THE FORGIVEN Starring: Jessica Chastain, Ralph Fiennes, Matt Smith, Christopher Abbott, and Caleb Landry Jones Director: John Michael McDonagh JOSEPH The Forgiven tries to illustrate numerous points but is at its best when holding a mirror to the mindless self-indulgence of wealthy Western culture. It’s an absolutely scathing critique of the indifference of the rich, but thanks to the great cast, we are still able to empathize with each character to some degree as we learn who they are. I don’t feel things are as fleshed out as they could be, but it does what it sets out to do. I only wish the runtime was longer so the nuance of the more minor characters could be explored further. QUENTIN The beautiful cinematography, simmering tension, and great performance from Ralph Fiennes (not to mention his character’s well-developed arc) will keep you mostly engaged in The Forgiven despite its insistence to keep returning to the Jessica Chastain side of things, which, through no fault of her own, is wholly uninteresting. While director John Michael McDonagh’s direction, full of static camera shots and minimalist characteristics, makes everything come across as distant and cold, maybe that is by design - to show that the wealthy are a soulless lot (in which case, fair enough). Either way, The Forgiven is a good-but-not-great movie that I feel somewhat dispassionate about.

DUNE Starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, David Dastmalchian, Charlotte Rampling, Jason Momoa, and Javier Bardem Director: Denis Villeneuve JAMES Author Harlan Ellison once called Frank Herbert's Dune the book that couldn't be shot. If he'd lived to see director Denis Villenueve's adaptation, he might've changed his mind. This movie is an absolute feast for the senses. Villeneuve serves up nothing less than a living, breathing world, and uses every single shot to convey just how that world works. Not since Stanley Kubrick's 2001: A Space Odyssey has there been visual sci-fi storytelling like this. Fans of the book will undoubtedly get the most out of this film, and as one such fan, I wholeheartedly give it two thumbs up. NICK There is absolutely no question that Dune is one of the most visually impressive films you'll see this year. Every trademark of director Denis Villeneuve is used to create a gorgeous piece of cinema. Unfortunately, that's where the greatness ends. That's not to say Dune is a bad film... it isn't... but it should have been great. With a cast this stellar, no one really stands out, and though the storyline isn’t overly complicated, it's told in a way that makes it so. Worst of all, it's periodically boring. Not the best way to start off a franchise. JACOB While it may not emotionally move audiences as well as some of his other works, Denis Villeneuve's Dune is nonetheless an expertly directed, breathtaking sci-fi epic both worthy of and best-viewed on an enormous theatrical screen. Each performance serves its purpose well (Rebecca Ferguson and Jason Momoa especially shine), but the true stars of this film's phenomenally massive scope are the technical elements - the visual effects, sound design, and score are particular standouts all worthy of Oscars. If part two is as good or better, the two-hander may well be viewed as the defining sci-fi epic of the decade. QUENTIN You know the cliché of the hot guy/girl that everyone lusts after given how hot he/she is despite having zero personality? That's Dune . It's absolutely stunning to look at, from the too few action scenes to every time the sandworms make an appearance, but the story struggles to stay compelling. It's mostly world-building to set up the sequel, and several things are frustratingly under-explained. The A-list cast is generally wasted, with the majority playing underdeveloped exposition delivery pawns. In the end. It's probably better to judge this and the sequel as one movie because, as a standalone, it feels incomplete. ADRIANO Dune feels like the start of a once in a generation trilogy in the vein of Star Wars and Lord of the Rings . Director Denis Villeneuve’s visual eye is striking, especially on the big screen, and every single tech he pulls off is an achievement, from the visual effects to the set design. Greig Fraser's stunning cinematography and Hans Zimmer's spectacular score only complement what Villeneuve has accomplished. Beyond that, it features an engaging, albeit dense, story that pulls off its ending in a way that's satisfying while also perfectly setting up a sequel that I cannot wait to see. AMARÚ Dune is epic and beautiful in its unfocused vastness. The heart-pounding score is the constant amongst the uneven intertwining of political drama, sci-fi action thriller, and world-building space opera. Exposition smothers the first act, but an intriguing story and committed cast shine through just enough to keep your interest throughout the runtime. Timothee Chalamet's intensity is captivating, but he lacks a balancing warmth that co-stars Oscar Isaac and Rebecca Ferguson carry with more ease. In all, Dune: Part One feels like a cram session necessary to better understand the potential of a mind-blowing finale.

SHELL Starring: Elisabeth Moss, Kate Hudson, Kaia Gerber, Arian Moayed, Este Haim, and Elizabeth Berkley Director: Max Minghella NICK Truth be told, I've never been a fan of Elisabeth Moss. I just don't usually connect with her roles. With Shell , that's not the case. Moss gives a performance that is both vulnerable and empowering while also balancing the film’s humour. That balance is needed because the humour permeates the entire film and is the main reason Shell is as enjoyable as it is. Things get progressively more ridiculous as the plot builds, and it finds itself on shaky footing for a bit, but because the entire cast buys in, you will as well. Based on my audience, this is sure to be a crowd pleaser. KATIE Shell sometimes feels like an inferior version of The Substance , which is a shame since Shell was actually released beforehand. Yet and still, it is very fun and entertaining overall. I often find that Elisabeth Moss resorts to very similar ways of emoting, which can lessen the impact of her performance. However, she is great in this role, even though she is overshadowed by Kate Hudson’s perfectly campy character, which better suits the tone of the film. I loved its retro-futuristic aesthetic, the sci-fi elements, and the squeamish body horror, but I just wish it didn’t spell out its point so literally. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival .

ROLE PLAY Starring: Kaley Cuoco, David Oyelowo, Connie Nielsen, Rudi Dharmalingam, Simon Delaney, and Bill Nighy Director: Thomas Vincent QUENTIN Prime’s Role Play is exactly what you would expect from a gender-swapped True Lies -ripoff that is quietly dropping on a streaming service in January. Despite being rated R, it’s surprisingly timid, and although it’s billed as an action-comedy-thriller, there is very little action, very few jokes, and almost zero thrills. David Oyelowo does his best to elevate the material, especially on the comedy front, but it’s almost as if director Thomas Vincent held him back so he wouldn’t steal Kaley Cuoco’s limelight. Overall, despite a decent start, a solid (if unoriginal) premise, and a great single scene from Bill Nighy, this is a predictable dud. CALEB I can’t begin to understand what Role Play was trying to go for. It has the premise of a goofy rom-com, but is hell-bent on taking itself seriously. It’s not funny enough to be a comedy, but it’s not nearly exciting enough to function as a worthwhile thriller. It’s basically a dollar bin version of Black Widow (2021), but with far less action and twice the boring melodrama. The film can’t commit to a tone for longer than five minutes at a time, which makes the whole narrative feel hopelessly confused. From start to finish, Role Play is a total mess. PRESTON Yes, I fell asleep while watching director Thomas Vincent’s Role Play , and no, it wasn’t a particularly long day. Absolutely no chances are taken here, the fight choreography is rough, and the resulting boredom is quite impressive given my affinity for any story based on an assassin trying to live a double life. Kaley Cuoco and David Oyelowo have almost zero chemistry, and even if this were meant to be a comedy, the lack of commitment to that approach leaves it out of the realm of Mr. & Mrs. Smith and True Lies . Save this for chore day.

THE DOG STARS Starring: Jacob Elordi, Josh Brolin, Margaret Qualley, Guy Pearce, Benedict Wong, and Allison Janney Director: Ridley Scott NICK An indie film cosplaying as a summer blockbuster, The Dog Stars is undone by its scale, budget, and blockbuster aspirations. It's as if director Ridley Scott was aiming to use the post-apocalyptic setting as a subtle backdrop (similar 2015's Maggie ), but was instead persuaded to include more action and excitement. This actually takes away from the story of grief that is being explored and hinders character development. Yes, it takes its time in the early going, but it was building to something while presenting interesting ideas, only to abandon them for apocalyptic moments we’ve seen done countless times before…and better, no less. What a shame. QUENTIN I wouldn’t be surprised if Ridley Scott is sitting on a three-hour Director’s Cut of The Dog Stars because, at two hours, it’s incredibly rushed. It probably would have been better as a miniseries, but as is, the themes it attempts to explore are superficial. We’re dropped into a post-apocalyptic world with no other background than “the virus,” which…okay, fine…but the core story of Hig’s (Jacob Elordi) grief has no weight because we’re only given fleeting glimpses of his life before. Furthermore, revelations and villains somewhat jarringly appear out of nowhere. The cinematography is, admittedly, stunning to look at, but there isn’t much under that veneer. ADRIANO As a critic of director Ridley Scott, The Dog Stars reaffirms my issues with him because I’m not sure what I was supposed to take away here. A slow-burn, post-apocalyptic meditation can be compelling if there is something or someone to latch onto, but this movie devolves into action territory that’s completely stranger from the rest of the film, with one sidequest being so bizarre that it derails the whole affair. It's not Scott’s worst outing — I was even into it at first — but it ultimately becomes clear this is a long slog full of exposition and nothing to say. BODE Ridley Scott has always been hit-or-miss as a director, but with his last two efforts being Gladiator II and Napoleon , he’s missed more than he’s hit as of late. I can’t say The Dog Stars fully bucks this trend, but if nothing else, it’s more fascinating to watch. Though its musings on the need for humanity in a post-apocalyptic world are surface-level, it’s somewhat engrossing to see the push-and-pull between Scott’s sensitive side and appetite for brutality (a night vision action sequence is particularly impressive in that regard). It’s handsomely shot, and the cast do a decent job imbuing some soul into the material. It’s… fine.

MIKE & NICK & NICK & ALICE Starring: Vince Vaughn, James Marsden, Eiza González, Keith David, Jimmy Tatro, Ben Schwartz, and Stephen Root Director: BenDavid Grabinski NICK Who knew Vince Vaughn’s ideal scene partner would be… Vince Vaughn? Well, Mike & Nick & Nick & Alice brings that idea to life as Vaughn pulls double duty alongside the always delightful James Marsden. The “trio” provides plenty of laughs to counter the violence and mayhem littered throughout this R-rated comedy. Bolstered by an entertaining supporting cast including Keith David, Jimmy Tatro, Stephen Root, and Alice herself, Eiza González, this is a crowd-pleasing comedy that would greatly benefit from the shared experience of an audience. Unfortunately, as with many modern comedies, this is headed straight to streaming and will miss out on that opportunity. ROBERT It’s hard to make time travel fresh or innovative as a plot device, so making it seem benign as part of the joke of a film is deft handling. Mike & Nick & Nick & Alice figures out how to make two Vince Vaughns seem almost normal in a trumped-up gangster world; that ubiquitous feeling, along with the interplay of all the relationships, is its strength. The cast helps make up for some odd aesthetic choices, especially with guys like Vaughn and Keith David attempting action scenes. You won’t feel the need to erase this from your existing timeline, unless you hate laughter. PAIGE Mike & Nick & Nick & Alice is a cheesy yet entertaining action-comedy that feels like a throwback to the ’90s and early 2000s. Its tongue-in-cheek humor elevates the flick despite its lackluster premise. The time travel piece adds an element of intrigue to try to set itself apart, but that motive ultimately lacks the energy needed to leave a lasting impression. That said, the trio here (Vince Vaughn, James Marsden, and Eiza González) at least have great chemistry. Overall, it’s not a bad watch as it remained enjoyable even through its somewhat generic aspects. BODE A straight-to-streaming sci-fi action comedy like Mike & Nick & Nick & Alice is probably the last place where you’d expect multiple uses of the step-printing filmmaking effect, popularized by the great Wong Kar-wai. But it’s only one example of how writer-director BenDavid Grabinski constantly toys with expectations as to how this amusingly violent time-hopping tale plays out. And credit to him and his cast full of likeable players (including a hysterical Jimmy Tatro), I was consistently engaged. Not everything about it works, but it’s a big swing that I probably won’t look back in anger on. If you know, you know. KATIE Mike & Nick & Nick & Alice is a generally entertaining action comedy with a fun twist, but it's held back by some questionable stylistic choices and confusing use of music. Vince Vaughn plays to his strengths in the lead dual role, working well across from the charming James Marsden, and Jimmy Tatro made me laugh out loud on more than one occasion. However, a slow motion effect is employed frequently and with seemingly no motivation, so it's more distracting than creative, and most of the needle drops felt unnatural and unsuited to the scene.

TITANE Starring: Agathe Rousselle, Vincent Lindon, Garance Marillier, Laïs Salameh, Mara Cissé, Marin Judas, and Diong-Kéba Tacu Director: Julia Ducournau JACOB Titane may be too unwieldy to overtake any Oscar races, but anyone who watches the Cannes' Palme d'Or winner will be consumed by the sheer force of it. Julia Ducournau's film is brimming with boldness, an absolute hurricane of chaotic energy so powerful that one may not feel its full impact until days later. There is no way to predict where it will go, and its journeys may be impossible to fully understand after a single sitting. Agathe Rousselle is unbelievable leading this story through its many facets, but it's Ducournau who emerges the true talent here. ADRIANO Titane is, without a doubt, one of the weirdest films I have ever experienced. Even as someone who gets very squeamish at body horror, I found this movie to be amazing. As a director, Julia Ducournau has an incredible visual eye. As a writer, she seamlessly blends the batshit insanity with moments of tenderness. Agathe Rousselle's performance is striking too, which helps drive home the film's themes wonderfully. There were a couple scenes, mainly towards the beginning, that I felt were gratuitously graphic, but this is definitely worth a watch. QUENTIN I’ll give Titane credit for one thing: it’s fucking insane. I’m not sure that means it’s good, though. Admittedly, it hasn’t left my mind since I saw it, but I could say the same for fellow body horror movie The Human Centipede , which is definitely not good. While Titane is better than that, it still goes to bonkers places either for pure shock value or as a metaphor that I don’t get. So, if you want something weird that will have you thinking “did she just…? Nooo. Oh! Yep, she sure did” more than once, then you’re in luck!

THE DEAD DON’T HURT Starring: Vicky Krieps, Viggo Mortensen, Solly McLeod, Garret Dillahunt, and W. Earl Brown Director: Viggo Mortensen NICK With his sophomore directorial effort, Viggo Mortensen shows a lot of growth in the way he crafts a film, particularly in how he takes full advantage of the landscapes the film inhabits to create a beautiful western. Where the issues start is in telling the story through a non-linear timeline, a decision that makes things unnecessarily confusing without benefiting the film. It’s also a little sleepy, as it’s not very event filled. At times, it feels like you’re in between missions while playing Red Dead Redemption . The Dead Don’t Hurt is certainly an improvement for Mortensen in the director’s chair, but there’s still some ways to go. KATIE The Dead Don’t Hurt draws on classic western themes and archetypes, but is far from your typical action-packed western. The film utilises a non-linear storyline and deliberate, unhurried pacing, focusing on the relationship between the protagonists rather than gunslinging shoot-outs. However, the threat of lawlesness lurks around every corner. Viggo Mortensen gives a compelling performance as Holger, but Vicky Krieps steals every scene as Vivienne, and the film foregrounds her perspective and the hardships she faces. It’s also beautifully shot, making time to indulge in the stunning, sprawling landscapes as well as the intimate moments between the couple. QUENTIN While it’s easy to commend the beautiful cinematography and above-average performances (especially Vicky Krieps), the fact remains that The Dead Don’t Hurt just isn’t all that interesting. For one, it isn’t the violent revenge western advertised in the trailers. Instead, it opts for a slow-burn, dusty romance that is ultimately hindered by non-linear storytelling that is unnecessary, confusing, and convoluted. On top of that, it’s way too sleepy, and it fails to flesh out intriguing character dynamics that are only hinted at. I love a good western, but when this is the best we get nowadays, it’s easy to see why it’s a dying genre. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

QUASI Starring: Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Adrianne Palicki, Eugene Cordero, and Marcus Henderson Director: Kevin Heffernan JOSEPH Full disclosure, outside of Beerfest , I’m unfamiliar with Broken Lizard’s filmography. That being said, I can confidently say Quasi is probably their worst film yet. There are some chuckle worthy moments, but only enough to count on one hand. I cannot fathom if the humor of this film is dated or just too stupid (or too smart?) for its own good. Even with copious amounts of alcohol or weed, I’m sure Quasi will barely elicit a reaction. You’re far better off rewatching an old favorite or just going to sleep. QUENTIN Quasi is the worst movie I’ve seen in years. There are no jokes, quotable one-liners, or even mediocre production values to be found here. Hell, the outtakes aren’t even funny. In fact, with each Broken Lizard member playing two roles, it’s almost like no one else wanted to be associated with it. I have no doubt the comedy troupe found the idea hysterical while discussing it over bong rips, but this won’t even hit with the stoners. In terms of hilariousness, it’s the opposite of Super Troopers . No one should watch this, and no one should be giving Broken Lizard more money to make movies.

AMBER ALERT Starring: Tyler James Williams, Hayden Panettiere, Saidah Arrika Ekulona, Kurt Oberhaus, and Ducky Cash Director: Kerry Bellessa KATIE Amber Alert feels like an episode of a long-running TV crime drama rather than an exciting thriller. Despite the pressing nature of the situation at hand, the film moves at a slow pace and characters act without any sense of urgency or common sense, which quickly becomes repetitive and boring. The amateur-feeling performances do not help, and Tyler James Williams’ (Shane) natural charm only highlights the shortcomings of the rest of the cast. Plus, the film distastefully uses exploitative implications rather than creating any genuine sense of suspense or tension. Frankly, the whole thing left a bad taste in my mouth. NICK Amber Alerts are a significant tool for finding missing children, and they haven't really been explored in the world of film. The movie Amber Alert does that, just poorly. In spite of the commitment of Hayden Panettiere and the charisma of Tyler James Williams, the film meanders its way through poor decision-making and a tensionless chase sequence that only leads to a rushed and nonsensical shootout. It’s a baffling final act that is so tonally removed from everything I had just watched. I didn’t hate the majority of what I was given here, but that ending really left a sour taste in my mouth.

SAMARITAN Starring: Sylvester Stallone, Javon “Wanna” Walton, Pilou Asbæk, Dascha Polanco, Moises Arias, and Martin Starr Director: Julius Avery JOSEPH Samaritan has its moments. On one hand, it’s a refreshing take on the superhero genre that feels more like the better superhero films from the early 2000s than your typical MCU fare. On the other hand, the script is sometimes lacking, leaving the villain’s end goal, as well as the nature of his superpowers, extremely unclear. The ending also just feels too long. Even with its flaws, the cast manages to shine, especially Javon Walton and Pilou Asbæk. It’s not a waste of time, but I don’t see Samaritan getting a cult following anytime soon. JACOB Like Spiderhead earlier this year, Samaritan feels like a miniseries that got squeezed into a feature-length runtime. The idea behind the film is an intriguing one - old hero, left his life behind, something happens to get him back in the ring; however, the execution leaves a good bit to be desired. Sylvester Stallone plays his knock-off Rocky-with-superpowers about as well as the film’s writing allows, but the rest of the supporting cast gets little to nothing interesting to do, and Javon Walton doesn’t yet have the skills to shoulder that weight. Despite the effort, it just doesn’t work. NICK Director Julius Avery follows up the underrated Overlord with this pedestrian and clichéd effort. Samaritan manages to be both a kids film without the childlike wonder and an action film without the brutal violence. Sure, Sylvester Stallone works in the lead role, but beyond that, there isn’t much to praise here. Neither the effects nor the supporting cast are able to elevate the film, and any surprises within the story are blatantly telegraphed in the opening minutes. This pairing of star and director, as well as the storyline, deserved better. Sadly, the execution did not meet the promise. QUENTIN Have you ever played a football video game that didn’t have licensing from the NFL, so the teams are generically named something like the California Wildcats? Like… yeah, it’s football, but ehhh. That’s basically what Samaritan is. A lazy stab at a non-IP superhero movie that, honestly, doesn’t even have much superheroing. I’m admittedly a sucker for Sylvester Stallone, but Javon “Wanna” Walton, who is fantastic as Ashtray in Euphoria , is horribly miscast here. He just can’t pull off innocent precociousness. With some truly terrible dialogue and a twist I predicted in record time, Samaritan hearkens back to the superhero movie wasteland of the 90s. PAIGE The Sylvester Stallone-led superhero film Samaritan has a blatant 90s action vibe that would have benefited from more action beats to save it from being a fiery pit of disappointment. Sly isn't given the tools to pull off a movie like this because it's built on a weak script and tame story. It also doesn’t help that it has a predictable twist that you can see coming from a mile away. Don’t get me wrong, the film had potential, and if the story dug deeper into the character instead of anchoring itself to generic superhero tropes about redemption, we may have gotten a better movie.

THE EYES OF TAMMY FAYE Starring: Jessica Chastain, Andrew Garfield, Vincent D’Onofrio, Cherry Jones, Mark Wystrach, Sam Jaeger, and Louis Cancelmi Director: Michael Showalter ADRIANO The Eyes of Tammy Faye was a very welcome surprise for me. Having not known too much about Tammy Faye and Jim Bakker, it provides not just a fascinating look at the rise and fall of their empire, but a humanizing portrayal of Tammy herself. Jessica Chastain has never been better, as she gives an unrecognizable and extremely emotional performance through some truly remarkable makeup and prosthetics. The story is told in an appropriately entertaining way that's both funny and moving, teetering the line of satire, and it's a fascinating film that I truly recommend. JACOB While not one of Michael Showalter's more balanced efforts, The Eyes of Tammy Faye remains yet another show of unspoken skill for the director. Apart from Jessica Chastain’s remarkable performance in the titular role, the quiet strength of the film is that it never becomes outright cynical despite remaining factual to the nature of its subject. The film invites one to know who Tammy Bakker was, regardless of how involved she may have been in the Bakkers' crimes. It's a bit long and feels slightly unfocused, but the heart is there, which Chastain carries to the end. QUENTIN While I can appreciate the effort that went into making The Eyes of Tammy Faye , especially Jessica Chastain’s transformative and award-worthy performance, I had a really tough time connecting with this movie. Maybe I have preconceived (and incorrect?) notions about who the Bakkers (Andrew Garfield and Chastain) were that are impossible to overcome, but this movie wants the viewer to feel undeserved sympathy for these religious fraudsters. Frankly, that’s a hard sell for me. It’s not easy to get invested in a movie when you don’t believe its message.