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GUARDIANS OF THE GALAXY VOL. 3 Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel, Bradley Cooper, Sean Gunn, Chukwudi Iwuji, Will Poulter, Elizabeth Debicki, Maria Bakalova, and Sylvester Stallone Director: James Gunn NICK Guardians of the Galaxy Vol. 3 made me laugh, cry, then laugh again, and it features an exhilarating opening action sequence. This film had my heart. My mind, however, is a little less forgiving. The film relies heavily on Rocket (Sean Gunn/Bradley Cooper) flashbacks, which would have worked better as a prologue than being interspersed throughout, and as much as I enjoyed the opening scene, Adam Warlock (Will Poulter) isn’t needed, nor does he leave a lasting impression. Still, the trademarks are here, and it’s a fitting end to the trilogy, but not without some bumps along the way. That said, bring tissues. ADRIANO Guardians Of The Galaxy Vol. 3 had a lot of heavy lifting to do, not just as a send off for the title misfits, but as a lifeline for a post-Endgame MCU; I’m delighted to say that it succeeds. Writer/director James Gunn proves he’s the perfect comic book director, not afraid to get silly while never losing sight of the characters, and he gives the team a fun adventure to go with their proper and beautiful finale. It’s a visual spectacle that, while not always structurally sound, features the MCU’s heaviest and most heartfelt moments. I’ll really miss these characters. QUENTIN Though not flawless, Guardians of the Galaxy Vol. 3 works well enough to rank amongst the best post-Endgame MCU offerings. Everything you love about the Guardians franchise is here, but it’s overlong to the point that I felt the dreaded “superhero fatigue” mid-movie, Adam Warlock (Will Poulter) is completely wasted (he’s on screen for maybe 15 minutes), and the music feels shoehorned in at times even if the song themselves are fantastic. Still, it’s better than Vol. 2 , but not as good as Vol. 1 ; however, the gap between Vol. 3 and Vol. 2 is closer than the gap between Vol. 3 and Vol. 1 . DARRYL The concluding volume of what has been a mostly solid trilogy ends the only way it could: with plenty of heart and humor. Writer/director James Gunn manages to expertly close multiple narrative arcs while still delivering plenty of laughs along the way. Eschewing a sappy Hollywood ending for the series, the story instead provides a more realistic approach that feels true for each character, showing once again that Gunn is intimately familiar with them. A mix between great action and an incredibly dour plot (not to mention the MCU's best villain in years), Vol. 3 is emotionally taxing but ultimately satisfying. PAIGE O-O-H Child, Guardians of the Galaxy Vol. 3 is filled to the brim with James Gunn trademarks. This series has to be the wackiest and most heartfelt MCU franchise ever…it’s certainly my favorite…but like its characters, this flick is a little bit of a mess. Don’t get me wrong, it’s certainly a fun and lovable mess, but a mess nonetheless. Honestly, its strongest attributes are the emotional beats throughout the film, and while overall I’m a big GOTG fan, I walked away with some mixed feelings. While you’ll surely laugh and smile, you’ll most likely ball your eyes out too, like I did. So, fair warning: bring tissues. AMARÚ From the first scene, director James Gunn goes for straight gut-punches in Volume 3 . Emotion is the heart of this finale, and while Volume 1 necessitated set-up and Volume 2 leaned too heavily on comedy, this trilogy capper excellently balances everything that makes Guardians great. The action, humor, music, and ensemble are all pitch perfect, but its biggest strength is the realization of each team member’s best version, with Rocket (Sean Gunn/Bradley Cooper) leading Drax (Dave Bautista), Mantis (Pom Klementieff), and Nebula (Karen Gillan) as standouts. Everything you’ve ever wanted this franchise to be is beautifully fulfilled in this kinda perfect finale. JACOB While the final film in James Gunn’s charmingly off-beat Guardians of the Galaxy trilogy certainly succeeds in what it sets out to do, calling it anything more than “very good” would feel hyperbolic. Many things about it work, such as the emotional core of the film, the high-tone villain performance from Chukwudi Iwuji, and – expectedly – the killer soundtrack. That said, the structure of the film does occasionally work against the flow of the story, and there are a few moments where the humor doesn’t land quite right. Still, it’s a fun time, and a fitting end to Gunn’s MCU days.

MARRY ME Starring: Jennifer Lopez, Owen Wilson, Maluma, John Bradley, Chloe Coleman, and Sarah Silverman Director: Kat Coiro ADRIANO Marry Me is definitely not the worst rom-com starring Jennifer Lopez that I’ve seen. Actually, Lopez and Owen Wilson do a stellar job. The chemistry they have with each other genuinely made me smile. Unfortunately, the movie crumbles under a lot of bad rom-com trappings. It’s absurdly predictable, and everything that I thought would happen happened exactly as I thought it would. Maybe I could forgive that if it was funny, but for the life of me, I can’t remember a single time I laughed. I didn’t despise this movie, but I definitely didn’t enjoy it. JOSEPH Wow, I was so pleasantly surprised with Marry Me . Going in, it seems like it’s going to be a sort of generic and predictable film, and in many ways it is, but there’s something fresh about it. Don’t get me wrong, the film is still tropey and a little dumb at times, but it’s just pure joy to watch. There’s a surprising level of chemistry between Owen Wilson and Jennifer Lopez, while Sarah Silverman offers some good humor. Marry Me is a smile-inducing, fun time.

A DIFFERENT MAN Starring: Sebastian Stan, Renate Reinsve, and Adam Pearson Director: Aaron Schimberg QUENTIN A Different Man is the type of not-great oddball movie that A24 Stans will champion anyway just because it’s from A24. Granted, it has a lot on its mind, asking thought-provoking questions about beauty, vanity, and self-esteem. It also features strong performances, particularly from Adam Pearson. However, the characters, especially Sebastian Stan’s Edward, make too many questionable decisions, which ultimately results in a very frustrating viewing experience. On top of that, it’s a bit of a slog, and the ending provides no catharsis or satisfaction. I appreciate what writer-director Aaron Schimberg wants to do, but he doesn’t do it well enough to make the movie recommendable. ADRIANO Even with the obvious narrative issues, especially with its unclear final 5 minutes, there's something so fascinating about A Different Man . The darkly comedic surrealist thriller tone helped keep my interest piqued for the entire movie, alongside an incredible performance from Sebastian Stan. Beyond that, the movie's self-image story could've easily just stuck to a basic "it's what's on the inside that counts" message, but I was really into how it decided to go beyond that, showing what a blunted self-image can do to someone. As weird and unsure of itself as it can be at times, I admired most of A Different Man . NICK A Different Man is an interesting case study. It's a film that doesn't shy away from taking risks, and it features some very good performances, which usually bodes well for me. Not so much here, though. The film feels as if it is split into two parts, with neither being given the time to establish itself. Meanwhile, the tone of everything is as if it's constantly in flux. It all just feels a little disconnected, which is a shame because both Sebastian Stan and Adam Pearson came to play. Too bad A Different Man doesn't do what it needs to do to provide them a worthy playground. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasy Filmfest.

LOVELY, DARK, AND DEEP Starring: Georgina Campbell, Nick Blood, and Wai Ching Ho Director: Teresa Sutherland This film has been reviewed by Nick, Paige, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. QUENTIN To its credit, Lovely, Dark, and Deep is beautifully shot. The use of light and darkness to build tension and highlight the unknown of back-country wilderness at night is tremendous, not to mention some terrifically unsettling drone shots of the mountainous landscapes. That said, despite a psychological thriller tone and sense of dread that work completely, the actual story is flimsy. This is superficial horror built on imagery and vibe alone, and by the time everything is hurriedly explained in a short exposition dump at the end, nothing really resonates. Plus, every time English-actor-doing-an-American-accent Georgina Campbell says “park ranger?” Nails on a chalkboard. NICK Lovely, Dark, and Deep was one of my most anticipated films at this year's Fantasia Fest (see HERE ), so that likely factored into how disappointed I was with it. First, the good… it features some beautiful scenic shots and haunting imagery. Unfortunately, that’s about it, and without a cohesive story to display those aspects, they fall rather flat themselves. Georgina Campbell is fine, but does nothing to overcome the script, while the hurried resolution at the end is far too little and far too late to make up for the rest. Here's hoping for a better sophomore effort from director Teresa Sutherland. PAIGE Lovely, Dark, and Deep certainly isn’t a picnic in the park, as the film captures the atmospheric mysteries of venturing alone and getting lost in the forest. With eerie soundscapes and disturbing imagery, aka a shit ton of swirling treetop shots, the film displays promising work from first time director Teresa Sutherland. That said, the second half of the film goes off-trail a bit with its maddening and aimless direction, but at least Georgina Campbell gives a terrific performance throughout.

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

ODDITY Starring: Carolyn Bracken, Gwilym Lee, Caroline Menton, Steve Wall, Jonathan French, and Tadhg Murphy Director: Damian McCarthy QUENTIN Oddity is an excellent example of how a horror movie can rely on eerie atmosphere and a slow-burn approach without sacrificing narrative (take notes, The Witch and Starve Acre ). This is a movie that captivates from the outset, mixing the tense moodiness of “elevated horror” with the genuine jump scare moments that so many Blumhouse movies try and fail to manufacture. Plus, although the story isn’t entirely unpredictable, the general mystery of it all still draws you in through Damian McCarthy’s direction and Carolyn Bracken’s unnerving performance. All in all, if not for Longlegs , this might be the best horror movie of the year. NICK Some horror films need excessive gore and brutality, while others employ a plethora of jump scares. With Oddity , it's pure atmosphere. Everything works in service of the eerie tone director Damian McCarthy delivers, leaving you chilled to the bone as the story unravels. A story, I may add, that is quite good. There are shades of other films, but this is an original idea. Toss in a lesser known cast who wholeheartedly understands their assignments, and you have a film that is bound to appeal to horror lovers who have found this year's output lacking. PAIGE Oddity is an eerie experience. The story's atmosphere, mood, and unsettling imagery are what make it most effective despite the plot's periodic murkiness and simplicity. Even when I felt this paranormal murder mystery was losing steam, it snuck back up and shook me. Director Damien McCarthy has a great sense of how to execute a jump scare, and he cautiously creates tension with just darkness and silence. Though the ending is a little underwhelming, this original flick is one to definitely catch when it hits Shudder. This film was reviewed by Nick, Quentin, and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival.

SUPERMAN Starring: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Wendell Pierce, Skyler Gisondo, María Gabriela de Faría, and Sara Sampaio Director: James Gunn QUENTIN Superman features awe-inspiring sequences and a production design that harkens back to the Golden Age of Comics, with some scenes looking like they were ripped directly from the page. However, the story is thin, overstuffed, rushed, predictable, and trying too hard to be topical. While David Corenswet was a knockout choice for Supes (Edi Gathegi also is excellent as Mr. Terrific, the low-key MVP), Nicholas Hoult was a misfire, playing Lex Luthor as a whiny Gen-Zer rather than a diabolical genius. Then there’s Krypto – a sure-to-be fan favorite – but also a crutch leaned on far too often. Overall, Superman flies, but fails to soar because of the little things. AMARÚ Superman is weird as hell, making it the most interesting iteration of the superhero to date. Attuning the Man of Steel to director James Gunn’s freaky sensibilities finally gives Superman/Clark Kent (David Corenswet) some personality to chew on. The action is frenetic, the story is unafraid to embrace DC’s more mind-bending aspects, the actors fall full force into Gunn’s quirks, and all of it is wrapped in a heart that’s worn enthusiastically on its sleeve. The tone won’t work for everyone, and some emotional beats land softer than expected, but there’s no denying the hopeful essence that permeates throughout. ADRIANO For a cinematic universe starter, writer/director James Gunn mistakenly shoves us into this one as if it's a continuation. A universe that already has superheroes isn't a bad idea, but with Superman it felt bloated and messy. Yet somehow, it filled me with a joy I haven't felt from superheroes in a while. Gunn's earnestness shines through even the clunkiest parts, with a perfectly balanced corny tone that makes Superman (David Corenswet) feel like the hope-inspiring hero he's supposed to be. So while there are things that needed fixing, I'll admit this DC Universe is off to a good start. ROBERT It is quite a magic trick to bring classic sensibility to a popular character, thrust him into a contemporary landscape and not have it feel tonally awkward. I think James Gunn pulls this off with Superman , where the hopefulness of the character bleeds into his surrounding environment and into the future of the DCU. The castings of David Corenswet and Rachel Brosnahan as Clark Kent/Superman and Lois Lane end up more inspired than initially thought, and while there are wacky and ham-fisted aspects of Lex Luthor, Nicholas Hoult portrays his spitefulness ferociously. I didn’t think I would see a consequential Superman film in my lifetime, but I am happy to be proven wrong. BODE It seems jarring initially when writer-director James Gunn opens Superman in the middle of the action. No origin. No hand-holding whatsoever. It’s in that sense - and more, from its rapid tonal shifts, to its bevy of characters - that it feels like a random Golden Age issue come to life. It put a smile on my face almost immediately, and that feeling stayed throughout this modern iteration. It’s not without its faults, but it’s so unabashedly sincere, breathlessly energetic, and perfectly cast that I had a great time regardless. If the new DCU continues like this, sign me up. KATIE I didn’t expect to enjoy Superman as much as I did, and I was happily surprised by James Gunn’s sincere iteration of the hero. I’m personally glad it moves away from the forced grittiness and cynicism of recent superhero films, and is instead charming and hopeful, striking a great balance between silliness and seriousness. I was also moved by the rousing message, and although some characters were underwritten, it makes up for it with emotional moments and warm humour. It’s a simple narrative, but well-paced and driven by compelling performances, especially David Corenswet’s charming Superman, and some fantastic action sequences. NICK Although I like what Superman (David Corenswet) represents, he often comes across as slightly simple minded and kind of a dork (Man of Steel being the exception). That’s definitely present at times in director James Gunn’s adaptation, but that’s not all Supes is in this iteration. Corenswet gives a layered performance as he reintroduces the character, and although it doesn’t all work (it’s a messy film in general), he reaffirms that he was the right casting. I wish the story was a little more grounded, but the seeds have been planted for a new DC Universe, and I have… hope. Want to hear even more of our thoughts? Amarú, Shak, and guest Winston A. Marshall join Matt to take A Bigger Bite out of Superman HERE .

TWINLESS Starring: Dylan O’Brien, James Sweeney, Lauren Graham, and Aisling Franciosi Director: James Sweeney AMARÚ Twinless features a moving dual performance from Dylan O’Brien and a breakout turn from director/co-lead James Sweeney. They’re stirring in their roles, which helps a story that wavers from slightly sluggish to extremely interesting. Before the totality of the plot clicks into place, the dour tone weighs heavily on the pacing, but once you see the lengths that Sweeney’s Dennis goes to fill voids in his life, you’re locked into how his desperation counterbalances O’Brien’s depression. While the rest of the film still ebbs and flows, the parallel unfolding of the leads’ respective traumas is relatable enough to keep this movie going. QUENTIN At its core, Twinless is a standard bromantic comedy. Sure, writer-director (and co-lead) James Sweeney adds his own nuanced flavor and brand of melodrama, but the tropes are all the same. That’s not to say it’s bad, as it easily coasts on the heartfelt chemistry between Sweeney and Dylan O’Brien, the latter of whom gives a tremendous dual performance as the confidently charismatic Rocky and emotionally vulnerable Roman. Still, window dressing aside, from Wedding Crashers to You’ve Got Mail , you’ve seen the basic bones of this story structure before, which keeps it from becoming something special even though it’s a pretty decent movie in its own right.

HUSTLE Starring: Adam Sandler, Juancho Hernangomez, Queen Latifah, Ben Foster, Anthony Edwards, Kenny Smith, Robert Duvall, María Botto, and Jordan Hull Director: Jeremiah Zagar QUENTIN Just because Hustle isn’t reinventing the wheel - it’s basically Basketball Rocky - doesn’t mean that it isn’t a damn fine sports drama. It hits all the required beats of being inspirational and heartfelt, but wraps them in an authenticity and sincerity that elevates even the most predictable elements. Adam Sandler’s love for basketball is palpable in his performance, which is maybe the most natural of his career, and his easy chemistry with Juancho Hernangomez is remarkable. Flat out, Hustle is one of the best sports movies I’ve seen in probably a decade and the best basketball movie I’ve seen in who knows how long. AMARÚ Hustle is a feel good sports movie that may not rank as an upper echelon underdog story, but it will have you cheering nonetheless. Adam Sandler’s passion for the game is evident, looking like he just walked in from one of his viral pick-up games, three-month old beard and all, while mixing his comedic stylings with some dramatic intensity. However, he never strays too far in either direction. Juancho Hernangomez’s performance is surprisingly believable, and NBA star Anthony Edwards revels as the villainous rival. The NBA’s hands are all over this, sanctioning tons of roles and cameos, altogether making Hustle a journey to root for. JACOB The film itself never quite gets above average in its storytelling, but Hustle remains worth exploring for viewers, even if it’s only for its two leading performances. Not everything excels, but almost everything works. Adam Sandler’s career resurgence appears to be in full swing post-Uncut Gems , but while the titan of industry shows no signs of slowing down, his co-lead Juancho Hernangomez is hot on his heels. With enough real-world cameos to make it feel like Endgame for NBA fans, this film is still a showcase for the young star, and he puts on a damn good show. JOSEPH Hustle is definitely a sports film for sports fans, particularly basketball lovers, and it feels like a passion project that was crafted with love. At times, things feel tropey and familiar, with some clear homages to Rocky popping up, but the sharp, fast-paced editing makes for an exciting watch. Plus, Adam Sandler is an immediate Oscar contender for Best Actor, giving a performance that will easily go down as one of his best. As someone who doesn’t care for sports, I found my interest waning at parts, but I have to say, objectively, Hustle is one of the best sports films of all time. ADRIANO If you’re looking for something new, you won’t find it in Hustle . Thankfully, it’s so endearing and easy to fall for that I can forgive the film for that. Adam Sandler, once again, proves he’s a tremendous dramatic actor. His love of basketball is apparent, as this might be the most natural and least chaotic Sandler has ever been, and Juancho Hernangomez also gives an incredible performance in his acting debut. The film is extremely well edited and is clearly made with love and passion, which makes it hard not to get sucked into.

DEEP WATER Starring: Ben Affleck, Ana de Armas, Tracy Letts, Lil Rel Howery, Dash Mihok, Finn Wittrock, Kristen Connolly, Jacob Elordi and Rachel Blanchard Director: Adrian Lyne QUENTIN When watching an erotic thriller (especially one from director Adrian Lyne), one generally expects eroticism and thrills. Deep Water has neither. What it has is an underwritten story with an “uhh, that’s it?” ending, nonsensical character motivations, and, for some reason, snails. Also, considering they were dating during filming, how do Ben Affleck and Ana de Armas have absolutely zero chemistry? In any event, Deep Water is an often laughably bad movie that attempts to capture the trashiness of the aggressively sexual movies of the 90s, yet fails in achieving the titillating sexiness that would at least make it suitable for “Netflix & Chill.” PAIGE The new erotic thriller Deep Water offers some nice cat-and-mouse elements before drowning in, well, deep waters. The film’s setup is interesting, but there is just no meat to the story. With such a thin plot, it presents zero accountability or consequences for either of the lead’s behaviors, leaving characters that should be multilayered to be shallow. Overall, the film leaves you with more questions than answers, and, to be quite honest, it’s as dull and slow as a snail.

LEE Starring: Kate Winslet, Alexander Skarsgård, Marion Cottilard, Andrea Risebrough, Andy Samberg, and Josh O'Connor Director: Ellen Kuras NICK There’s no doubt that Kate Winslet gives a spectacular and awards-worthy performance as Lee Miller; however, the film that features her, Lee , has its share of challenges. The approach taken in recounting her story feels like a cheap way to bypass plot points and make up for the lack of a cohesive narrative. Had the moments it focused on been more riveting, perhaps that could be overlooked, but the pacing is actually fairly slow. It is evident Lee Miller was an accomplished and nuanced photographer, so it’s very frustrating to see that a film about her work lacks artistic creativity. ADRIANO There seems to be this misconception in Hollywood that a movie can coast on just the power of its true story. Lee is another victim of this mentality because, while the story of Lee Miller is interesting, the film does nothing to distinguish itself beyond great performances from Kate Winslet and Andy Samberg. It tries to comment on sexism and war, but that doesn't go anywhere beyond finger-wagging. Motivations aren't entirely clear, and the film falls victim to a bizarre framing device that confuses more than delivers. I'm probably gonna forget Lee very quickly. PRESTON I spent much of Lee thinking it was somehow disjointed, and even contemplated copping out with a dodgy comment like, “something’s missing.” Fortunately, it turns out to be one of those films where you don’t know how cool it is until you’ve reached the end, when everything gets tied together in a somewhat forced, but satisfying fashion. An invested Kate Winslet single-handedly brings the gripping, real-life story of war-correspondent Lee Miller to…well…life. The method may feel like standard fare, but the underlying story to this biopic, told through a committed Winslet, is anything but. QUENTIN Despite a committed performance from Kate Winslet and a solid against-type showing from Andy Samberg, Lee doesn’t offer much to engage the viewer. The beats of Lee Miller’s (Winslet) life feel cherry-picked and rushed, as if perhaps more interesting tidbits were left on the editing room floor simply to make for a shorter runtime, and while it certainly shows some atrocities of war, it’s nothing we haven’t seen before. Plus, the awkward framing device of a story being told in flashback is wholly unnecessary (especially the “reveal”). This all results in a film that fails to make the viewer truly invested. It’s beautifully shot, though. This film was reviewed by Adriano, Nick, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

DOG Starring: Channing Tatum, Jane Adams, Kevin Nash, Q’orianka Kilcher, Ethan Suplee, Emmy Raver-Lampman, and Nicole LaLiberte Directors: Channing Tatum and Reid Carolin ADRIANO My expectations weren’t high for Dog , so, technically, my expectations were exceeded. The film still isn’t great, though. It’s sort of all over the place in terms of plot and tone. If this is supposed to be a comedy, it isn’t very funny; if it’s supposed to be a drama, it doesn’t really feel that way. As a director, Channing Tatum doesn’t do anything interesting either. That said, it is a very sweet film that gave me a nice smile, so I suppose it wasn’t a total waste of time. JOSEPH From the moment I saw the trailer for Dog , I was pretty sure I had the whole story figured out. Lo and behold, I was right. Despite being very predictable, it is a heartwarming story that allows Channing Tatum to show us a level of depth that we haven’t quite seen from him. Along with that, Tatum proves he’s a pretty competent director, able to capture natural beauty from landscapes while keeping us entertained throughout a film that is essentially a one man conversation for nearly the whole runtime. JACOB Dog is a charming “boy and his dog” story and a suitable directorial debut for Channing Tatum, but it doesn’t quite have the capacity to dive into its more difficult themes. There’s some pretty decent comedy here, and clearly Tatum has the capabilities to make his film coherent and workable. However, when it comes to dealing with its harsher subject matter, such as veteran PTSD and training dogs to be racist, the film only makes cursory nods to them. The film’s potential to be better is what makes the fact that it’s just “pretty good” a little frustrating.