THE OUTRUN Starring: Saoirse Ronan, Saskia Reeves, Stephen Dillane, and Paapa Essiedu Director: Nora Fingscheidt PAIGE Saoirse Ronan's vulnerable and nuanced performance carries The Outrun throughout its entire runtime, yet it's not enough to hold one’s attention as this is a cold story that lacks intrigue. Though the film does feature some stunning shots and moments, its storytelling structure ultimately detracts from the overall impact of the movie. It’s told in a disorienting, non-linear way that ends up hurting the rhythm of the film. I respect its honorable intentions, but it doesn’t have the finesse needed to be a meaningful movie about the difficulties associated with addiction. ADRIANO It is crazy how a single performance can elevate a movie. In The Outrun , Saoirse Ronan's erratic outbursts are wonderful, but it's her nuance when she's away from the alcohol that brings loads to the film's themes. That said, while I can see how this movie could be effective for some, it was a chore to get through. The non-linear structure is more confusing than effective, and the meandering tone continuously took me out of it. Had it not been for Ronan's performance, I wouldn't have felt anything for The Outrun . AMARÚ I decided to watch The Outrun because of Saoirse Ronan’s name alone, and while Nora Fingscheidt’s direction is strikingly beautiful, its commanding visual focus reminded me why I don’t really watch Saoirse Ronan movies. Most of them are deeply dramatic and meticulously paced, but this one’s sluggish plot is as boring as her character Rona’s life in Scotland’s rural Orkney Islands. Seriously, you can’t sound more remote than an island off an island. Add in inserts of dissertation-like monologues over alternating aspect ratio shots, and it feels more like a biographical documentary of a recovering alcoholic than a compelling narrative you’d wanna follow.

THE LAST VOYAGE OF THE DEMETER Starring: Corey Hawkins, Liam Cunningham, David Dastmalchian, Chris Walley, Jon Jon Briones, Stefan Kapicic, Aisling Franciosi, Woody Norman, Martin Furulund, Nikolai Nikolaeff, and Javier Botet Director: André Øvredal JACOB For a film set almost entirely on the water, it’s a disheartening thing to witness just how dry The Last Voyage of the Demeter actually is in nearly every respect. Apart from some neat creature prosthetics (which are seldom seen) and a so-so action sequence (which lasts all of one minute), the film is essentially two hours of waiting for something interesting to happen, only to cut to the next scene every time something does. The bones of a solid creature feature are there; there’s just no meat on them. Even the largely solid cast can’t overcome bad pacing. PRESTON With The Last Voyage of the Demeter , I felt like I was also on an excruciatingly long and uncomfortable voyage across the vast sea expanse of a cherry-picked Bram Stoker excerpt, whose primary merit is that it substitutes itself perfectly in this particular trope. The dialogue is strained while the storytelling flip-flops between the protagonist’s search for meaning and a confusing epistolary narration that only adds to the inconsistency felt from beginning to thankful end. The haphazard attempts at character development simply fail, and I found myself rooting for the “demon,” if only to get closer to the journey’s conclusion. QUENTIN While The Last Voyage of Demeter isn’t a must see, I’m not as down on it as my cohorts. Sure, it drags at times, which is to be expected when a single book chapter is stretched out to fill a 119-minute movie, but it does decently well in maintaining an atmosphere of dread and foreboding throughout. This is mostly thanks to director André Øvredal’s use of light and shadows to successfully build upon the notion that the scariest thing is the thing you can’t see. Don’t read into this as a comparison of quality, but it’s kinda like Alien on a Victorian-era merchant ship. ADRIANO The Last Voyage of the Demeter squanders so much potential that it’s borderline tragic. A horror movie about Dracula (Javier Botet) massacring folks on a boat? Sounds like a blast, right? Well, unfortunately, director André Øvredal made the idea just way too bland to enjoy. Its talented cast is mostly wasted, and the scares rely less on tension and more on Dracula jumping at the screen, hoping to God that counts as scary. And above all, I was just bored, which is the last thing I should have been for this movie. A fun idea that never once sets sail. CALEB As a fan of André Øvredal’s direction, I had high hopes for The Last Voyage of the Demeter . I love the idea of Dracula (Javier Botet) massacring sailors, but I can’t deny how bored I felt throughout most of its runtime. The one-note characters keep the film from having any stakes, which isn’t great when you’re dealing with a vampire. Dracula’s skeletal design was spooky, but poorly lit cinematography, quick cutting, and muddy effects really takes the wind out of his sails. I was hoping to give Demeter the benefit of the doubt, but I just couldn’t sink my teeth into this one.

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.

FRESH Starring: Sebastian Stan, Daisy Edgar-Jones, Jojo T. Gibbs, Dayo Okeniyi, and Charlotte Le Bon Director: Mimi Cave NICK We’re only in March, but between Fresh and Pam & Tommy , Sebastian Stan is here to make 2022 his year. This film, which explores the dark potentials of dating in the modern world, is another outlet for Stan to flex his acting chops. It’s so evident how much fun he has in his roles, and that only enhances his performance as Steve. He’s joined by Daisy Edgar-Jones, who is starting to make a name for herself, and the two have such a natural chemistry. It’s a difficult film to discuss spoiler-free, but Fresh is great. Go in with as little information as possible. JOSEPH Fresh is absolutely wild and insane. I went in with virtually no expectations and was thrilled. It’s such a fun film to watch thanks to the twists and turns that keep you constantly guessing what’s going to happen next. Sebastian Stan, in particular, gives such a bizarre performance, but it’s a flawless one. Daisy Edgar-Jones is a great final girl too, inspiring you to root for her throughout the film. If there’s any real flaw, it’s that Fresh ends with a few unanswered questions, but nothing you can’t forgive. Other than that, it’s good, bloody fun. PAIGE Director Mimi Cave makes a spectacular meal out of the horrors of modern dating in her brand new film Fresh . Daisy Edgar-Jones and Sebastian Stan give superb performances and are electric together as the film’s central duo. Meanwhile, Cave brings the film stylishly to life, leaving the audience uncomfortable and on the edge of their seats craving more (not to mention gifting us a killer soundtrack). If you like dark and twisted horror comedies, then this flick will quench your appetite! QUENTIN For the first half hour, Fresh is dripping with tension as you try to figure out what Steve’s (Sebastian Stan) game is. However, the 30-minute mark is when the opening credits roll (yes, 30 minutes into the movie), the movie reveals what’s what, and the entire thing fizzles out. It’s hard to articulate its issues without entering spoiler territory, but just know that you’ve seen this basic story several times before and it mostly plays out exactly like you’d expect. To his credit, Stan seems to be relishing his role, but Fresh is a boring entry in an overplayed and hard-to-make-original genre.

VENGEANCE Starring: B.J. Novak, Boyd Holbrook, Ashton Kutcher, Issa Rae, J. Smith-Cameron, Eli Bickel, Dove Cameron, and Isabella Amara Director: B.J. Novak NICK Who'd have thought a film that starts off so shallowly could be so insightful? B.J. Novak's directorial debut has a lot to say about relationships and the climate of our world, and in true 21st century fashion, it does so through a podcaster. When the film is a grounded, quasi-family story, it’s great. There are some very funny jokes and solid character growth. However, it falls apart in the final act. It relies on a few film clichés and undoes its good work by trying to be bigger than it needs to be. Still, an entertaining watch and solid launching pad for Novak. JACOB B.J. Novak’s Vengeance may not revolutionize murder mysteries or offbeat comedies, but it remains one of the smartest movies 2022 has to offer and a stellar debut for Novak in the director’s chair. While it doesn’t quite succeed at everything it sets out to do, Novak’s ingenious script offers three-dimensionality to characters most other Texas-set comedies would only poke fun at, confronting stereotypes head-on from both sides of the aisle in nuanced and often unexpected ways. The entire cast turns in excellent work too, but it’s Boyd Holbrook and Ashton Kutcher that end up stealing the show. QUENTIN In his directorial debut, B.J. Novak has a lot on his mind about the current state of America, touching on everything from aspirational fame, hook-up culture, small town bureaucracy, the exploitative true crime genre, and the Red State v. Blue State divide. It’s admittedly a lot, and while the commentary is sharper on some points than others, the gist of what he is saying in the less clever moments still is enough to get you thinking. That’s hardly a complaint though, as Vengeance remains darkly funny with an engaging mystery, not to mention the excellent performances from Boyd Holbrook and, of all people, Ashton Kutcher.

GHOSTLIGHT Starring: Keith Kupferer, Dolly De Leon, Katherine Mallen Kupferer, Tara Mallen, and Hanna Dworkin Director: Kelly O’Sullivan AMARÚ I recently mentioned that 2024 went two-for-two in outside-the-box music biopics (Piece by Piece and Better Man ). The year also delivered an even more successful two-for-two in dramatic ensemble pieces highlighting how theater can heal the soul. Ghostlight is an amazing second punch to Sing Sing’ s first due to its outstanding cast, led by my Oscar snub Keith Kupferer, and a devastating story unfolded beautifully through director Kelly O’Sullivan’s screenplay. Ghostlight will stick to your ribs for days after experiencing it, leaving you both heartbroken and hopeful in everything that life brings, whether tragic or beautiful. PAIGE Ghostlight is a tender and ever-so-sweet film that packs an emotional punch, so have your tissues nearby. The film does a brilliant job of examining a family's grief and how each of us deals with loss differently. It also looks at the arts and how theater specifically can be used as an outlet to access emotions to help one break free and eventually heal. Its phenomenal script is enhanced by superb performances, particularly from Keith Kupferer, who, in my opinion, delivers one of the year's best performances. To be honest, this little indie is one of the most moving films of 2024, so if you can, seek out this gem. QUENTIN Ghostlight is a somber, hidden gem that explores grief and the ways in which people process it. Dan’s (Keith Kupferer) denial and Daisy’s (Katherine Mallen Kupferer) anger are palpable as they deal with the loss of a loved one, and the real-life family connection of the on-screen Muellers, who are portrayed by the entire Kupferer family, only adds to the authenticity. Much like Sing Sing , Ghostlight also explores the healing power of the theater and, honestly, does a better job of it despite not having the same star power or studio clout behind it. It’s a heavy watch, but a worthy one, too.

FREAKIER FRIDAY Starring: Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons, Manny Jacinto, Mark Harmon, Maitreyi Ramakrishnan, and Chad Michael Murray Director: Nisha Ganatra NICK One could make a strong case that 2003's Freaky Friday reigns supreme when it comes to body-swap comedies. With that in mind, the highest praise I can give Freakier Friday is that it does right by its characters. It was the right choice to have Jamie Lee Curtis and Lindsay Lohan anchor this story because they're both great (especially Curtis), which takes the pressure off their younger counterparts (Julia Butters and Sophia Hammons). The thing that really makes this work, however, is the heart threaded through it. I laughed, I teared up, and I continuously found myself with a smile on my face. ADRIANO The thing that made Freaky Friday work was the genuine heart intertwined with the body-swap comedy. Sadly, Freakier Friday leans too far into the body-swap humour, which would be fine if it made me laugh, but it rarely did, even if Lindsay Lohan and Jamie Lee Curtis make some of the cringier moments watchable. The final 20 minutes finally brought the film to a heartfelt place, which is a little late but not entirely ineffective. Admittedly, Freakier Friday could've been way worse, but it still reeked of desperation. Also, Julia Butters, get back to Steven Spielberg and Quentin Tarantino as soon as possible. Want to hear even more of our thoughts? Nick and Shak join Matt to take A Bigger Bite out of Freakier Friday HERE .

THIRTEEN LIVES Starring: Viggo Mortensen, Colin Farrell, Joel Edgerton, Tom Bateman, Sukollawat Kanarot, Theerapat Sajakul, Sahajak Boonthanakit, Vithaya Pansringarm, Teeradon Supapunpinyo, Nophand Boonyai, Paul Gleeson, Lewis Fitz-Gerald, and U Gambira Director: Ron Howard QUENTIN All things considered, I don’t have many complaints about Thirteen Lives . It’s competently directed, the performances are workmanlike and understated (top notch accent work too), and the story is told with respect and care. That said, this is the true story of something that was all over the news in 2018, so there is absolutely zero tension (at least for me) because I remember the whole ordeal. The lack of distance from the actual events makes it fall flat. It’s not bad…and in a vacuum, I’d even say it’s good…but if it had been made 10-15 years from now, it might have been great. JACOB Ron Howard’s Thirteen Lives might be considered a return to form for the director, if only the return wasn’t far more tame in execution than it is in concept. The dramatization of the Thai Cave Rescue not only lacks much of the actual event’s drama, but its tension, as evidenced by news footage and the incredible documentary The Rescue . Truthfully, it’s the lack of score and flare that ultimately render this one unremarkable in the face of a miracle. That said, it works enough to not feel like a waste of time, and the performances and pacing are largely well-handled. ADRIANO Thirteen Lives is one of those movies that I don’t know how to review because there simply isn’t much to say. It’s generic. If the only thing worth mentioning is how great the sound is, it’s not the best sign. Is this movie bad? No… but it’s meh. This story was on the news for weeks, and it was so recent that you’re gonna need to do something more interesting than just blandly telling us what we already know. It couldn’t even manage to be a cheesy feel-good movie. It just decides to remain unremarkable. I didn’t hate it, but I’m never seeing it again.

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.

THE MARVELS Starring: Brie Larson, Teyonah Parris, Iman Vellani, Samuel L. Jackson, Zawe Ashton, Zenobia Shroff, Mohan Kapur, and Saagar Shaikh Director: Nia DaCosta AMARÚ The Marvels feels like it had so much more story to tell (at least 30 minutes’ worth), and its makeshift structure is clearly a product of the end of the MCU’s Bob Chapek era. But while some emotional moments and plot points are underdeveloped, the film is ultimately an enjoyable time and highly rewatchable. The lead trio shines together (Iman Vellani is just a fucking delight), and director Nia DaCosta puts together great set pieces, both comedic and action-packed. Plus, the endings (worth a half-reel alone) hold promise that the so-called post-Endgame “mess” will soon be behind us. NICK Just as it feels like things are about to get heavy in the MCU, The Marvels boasts a lighter tone, which is a welcome change. The three leads (Brie Larson, Iman Vellani, Teyonah Parris) work well together, and though I wasn’t particularly a fan of Ms. Marvel , Kamala Khan (Vellani) is the highlight here as her quirks are vastly improved when paired with seasoned superheroes. It’s certainly no homerun, though, thanks to a sorely underdeveloped villain and a progressively messy plot, but I can’t deny I had fun with the creative set pieces from director Nia DaCosta (the opening fight is excellent) and the team's chemistry. QUENTIN For a person who thinks both Captain Marvel and Ms. Marvel are bottom-tier MCU offerings, The Marvels might be slightly better than I expected, but that doesn’t elevate it any higher than just okay. The opening fight scene is admittedly a lot of fun, but the movie also has a forced, almost pandering, Bollywood-inspired set piece and a silly sequence set to “Memory” from Cats that rivals the goofiest parts of Love and Thunder . Plus, overall, the plot is just thin and messy, not to mention an ending that sets up a future I have zero interest in (the mid-credits scene is a different story). ADRIANO I'm not one of those people who enjoys constantly harping on Marvel, but if The Marvels is any indication, their reign is coming to an end. It's not horrible, but it's certainly nonsensical from a story and tone perspective. It's all over the place, and the villain is as undercooked as it gets. Still, I did have fun, though. When director Nia DaCosta was able to express some creative freedom, it elicited some enjoyment and laughter out of me, as did the three leads, especially Iman Vellani. However, I did not have nearly enough fun to call this movie good. PAIGE The latest MCU entry, The Marvels , shines due to its stellar chemistry between leads Brie Larson, Teyonah Parris, and Iman Vellani. It’s got boatloads of fun action sequences and comedic moments that will have you grinning from ear to ear. While this well-paced popcorn flick is full of energy, I can’t help but feel a wee bit underwhelmed by another weak MCU villain and a subpar script that felt like scenes were missing from the final cut. Although it falls in the middle of the road in regards to Marvel's films, I walked away joyfully entertained with this lighter and more buoyant outing. KATIE I was so pleasantly surprised by The Marvels . Unlike the latest Marvel offerings, director Nia DaCosta brings creative flair and originality to inject humour and heart into the story, as well as composing some entertaining set pieces. It’s well-paced and energetic, and driven by the genuine chemistry between the leads Brie Larson, Teyonah Parris, and Iman Vellani. Although the script is a little weak, and I would have liked for the villain’s plot to have been further developed, it’s the first Marvel film in a long time that I can honestly say I’d rewatch.

THE INSTIGATORS Starring: Matt Damon, Casey Affleck, Hong Chau, Ving Rhames, Ron Perlman, Toby Jones, Michael Stuhlbarg, Alfred Molina, Paul Walter Hauser, and Jack Harlow Director: Doug Liman AMARÚ One of my favorite movie genres is stacked ensembles coming together to have tons of fun, and The Instigators is Ocean’s Eleven -level entertainment, with alums Matt Damon and Casey Affleck leading this comedy of criminal errors. Director Doug Liman reaffirms his ability to create great action movies with just the right amount of heart as he throws us straight into the fray with a breakneck pace, an intelligently quippy script, and irreverent yet genuine performances, especially from Damon. I couldn’t keep the smile off my face during this hilarious, rip-roaring heist-gone-wrong-in-all-the-right-ways. NICK Some of the best team-ups in film come from characters who find themselves working together due to happenstance, and The Instigators is yet another example. Led by Matt Damon and Casey Affleck, the pair's dynamic is what makes this film work as well as it does. With both being alumni of the Ocean's franchise, they channel that energy for an entertaining heist film filled with quippy dialogue and a collection of colourful side characters. After some questionable decisions in his recent work, it's nice to see director Doug Liman tackle a film like this. It’s a solid match. QUENTIN It seems most comedies nowadays have become straight-to-streaming fare that are reminiscent of the entertaining-but-forgotten comedies of my 90s youth, like Money Train , Nothing to Lose , and Bulletproof . The type of come-and-go movie I loved at 15-years-old, but probably has no real legacy outside of those who experienced it as an indiscriminate teenager. The Instigators is further evidence of that notion. Despite delivering some light laughs, solid odd-couple banter, inoffensive action, and a collection of random stars in bit parts, it probably won’t register very long for anyone outside of modern-day adolescents who will eventually have rose-colored, “The Instigators ? I loved that movie!” nostalgia for it. PAIGE Although The Instigators is an entertaining on-the-run movie, Doug Liman's blue-collar heist film is just another typical action comedy. Don't get me wrong, the material is elevated by the sardonic wit and dialogue, as well as the charming Boston accents from Casey Affleck and Matt Damon, but, overall, the genre isn't expanded upon. Plus, the plot is a little wonky at times. Though there is some fun to be had with this flick, and it was nice to see the accurate depiction of Massachusetts driving, just don’t expect the next great Boston crime film.

A REAL PAIN Starring: Jesse Eisenberg, Kieran Culkin, Will Sharpe, Jennifer Grey, Kurt Egyiawan, Liza Sadovy, and Daniel Oreskes Director: Jesse Eisenberg KATIE A Real Pain is charmingly funny and artfully written, with a quick-witted script that is driven by the endearing dynamic between writer-director-star Jesse Eisenberg and Kieran Culkin, who brings his lovable, signature nervous energy to the role. They are a compelling double act with perfect comedic timing, but the film is also emotional and thought-provoking, exploring mental health, the weight of history, and the difficulties found in supporting and understanding those closest to us. Overall, A Real Pain is a tender, dryly funny, indie drama with a scene-stealing performance from Culkin. ADRIANO After his first film was a huge pretentious miss for me, writer/director/star Jesse Eisenberg steps up big time with A Real Pain . While his direction is nothing extraordinary, his writing gives way to a funny and emotionally cathartic odd-couple dramedy that gives us two very memorable characters and a beautiful examination of generational heritage and familial trauma. While Eisenberg's performance is excellent, Kieran Culkin gives a groundbreaking turn that plays to his strengths, hiding a deep and heartbreaking reality under the surface. Honestly, the more I digest A Real Pain , the more I fall for it. PAIGE A Real Pain is a significant improvement for Jesse Eisenberg’s second crack at the director’s chair. Although its screenplay tends to tell you how the characters are feeling instead of just showing you, at least Eisenberg’s words on the page and Kieran Culkin's tour de force performance capture a raw honesty about grief and how we carry our inner turmoil in such a humane way. Their (Eisenberg and Culkin) yin-and-yang character dynamic throughout this buddy road trip, while complicated, is endearing, and is what ends up truly holding the movie together. QUENTIN Considering I’ve never been a huge fan of Jesse Eisenberg’s schtick, I went into A Real Pain with meager expectations despite the awards buzz. With that in mind, I suppose it’s fine. Eisenberg does, in fact, do his typical thing on screen, and nothing about his direction is particularly ambitious. However, I will give him credit for the screenplay, which plays subtle-but-never-“hilarious” (as it has often been hailed) humor against melancholy sadness extraordinarily well. It’s just that watching this potentially great story being performed on screen by Eisenberg and Kieran Culkin (doing his typical thing, for which, mileage may vary) just didn’t move me. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.