While the film’s buildup is more compelling and satisfying than the ultimate payoff, which lacks substance, I can’t help but feel that after his sophomore outing, writer/director Zach Cregger has solidified himself as a must-watch filmmaker. QUENTIN When it comes to pure, edge-of-your-seat horror-suspense engagement, I’m not sure there are many titles that compare to Weapons . The Pulp Fiction -ish story structure kept me wondering what was coming next with wide eyes, and while the performances are exactly as good as they need to be, they ultimately take a backseat to Zach Cregger's writing and direction. After this and Barbarian , he’s clearly “that dude" for new horror (maybe moreso than Jordan Peele). Admittedly, the ending gets a little too comical, presenting a tonal whiplash that could break your neck, but 99 percent of a masterpiece is still goddamn good. KATIE Weapons fires on all fronts. It’s brimming with ideas, full of incredible performances, particularly the young Cary Christopher (one of the best child actors I’ve ever seen in a horror film), and most importantly, is genuinely scary. The terrifying imagery will undoubtedly haunt me for weeks to come, and the jump scares feel earned rather than cheap, effectively speaking to modern American societal fears in this spine-chilling fairy tale. It kept me perpetually tense and desperate to know what was around each corner, and I found that the dark comedy perfectly complemented the horror, creating an even more unsettling experience. BODE It’s obvious how large Paul Thomas Anderson’s Magnolia looms over Zach Cregger’s latest film, Weapons . That go-for-broke inspiration is apparent in almost every frame, right down to its insane close. It’s a big showcase of his impressive skills and clear interests as a filmmaker. It’s almost a shame that - for as entertaining as it is throughout - it doesn’t leave you with more to chew on, especially in comparison to its main inspiration (or even Cregger’s own Barbarian , which did more with less). Still, studio horror is in a good place if we keep getting big swings like this. AMARÚ Zach Cregger has a masterfully compelling handle on his direction, with imagery and camerawork that really puts the audience into his stories. With that said, Weapons is a clusterfuck. A hodgepodge of frustration, confusion, intrigue, humor, bewilderment, mystery, and captivating writing (also by Cregger) that had my love of puzzle-piece storytelling battling my exasperation with stupid people doing stupid things for stupid reasons in horror films. Which side won depended on how the film landed its multi-point-of-view conundrum, and while I still have questions and it’s a bit too long, I can’t deny that I left satisfied.

THE GRAY MAN Starring: Ryan Gosling, Chris Evans, Ana de Armas, Billy Bob Thornton, Julia Butters, Regé-Jean Page, Jessica Henwick, Alfre Woodard, and Dhanush Directors: Joe & Anthony Russo AMARÚ Hitmen, corrupt officials, gun fights, and car chases. Did I miss anything from every assassin movie of the past 25 years? Well, The Gray Man didn’t miss anything either, except it upgraded those things to hit squads, corrupt bosses, bazookas, and plane crashes. And you know what? Who cares!? The Russo Brothers direct the hell out of some action; Ryan Gosling’s default state is dry, sarcastic, and unkillable; and Ana De Armas keeps adding to her future 007 resume. Plus, damn was it good to get sinister Chris Evans back on screen. Good ass times. Good. Ass. Times. JACOB Though it boasts some solid action (and it mostly works on that front), there seems to be a ceiling on The Gray Man ’s potential that it can’t hope to break. The Russo Brothers’ sophomore , post-MCU directorial effort is messy and unfocused; there’s little to love and few things to really like beneath the surface. Ryan Gosling and Chris Evans are clearly having fun, but the movie itself gives them little to work with, while the rest of the ensemble gets even less. Even Ana de Armas seems held back here. Perhaps an R-rating would have reconciled those shortcomings. NICK The Gray Man has a lot of intrigue: the Russo brothers in the director's chair, Ryan Gosling's first role since 2018's First Man , and the continuation of Chris Evans playing bona fide assholes. Apparently, that’s a recipe for success because this film kicks all kinds of ass. The script has the whip-smart dialogue needed to set the right tone for the film, with the perfect cast to convey it (this is one of the best casted films I’ve seen in awhile), while the Russo Bros’ use of light and colour innovates and elevates each action sequence. I highly recommend you see this one in theatres. QUENTIN As an assassin v. assassin story, The Gray Man is overly familiar and predictable, yet The Russo Brothers still managed to create an entertaining action spectacle that should be considered amongst the best Netflix Original Blockbusters. One airplane sequence and a few weirdly inserted drone shots aside, the cinematography, fight choreography, and stunt work are top notch, while Ryan Gosling and Chris Evans are clearly having a blast. I wish it were a bit quippier, but I’m here all day for badass Baby Goose and Evans’ douchebag villainy. Although The Gray Man may not be all that original, I’m 100% down for a sequel. PAIGE The Gray Man doesn’t have much going on in its bland gray matter. There are some decent action sequences and an attractive cast, but nothing really pops for me besides Chris Evans seemingly having a ball. It seems that Netflix is trying to spend all the money in the world to make their own Bond franchise, first with Red Notice and now this. But shouldn’t $200 million buy you something more than “just alright?” I mean, hey, watching two of my celebrity crushes (Ryan Gosling and Evans) kick each other’s asses was pretty hot, but other than that, it’s just another spy vs. spy film. JOSEPH The Gray Man is a highly derivative spy film. While the action set pieces are impressive, the writing is a bit lackluster, even comical at times. Despite that (while also running about 20 minutes too long), there is enough to enjoy and be excited over. The fight choreography and camerawork in particular are eye-grabbing, while Chris Evans, by far the best reason to watch this movie, gives a fantastic performance. I’m hoping the upcoming installments will prove to be more unique and engaging, but for now, the series just has a lot of potential.

SWEETNESS Starring: Kate Hallett, Herman Tømmeraas, Aya Furukawa, Justin Chatwin, Amanda Brugel, and Steven Ogg Director: Emma Higgins This film has been reviewed by Nick, Quentin, and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK For a film completely off my radar, Sweetness is easily one the biggest surprises of Fantasia this year. This is a great exploration of the way people connect to artists through trauma and how that connection can turn into obsession. Kate Hallett is great as the often delusional but always tragic Rylee; however, it's the avalanche of the story that really locked me into this one. As things would spiral out of control, I would become further immersed. Other than a slight disconnect regarding the ending which affected my rating, I thoroughly enjoyed this one. BODE 2025 has seen some films try to stake their claim as Misery for a new generation, with Hurry Up Tomorrow recently putting a pop star spin on that formula (particularly in its third act). But while that Weeknd vehicle failed in achieving that goal, Sweetness comes along and manages to do the opposite. Writer-director Emma Higgins gives this tale of obsession a truly sour spin, ratcheting up the intensity and uneasiness at nearly every turn. It’s only made more effective by Kate Hallett’s remarkably grounded performance, bringing layers to an ultimately tragic protagonist. Definitely a highlight at Fantasia. QUENTIN Sweetness is essentially a modern update to Stephen King’s Misery , specifically speaking on the current era of squads like Swifties and The BeyHive, where pop stars have reached near God-like status complete with faithful and extremely protective cultish followings. As such, Sweetness naturally has moments of young adult, Gen Z cringe; however, they are offset by a willingness to go much darker than one might initially expect. For the most part, the movie — built on a tight-rope performance from young Kate Hallett — works, aside from the ending, which delivers a message that I don’t ultimately love.

THE ADAM PROJECT Starring: Ryan Reynolds, Walker Scobell, Jennifer Garner, Mark Ruffalo, Zoe Saldana, and Catherine Keener Director: Shawn Levy NICK Following the success of Free Guy , director Shawn Levy and star Ryan Reynolds bring us another success with The Adam Project . It’s not quite as comedic as their previous effort though, as this one delves more into a surprisingly emotional family story. Still, newcomer Walker Scobell has some great comedic moments amongst an A-list cast who do a lot of the heavy lifting for him. However, the film isn’t flawless. Catherine Keener feels miscast and it has notes of family film cheesiness, but it still makes for a fun Netflix blockbuster. We’re two films into the Levy/Reynolds partnership and so far, so good. PAIGE The new dynamic duo of director Shawn Levy and actor Ryan Reynolds are back with The Adam Project , their brand new sci-fi adventure film. This flick harkens back to the cheesy-but-fun Amblin films of the 80s, mixing the emotional elements you would expect with Ryan Reynolds' razor sharp sarcasm. Furthermore, Walker Scobell was perfectly cast as a younger version of Reynolds’ character. This is just one of those movies that will make you want to call your family right after seeing it and tell them you love them! AMARÚ The Adam Project is simply awesome; not because the action is thrilling, or because the stacked cast is all in with each role, or because the effects are surprisingly refreshing for today’s go-to sci-fi trope (time travel/multiverses). While all of those things are true, it’s because Walker Scobell (Young Adam) brings the heart of the entire film together. His chemistry with Ryan Reynolds (Big Adam) brings new life to the Ryan Reynolds-ness of it all (that makes sense, right?). The Adam Project is just a good ass time, and the sweetness of the relationships are what make it a good ass time. JOSEPH I’m not exactly sure what I expected from The Adam Project . I guess something along the lines of an Amblin-style, coming-of-age adventure flick. While it does have some of that, it lacks a sense of wonder. I expected a little more use of sci-fi elements and technology, but it just wasn’t present enough for my taste. For better or worse, Ryan Reynolds brings his trademark charm, while Walker Scobell is annoyingly perfect at emulating it. Still, The Adam Project boasts some spectacular and heartfelt scenes that make it fun and worthwhile.